The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
September 13, 2013
Conrad Tao
Fit in Nine Holes. Fit in 20 Laps. Get Fit. Quail Run Club offers membership options that fit your needs and your schedule. Conveniently located, Quail Run features luxurious facilities with a PGA-rated 9-hole golf course, an ozone purified indoor lap pool and a fully equipped fitness center. Call today for a tour.
3101 Old Pecos Trail 505.986.2200 quailrunsantafe.com
lunch - monday thru saturday sunday brunch dinner nightly
Santacafe’s World-Famous Calamari “Elegant, yet informal, with sucessfully inventive dishes, it is widely considered to be the city’s finest restaurant.” —Travel & Leisure
231 washington avenue - reservations 505 984 1788 gift certificates, menus & special events online www.santacafé.com 2
PASATIEMPO I September 13 - 19, 2013
Fall Sale in Progress: Save 40-60% 8001 Wyoming Blvd. Ste B 3/4 AlBuq nm 87113 505.856.5009 • Adobe-bungAlow.com
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PASATIEMPOMAGAZINE.COM
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Beckett on Film A Five-Part Series
Beckett on Film is a collection presenting films of all 19 of Samuel Beckett’s plays including Endgame, Waiting for Godot, Come and Go and Happy Days. Each film is unique, featuring some of the world’s most talented directors and actors including Jeremy Irons, Julianne Moore, John Hurt, and Atom Egoyan, among others. This special five-part series will screen the best of the Beckett on Film project.
Every Sunday in September at 11am At The Screen FREE ADMISSION (FIRST-COME, FIRST-SERVED)
VISIT WWW.THESCREENSF.COM FOR A FULL SCHEDULE.
Santa Fe University of Art & Design 505.473.6494 1600 St. Michael’s Drive Santa Fe, NM 87505
www.lannan.org 4
PASATIEMPO I September 13 - 19, 2013
Join us for an Ultratherapy Event 9/27/13 (5 - 7 pm) Drawings for Ultratherapy treatments, Botox and other prizes. Call us for details 428-0402
EVERY FRIDAY
September 13th thru December 27th
50 players will win $50 Earn entries NOW!
Sterling Aesthetics and Lily Love MD announce the first Ultherapy to arrive in New Mexico
*Total prizes 9/13/2013 - 12/27/2013. Rules apply, visit Winners Club for details. Management reserves all rights.
Call us for a complimentary consultation 505-428-0402 Sterling Aesthetics And Lily Love, MD 1651 Galisteo St. Suite 6, Santa Fe
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories
Featuring Attractive Handcrafted Furniture Southwestern Style • Great one-of-a-kind Pieces
SANTA FE COUNTRY FURNITURE 1708 Cerrillos Road • 984-1478 • Corner of 2nd Street & Cerrillos 525 Airport Road • 660-4003 • Corner of Center Drive & Airport
(GOOGLE MAPS USE: 273 AIRPORT RD. • IPHONE SEARCH USE: “LOC: +35.638542, - 106.024098”)
Monday - Saturday
•
9-5
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Closed Sundays
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
September 13 - 19, 2013
www.pasatiempomagazine.com
On the cOver 36 through time and space Santa Fe Pro Musica is back, and with it, Conrad Tao. The 19-year-old composer and pianist has myriad projects that keep him busy, including a recently completed commission from the Dallas Symphony commemorating the 50th anniversary of the assassination of John F. Kennedy. Of his newly released CD Voyages, Tao said, “I wanted to create an album that existed in this somewhat dreamy, liminal headspace, with a lot of works that seemed kind of suspended in time or surreal.” For Pro Musica’s season-opening concerts, he performs an original composition; works by Bach, Handel, Meredith Monk; and more. On the cover is a portrait of the musician by Lauren Farmer.
BOOKS
MOvInG IMAGeS
16 In Other Words Ninety Percent of Everything 18 Passing obsessions Michael Chabon
50 52 54 56 58
MUSIc AnD PerFOrMAnce 20 22 26 28 31 32
Sound Waves An AHA moment Listen Up Letter from Shakespeare-Land terrell’s tune-Up Gummy vibrations Pasa tempos CD Reviews Onstage Arcos Dance the Outsider Mary Gauthier
cALenDAr 64 Pasa Week
AnD
Art 38 40 44 48
Plan 9 From Outer Space The Missing Piece Cutie and the Boxer This Is Martin Bonner Pasa Pics
charles Greeley Limitless From new York to Oakland Station to Station Art in review Colortopia Strange sightings Toadhouse (aka Allan Graham)
13 Mixed Media 15 Star codes 62 restaurant review: Jalapeño’s Fresh Mexican Grill
LectUreS 46 Ancient migrations David E. Stuart
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 ■
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
High Road To Taos (detail), by charles Greeley
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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
© 2013 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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Art DePArtMent DIrectOr Scott Fowler 995-3836
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GrAPhIc DeSIGnerS Rick Artiaga, Dale Deforest, Elspeth Hilbert
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ADvertISInG SALeS Julee clear 995-3825 Mike Flores 995-3840 cristina Iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 Art trujillo 995-3852
Ray Rivera editor
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Lensic Presents
Fall Dance at Th e Lensic
Hungarian State Folk Ensemble
A spirited evening of Hungarian song and dance featuring brightly embroidered costumes, choreography shaped by centuries-old traditions, and the folk music that inspired composers the likes of Brahms, Bartók, and Liszt. “Marvelous—crackling with dancing that snaps like a whip.” —New York Times
October 3 | 7:30 pm | $25–$45 discounts for Lensic members This performance sponsored by
Tickets: 505-988-1234 www.TicketsSantaFe.org S E RV I C E C H AR G E S AP P LY AT AL L P O I NTS O F P UR C H AS E
th e lensic is a non profit, member-supported organ ization
T H E S O U T H W E S T ’ S P R E M I E R A U TO M OT I V E G AT H E R I N G
The Santa Fe Concorso is proud to welcome artist Dale Chihuly who will create an installation of 100 Red Reeds surrounding his 1956 AustinHealey, and present his Midnight Blue Piccolo Venetian Studio Edition as an award. Friday VIP Reception Driving Tours Judged Concorso
September 27–29, 2012
for tickets visit our website W W W. SA N TA F ECO N CO R S O.CO M PASATIEMPOMAGAZINE.COM
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q practice, training, and service for engaged buddhism Daily Meditation Sessions Wednesday Night Dharma Talks Weekly Programs and Retreats -
Wisdom Teachings of Ryokan: The Spiritual Dynamics of Simplicity with Eido Frances Carney and Shinzan Palma
-
Beyond Thinking:
Dogen’s Teachings On Zazen with Roshi Zoketsu Norman Fischer s a n ta f e , n e w m e x i c o 505-986-8518 w w w. u p a y a . o r g u paya @ u paya . o rg
CLINIQUE PACIFIC BY TERRY LANCÔME AMORE F NATURA BISSé PEZ VIKTOR & ROL TRO ST. PHIN GUERLAIN DAR
indulge yourSelf with giftS! RECEIVE A COSMETICS BAG FILLED WITH REWARDS* WITH ANY $200+ PURCHASE
updAte your looK for fAll // relieve Summer SKin *$150 BAG ONLY. WHILE SUPPLIES LAST. GIFT MAY VARY BY LOCATION.
September 14–21 8
PASATIEMPO I September 13 - 19, 2013
ALAN ROGERS, M.D., P.C.
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PASATIEMPOMAGAZINE.COM
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Screening is the Best Prevention
HEALTH SCREENING
The American Cancer Society recommends that men over 50 have a prostate exam every year. According to medical experts, prostate cancer usually has no early symptoms. Screening programs like those at CHRISTUS St. Vincent Regional Cancer Center can detect the early stages of prostate cancer. Early detection opens the door to more treatment options.
Prostate Cancer Screening Clinic Saturday, September 28th • 8:00 am – Noon CHRISTUS St. Vincent Regional Cancer Center 490 A. West Zia Road, Santa Fe, NM 87505 (next door to Albertsons off St. Francis)
Call (505) 913-8976 to request an appointment. RSVP quickly, spots fill fast!
Invested in YOU.
16th annual
pilar
studio tour september 14 & 15 575 - 758 - 0135
Featuring: richard harlan, meredith mason garcia patty mara gourley, leslie mcnamara arthur gledhill, anita bauer marsha blumm, stephen kilborn carl gray witkop, kit lynch patric carter, pilar yacht club
17 miles south of taos
www.pilarstudiotour.org 10
PASATIEMPO I September 13 - 19, 2013
September Only 20% OFF All Laser Skin Care Treatments Financing Available
Lynore Martinez, MD & Lynn Cordahi, CFNP • 405 Kiva Ct., Santa Fe, NM 505. 988. 3772 • www.edenmedispa.com
La Fonda on the Plaza & Cakebread Cellars Present our 2013 Wine Maker’s Dinner Wednesday, September 25th 6 pm • $125/person Passed Hors D’oeuvres paired with: Domaine Carneros Brut, Napa, California 2008
Open HOuse
sunday sept. 15 from 2:00-5:00 pm 4001 Office Court Rd. (call for directions)
AnnIe AudITIOns - All Ages sat. & sun., sept. 28 & 29 11:00am - 3:00pm
WWW.MusICAlTHeATReWORKs.neT INFO@C-A-M-P.NET • 505-946-0488
Salad Diver scallop on petite greens paired with: Cakebread Sauvignon Blanc, Napa Valley 2012 Appetizer Duck dumplings paired with: Cakebread Pinot Noir, Anderson Valley 2010 Entrée Rocky mountain elk medallions paired with: Cakebread Cabernet Sauvignon, Napa Valley 2009 Dessert Local apple and brie fritter paired with: Fonseca Bin 27 Port, Portugal
Reserve your spot early, registration and entry fee must be post marked by September 8, 2013 (Early Registration) or or September 9-22, 2013 (Late Registration). Participants may also register at High Desert Bicycles Albuquerque. For information, please visit our website, tourdeacoma.com or call Mikalyn Vallo @ 505-552-1040.
Reservations: 505.995.2316 100 E. San Francisco Street, Santa Fe lafondasantafe.com
PASATIEMPOMAGAZINE.COM
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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.
That’s the Power of WE. To learn more, go to nmefcu.org
1710 St. Michaels Drive 505.467.6000 800.347.2838 nmefcu.org Federally insured by NCUA
THE HOME OF MY HEART
Nestled in the heart of Taos, surrounded by mature trees and landscaped gardens, you can rest easy knowing that all your needs are met. At Taos Retirement Village you can enjoy a comfortable lifestyle with amenities that promote healthy aging, well being and increased levels of care as needs change. With independent living, home health services, assisted living, and skilled nursing care, we offer a comprehensive approach to the aging process, all in one beautiful destination. Join us!
T AO S
NO LARGE BUY-IN FEES!
RETIREMENT VILL AGE 414 Camino de la Placita . Taos NM
575.758.8248 www.taosretirementvillage.com
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PASATIEMPO I September 13 - 19, 2013
2014
TAOS...
pet
The Santa Fe New Mexican’s
CALENDAR
VOTE Voting for Round 1 ends Midnight, Wednesday, September 18
Voting for Round 2 starts Wednesday, September 25
hOW tO vOte:
Online www.santafenewmexican.com/petcalendar or by e-Mail classad@sfnewmexican.com in persOn at the new Mexican’s downtown office at 202 e Marcy st. or at 1 new Mexican plaza. By phOne: 505-986-3000. $1.00 per vOte august 29th – september 18th. $10 min. on all voting done by credit card.
MIXED MEDIA
B O D YBoutique Sula Trunk Show Essential and luxurious vintage style
9am to 7pm, Thursday 9/19 to Saturday 9/21
Free consultations with London designer
Alison Taylor, the eye behind the fairy-tale Sula label Come & learn to build a wardrobe with only 5 pieces
333 W Cordova Rd
B O D YBoutique
(505) 986-0362
On Your Feet • Get it Together • On Your Little Feet Right, Veronica Diaz-Carranza
Though they walk through the valley Española is the setting for Blaze You Out, a gothic crime drama, written and directed by Mateo Frazier and Diego Joaquin Lopez, that has its Santa Fe premiere on Friday, Sept. 13, at 6:30 p.m. at the Jean Cocteau Theater (418 Montezuma, 466-5528). Filmed on location with a mix of local and national actors, Blaze You Out tracks the efforts of Lupe (Veronica Diaz-Carranza), a club DJ who must find her younger sister, Alicia (Melissa Cordero), before she is killed by kingpins of the local heroin trade. Loaded with symbolism, the dark story veers into the spiritual practices of the local Pueblo people and hinges on the loyalty of friends and family, who band together to fight a complex web of sociopaths who will stop at nothing to maintain power. Elizabeth Peña (Tortilla Soup, Transamerica, Jacob’s Ladder) plays Dona, a ruthless maternal figure who proves that family ties can bind us to a life not of our own making. Alicia and Lupe, however, show us that the bond between sisters can be just as powerful and capable of overcoming danger in a town where violence lurks around every corner. Additional screenings take place at 4:15 p.m. on Saturday and Sunday, Sept. 14 and 15, and at 8:45 p.m. on Wednesday, Sept. 18. — Jennifer Levin
GIGANTIC OUTDOOR SALE Saturday, September 14, 10–3
60 OFF %
Every sale item outside from all 3 stores!
ONE DAY ONLY!
No coupon needed! • Sanbusco Market Center • Info line 983-3900
Patio.Dining 326 S. Guadalupe • 988-7008 • www.ziadiner.com PASATIEMPOMAGAZINE.COM
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SANTA FE’S BEST PARTY !
ST. VINCENT HOSPITAL FOUNDATION P R E S E N T S
TO SUPPORT THE CHRISTUS
ST. VINCENT INTENSIVE CARE AND CRITICAL CARE UNIT EXPANSION
SPONSORED BY
SEPTEMBER 20-21, 2013 BUFFALO THUNDER RESORT AND CASINO
STARRING
LILY TOMLIN
A WEEKEND FULL OF
FOOD, FUN, GOLF, ENTERTAINMENT AND LIVE AND SILENT AUCTIONS!
“WIN A LEXUS”
$1,000,000
HOLE-IN-ONE
Ambercare • Aramark • Century Bank • Cerner Comeau, Maldegen, Templeman & Indall • Coronado Paint & Decorating First National Bank of Santa Fe • Hartman & Majewski Design Group Hinkle, Hensley, Shanor & Martin • Hospital Housekeeping Services Kokopelli Property Management • MetLife • Modrall Sperling Law Firm New Mexico Cancer Care • New Mexico Educators Federal Credit Union New Mexico Heart Institute • Santa Fe Anesthesia Specialists Santa Fe Imaging • Winston & Strawn
SHOOT OUT, HOLE-IN-ONE
BUY PACKAGES AND TICKETS ONLINE WWW.STVIN.ORG/GALA2013 Sixth Annual
at Saturday and Sunday September 21 & 22, 2013 10am-6pm Presented in partnership with
* CHEER on the pursuits of jousting and medieval sword fighting! * REVEL in the amazing antics of Santa Fe’s own Clan Tynker!
n Photo by Charles Man
* BOW to Their Majesties Queen Isabella & King Ferdinand! * INDULGE in belly dance, flamenco, a falcon show and other entertainment! ...And much more! A Renaissance Fair with Spanish Flair!
sfrenfair.org • 505-471-2261
Adults: $10 • Seniors & Teens: $7 Children 12 & Under: FREE!
Support provided by Santa Fe County Lodger’s Tax Advisory Board, Santa Fe Arts Commission, New Mexico Arts, New Mexico Humanities Council and New Mexico Tourism Department: newmexico.org
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PASATIEMPO I September 13 - 19, 2013
Heather Roan Robbins
Friday the 13th can be lucky. Let’s tune in to that, because it’s a tough week to feel unlucky. Although this is a highly efficient time, we may get some shocking or upsetting news or be asked to change our minds. Expect serious debate as thoughtful Mercury dances over the erachanging aspects of our time this week. Mercury is now in diplomatic and gracious Libra but opposes erratic Uranus and squares serious Pluto over the weekend; it then finishes the week with a positive square to generous Jupiter. We may be confronted with some loss or fear of loss (Pluto just wants us to deal with the possibility), have our complacency shaken (Uranus), and then have an opportunity to make the situation better ( Jupiter). Changing our minds is not easy with both emotional planets in stubborn fixed signs; Venus now in intense, introspective Scorpio tugs against Mars in proud and bellicose Leo. But we can make needed adjustments if we step past our pride and look for a creative outcome. With Mercury this busy, our minds can fill up with cross talk. Meditation and mediation help. We also get support from Venus — and can find loving laughter within a crisis or bond over changes as Venus trines inspiring, creative Neptune. Together they encourage compassion, romance, and potential-filled alliances even through unsettling events. Later in the week as Venus conjuncts taskmaster Saturn, we realize that love takes work and art takes craft and discipline. Peace takes concerted diplomatic efforts. Be willing to serve Venus — to serve love, kindness, and the muse — and Venus will reward you.
at the Santa Fe Farmers Market
10:00 am Tuesday, September 17th & 24th In the Farmers Market Pavilion 1607 Paseo de Peralta
Come enjoy a cooking demonstation by:
Valeria Alarcon Health Coach and Nutritionist, AADP
NE
T
Monday, Sept. 16: Expect the unexpected as Mercury opposes Uranus. Question assumptions and humor people who start spouting gibberish. Be prepared for erratic travel and interrupted communication. After an eventful morning, deal with what is already on the table, and deal with it together.
E’S BOUTI I S
FI
Sunday, Sept. 15: Enjoy a group gathered for a common cause under a collaborative Aquarius moon. Let people doubt authority and test the rules. Tonight communication opens doors, but stubbornness prevails if we push.
Yoga Dance
L OWOC A NE LL D! Y
E QU
Saturday, Sept. 14: It’s a powerful day for weddings and peace rallies as Venus trines Neptune. Stay centered. Watch a controlling streak that can bring out the rebellious or mischievous side in others later as active Mars trines Uranus. Stay in the heart and be self-responsible tonight.
CA S
Friday, Sept. 13: After an early-morning grim streak, some decision becomes due as a competent Capricorn moon conjuncts Pluto. Don’t overmanage; soothe worries instead. Watch for a late-night desire to act out; there’s more freedom in this situation than it seems at first.
Tennis Activewear
RE
STAR CODES
Market Fresh Cooking
SS ATT
I
NOW OPEN IN OUR NEW STORE AT 505 CERRILLOS ROAD! ACROSS COURTYARD FROM TALIN MARKET & OHORI’S COFFEE! 983.0647 | www.cassiesboutiquesantafe.com | Tue-Sat 10-5:30
Tuesday, Sept. 17: Make important contacts or forays as Mercury sextiles Mars. Be precise as the moon waxes into Pisces before noon and heightens our sensitivities. It then wafts toward a conjunction with dreamy Neptune when the afternoon drifts away. A sweet, affection-filled Moon-Venus trine calls for safe, warm hearts tonight. Wednesday, Sept. 18: Don’t look too far ahead, because it’s easy to feel overwhelmed. Take one step after the other in a good direction as Venus conjuncts serious Saturn under a hypersensitive Pisces moon. Dwell on health and beauty issues. Relationships can feel like a lot of work but are worth it. Let’s just do the best we can. Thursday, Sept. 19: Feelings wash through under a Pisces full moon. When the moon shifts to proactive, impatient Aries at noon, action becomes therapeutic. Tonight, a healthy bout of benign narcissism can help us become recentered as long as we don’t take ourselves too seriously. ◀ www.roanrobbins.com
PASATIEMPOMAGAZINE.COM
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In Other wOrds book reviews Ninety Percent of Everything: Inside Shipping, the Invisible Industry That Puts Clothes on Your Back, Gas in Your Car and Food on Your Plate by Rose George, Metropolitan Books/Henry Holt and Company, 287 pages Rose George has written about two very different kinds of crap, literal and figurative. Her previous book, The Big Necessity: The Unmentionable World of Human Waste and Why It Matters, is about toilets, sanitation and sewage — a pressing global health and environmental problem, all snickering aside. Her new book, Ninety Percent of Everything: Inside Shipping, the Invisible Industry That Puts Clothes on Your Back, Gas in Your Car, and Food on Your Plate, mentions the science of whale poop and touches on bathroom etiquette for shipwrecked mariners on dinghies, but it is mostly about all the crapola that we consume and how it gets moved around. George wraps her story in a 10,000-mile voyage onboard a 75,000-ton, quarter-mile-long behemoth of a cargo ship, the Maersk Kendal, which is stacked with more than 6,000 standardized containers as big as boxcars. With the help of thousands of such gigantic oceangoing vessels carrying millions of these containers from continent to continent, an upheaval known as globalization has remade international trade and built massive ports for loading and unloading trillions of dollars’ worth of stuff. The Kendal is owned by a Danish company but displays a United Kingdom flag under an open registry system that allows companies to fly “flags of convenience,” even when they have no citizenship or even physical relationship with an adopted nationality. This allows companies to opt for a convenient level of regulation and anonymity, which can lower operational costs, restrict legal responsibilities, and lead to poor working conditions for ships’ crews. With concern about the hazards and welfare of the modern seafarer, George notes that international standards permitted a 98-hour work week until 2012, with minimal enforcement. That has now changed to 72 hours a week. The crews themselves are smaller — only 21 crew members staff the Kendal — thanks to modern technology. Transportation, which once took a 25 percent bite out of every shipment, now costs a pittance. “A sweater can now travel three thousand miles for 2.5 cents; it costs 1 cent to send a can of beer,” George writes. “Shipping is so cheap that it makes more financial sense for Scottish cod to be sent ten thousand miles to China to be filleted, then sent back to Scottish shops and restaurants, than to pay Scottish filleters.”
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PASATIEMPO I September 13-19, 2013
Notably, the author embarks from Felixstowe in southern England, the United Kingdom’s biggest and busiest megaport, a “Terminator terminal” where “everything is clamorous machines.” Her route will carry her through the Pillars of Hercules and the Suez Canal into the pirate-infested waters of the Red Sea before a final glide path across the Indian Ocean to Singapore. The Kendal might be considered relatively clean as a carbon emitter, in the sense that it produces 11 grams of CO2 per ton per mile, a tenth of what trucks contribute. But the ship’s 80,000-horsepower engines burn 260 tons of heavy fuel oil a day, which costs between $30,000 and $52,000, depending on the vagaries of the market. Because the fuel is so expensive, the Kendal travels at 14 knots (about 16 mph), two-thirds of its maximum speed, to reduce drag, friction, and fuel costs. This “slow-steaming” is “slower than an 1850s tea clipper, which could make 17 knots without all this fury and all this fuel.” George wades into the environmental issue with a few more facts: “Shipping is not benign because there is so much of it. It emits a billion tons of carbon a year. ... A giant ship can emit as much pollution into the atmosphere as a coal-fired power station. In 2009, it was calculated that the largest fifteen ships could be emitting as much as 760 million cars. Add shipping to the list of polluting countries and it comes in sixth. Ships create more pollution than Germany.” Nothing much happens in five weeks aboard the Kendal, which is one of the book’s weaknesses and, to the extent the doldrums are overcome, a strength. Tension mounts in the pirates’ sphere. Old-fashioned swashbuckling, hogtied hostages, keel-hauled victims, and shipwrecks are alluded to, but they don’t happen here. Social life, such as it is, consists of taciturn encounters with the multinational crew and meditative conversations with the reclusive captain. Conspicuously sparse are those “remarkable occurrences” that call for extended entries in the captain’s log — about a crisis or one of those barely believable freaks of nature that spice up ocean adventures in films and novels. Instead, an ominous, elegiac atmosphere hangs over the entire voyage, perhaps because of the grotesque size of the ship and the disproportionately diminutive human presence. This is a book about a system that has taken on its back an appreciable share of the world’s labor by substituting an inhuman scale of efficiencies. Buoyant humanitarian questions float to the surface. In the postindustrial world that can now be spied from the forecastle, are these colossal, oil-guzzling transport systems really necessary or even sustainable? How about boats that glide across the sea on the wings of the wind? Do they require people to load them up and set their sails? How quaint. — Roger Snodgrass
SubtextS What remains Poetry can be a way to deal with loss or a way to take measure of it. Since the death of her 37-year-old daughter from a brain tumor, Janet Eigner has sought to assemble the shattered pieces of life, like pottery shards, in attempts to fit them together. The pieces are found in a pastiche of mementos that survive, collected in What Lasts Is the Breath (published by Black Swan). In the title poem Eigner writes: Her shrine, her ashes nestled in the vase shaped with her own hands, cherished in our bedroom’s niche. Marigolds, long-dried since Dia de los Muertos, rise from the pot’s rim with desiccated white roses. A healing crystal, palm-sized rose-quartz, a ram’s horn shofar for a joyful release on Rosh Hashanah, a watercolor framed in tin— patron saint of music, Cecelia Eigner’s symbols come as gifts. She’s told “at Hopis we think the body is like a corn stalk./What lasts is the breath — its moisture holds all creation.” The joy as well as the sadness of this book is the form she makes of what’s left, held together by her passion. Donald Levering also finds form as he attempts to define the nature of things, including the dead, in The Number of Names (Sunstone Press). “The dead don’t like floor tiles./There’s no telling where they will lead,/and the dead don’t like you to go/wherever they have never been,” he writes. The most conspicuous absence in these pages is his father’s, who has left behind so much it can’t be ignored. When Eigner and Levering read at 3 p.m. on Saturday, Sept. 14,. at Op. Cit. Books (500 Montezuma St. in the Sanbusco Center; 428-0321), their words will weigh what the departed leave behind. — Bill Kohlhaase
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17
Bill Kohlhaase I The New Mexican
PASSING OBSESSIONS T H E VA R I E D I NT E R E S T S O F M I C H A E L C H A B O N
Nostalgia is about the emotion, the physical sensation produced when you have a direct encounter with the past, be it your past or the collective past or the one that AP Photo/Marcio Jose Sanchez
predates your own existence. It’s the feeling that you get when you come into contact with something preserved in amber. — Michael Chabon 18
PASATIEMPO I September 13-19, 2013
Novelist Michael Chabon is a man obsessed. “I have these daily and weekly obsessions,” he told Pasatiempo in a phone call from his home in the San Francisco Bay area. “Sometimes they last a month or more. They come and go. I can get very into stuff.” Chabon’s longterm obsessions, music and comics among them, are well known and reflected in his work. The characters in his stories may share those interests. In Chabon’s latest, Telegraph Avenue, vinyl-record dealers Archy Stallings and Nat Jaffe have made a career of one and watch as progress — not in the form of the CD but in the trend to big-box marketing — threatens to destroy their livelihood (such as it is) and their friendship. There are obsessions tangential to this vinyl fixation — soul music, funk, and jazz — as well as certain types of film (Tarantino movies, blaxploitation), an old-school pastry known as the “Dream Cream,” and a realm of pop-culture collectibles hawked by a gentleman known as Mr. Nostalgia. When Chabon visits George R.R. Martin’s Jean Cocteau Theater on Saturday, Sept. 14, to mark the paperback release of Telegraph Avenue, he’ll be renewing a passing acquaintance with the sci-fi/fantasy author best known for A Game of Thrones, the first novel in his series A Song of Fire and Ice, and its cable television adaptation. Chabon read Martin’s first novel, Dying of the Light, when he was 14. “I thought it was the best book I’d ever read in my life,” he said, “and I’ve been following him ever since.” Their association developed from the pursuit of one of Chabon’s short-time collectible obsessions. “We met in a funny way, I guess, in a digital sense,” Chabon explained. “I had been looking for model soldiers on eBay, and through a keyword search I ran across these cool old battered Robin Hood and his Merry Men figures, each a different color. And I was contacted by the seller, who said, You wouldn’t be Michael Chabon the author, would you? I looked at the seller’s name — GRRM — and replied, You’re not the George R.R. Martin, are you? And he answered yes. It was a complete chance convergence of interests. Rarely does an obsession lead me to one of my literary idols.” They met in person briefly at the premiere of Game of Thrones, Chabon with his children in tow. “But I’ve never had a chance to sit down and talk to him. I’m looking forward to it.” On his website (www.michaelchabon.com), Chabon has a page labeled “current,” where he lists some of his recent interests and activities. (Under “writing,” it says “a brief hiatus”). “I have to update that page,” he admitted. Under “obsessing,” he lists author James Tiptree Jr. Under “reading” he lists Tiptree’s Her Smoke Rose Up Forever and the biography James Tiptree Jr.: The Double Life of Alice B. Sheldon (Sheldon wrote her science-fiction stories under the male pseudonym). The listings are a window into Chabon’s curiosity and how they’re reflected in his work. “I had read some of her classic stories and always liked them. And I remembered that moment when it was revealed that she was really a woman. But I left all that behind. Then I stumbled on some reference, and it triggered this sudden obsession. I read her biography, read everything I could get my hands on that she’d done. Sometimes these [obsessions] are a natural outgrowth of what I’m working on. Sometimes they change the course of my work in ways I don’t anticipate. And sometimes they have nothing to do with my work. Sometimes they stay around so long that they become the underlying foundation of the books, whether it’s comics or vinyl records.” Nostalgia as a source of obsession, with all of its allure, is a theme that pops up not only in Telegraph Avenue but also in Chabon’s comics-influenced Pulitzer
Prize winner, The Amazing Adventures of Kavalier & Clay, and even to some extent in his alternate-history detective novel, The Yiddish Policemen’s Union. He finds its role ambiguous in modern culture. “The very thing that is in the process of destroying the forces of the past is also to some degree in the business of preserving and commodifying and holding on to it. The creation of the web, the access that the digital music revolution gives us, is destroying every other form of encoded music. But at the same time it’s making it possible to save vast troves of artifacts from the past in a form that they can be maintained and preserved and traded. It was a lot harder in the ’70s when I was growing up to get tangible evidence from the pop culture of the past. It was very hard, say, to collect Big Little Books when I was a kid trapped in the Maryland suburbs. But now you can map every Big Little Book ever printed thanks to the internet.” Chabon suggests there’s a present-day thrill connected to discovering popculture relics of the past. That thrill doesn’t require time travel. “Nostalgia to me doesn’t mean that things used to be better than they are now or my wishing to go back to live in the past, something I have no interest in doing. Nostalgia is about the emotion, the physical sensation produced when you have a direct encounter with the past, be it your past or the collective past or the one that predates your own existence. It’s the feeling that you get when you come into contact with something preserved in amber. It could be a song on the radio or an old sign on the side of a building that was painted over and then revealed when the paint peels away to give you a sense of what Berkeley might have been like in 1920. I don’t want to go back to the Berkeley of 1920. But I love that feeling of having an encounter with the pop culture of the past.” The past doesn’t have an exclusive hold on Chabon’s interest in pop culture. His fascination with comics — he wrote his own comic series, The Amazing Adventures of the Escapist, modeled on a fictional comic from Kavalier & Clay — reveals how times change even as they stay the same. ”I’m committed to staying connected to new music and artists now, which doesn’t allow me much time for comics. But my kids read comics, and my daughter worked at a comic store. My son reads them on his iPad, and I’m really drawn to that. You can zoom in on the pages and see the artwork up close in a way you can’t do on the page. It really enhances the experience.” Chabon frequently pairs characters in his novels, something akin to the long history of buddy films (another Chabon obsession). In addition to Nat and Archy in Telegraph Avenue and the protagonists of Kavalier & Clay, there’s Zelikman and Amran from his epic adventure Gentlemen of the Road, which depicts the two men’s travels through the obscure Kingdom of Arran in A.D. 950. Why not just focus on a single character? “There are many reasons I’m drawn to [this technique]. Some of them are reasons of craft. It’s a lot easier to write about someone if they’re interacting with another being. It’s like Holmes and Watson. If it’s a mystery, if you’re trying to have your characters figure something out, it works a lot better if they can talk through it. And then, people generally are incomplete, they’re missing something. Sometimes the most evocative way of showing that incompletion is to pair them with someone who’s also incomplete, but complementarily incomplete, which can highlight each character’s shortcomings and strengths.” The other paired characters in Telegraph Avenue are Nat and Archy’s wives, Gwen and Aviva, midwives who are also struggling with the changes dealt by advancing society. Then there are the sons of Nat and Archy, Julie and Titus, whose relationship seems less complex and more pure, despite its biracial, homosexual complications. “I’m interested in writing about men and men’s lives and experiences. Without implying that women are superior, men tend to be limited in many ways. They have lot of cultural limitations imposed on them as boys. I’m interested in having men come up against those limitations and struggling with them. Having pairs of men to write about allows me to explore that in a way that’s effective and revealing.” ◀
details ▼ Booksigning & reading with Michael Chabon; discussion with George R.R. Martin ▼ 7 p.m. Saturday, Sept. 14
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.
JAMAICA KINCAID with Robert
Faggen
WEDNESDAY 16 OCTOBER AT 7PM LENSIC PERFORMING ARTS CENTER With the intensity of Virginia Woolf, Kincaid creates a palimpsest of time past, time present and time future . . . Mrs. Sweet in these pages makes a verbal symphony . . . Kincaid’s attempt to capture living itself may just be, as she puts it, ‘always just out of reach,’ but her talent for trying remains palpable on every page . . . Connoisseurs will find it delicious. — Chicago Tribune on See Now Then
Jamaica Kincaid, whose work has been called loosely autobiographical, has said, “Everything I say is true, and everything I say is not true. You couldn’t admit any of it to a court of law. It would not be good evidence.” Her recent novel, See Now Then, chronicles the death of a marriage like a beautiful elegy, where Mr. and Mrs. Sweet’s final years together are anything but. Kincaid immigrated from the West Indies at 17 to New York, where she eventually joined the staff of The New Yorker. Her books explore themes of colonialism and its legacy, and the complex relationships between mothers and daughters. 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
▼ Jean Cocteau Cinema, 418 Montezuma Ave., 466-5528 ▼ Admission with purchase of a hardback book, $5 with purchase of paperback; see www.jeancocteaucinema.com
PASATIEMPOMAGAZINE.COM
19
SOUND WAVES Loren Bienvenu
AHA and other light-bulb moments
Luke Carr
After Hours Alliance founder Shannon Murphy’s realization was triggered by a crowdsourced question during a monthly meeting held by MIX (a networking group that focuses on arts and culture initiatives): How can local nightlife be improved? Her idea was fairly simple. “The way I saw it is that music promoters were the entrepreneurial force behind the nightlife events. You’ve got bands, the creative force, and then these people who are actually trying to start businesses.” So why not organize a coalition of young industry entrepreneurs — “and by young I mean under 50,” she laughed — and establish regular meetings for them to talk more seriously and less abstractly about ways to address nightlife deficiencies? She won $200 for this idea from MIX, and in true community volunteer form, she quickly blew through it on snacks for the meetings. “In the beginning, it was just strategic planning. At the time we were really asking, why do all these venues go out of business? Why is it so hard to become a successful band here? And why do people tend to leave Santa Fe when they’re on the verge of success?” Paradoxically, the group’s most concrete initiative for bolstering nightlife has turned out to be primarily a daylight affair: a large-scale annual festival intended to raise awareness about the activities of artists and performers, both diurnal and nocturnal. Now in its third year, the AHA Festival takes place at the Railyard Park on Sunday, Sept. 15. “Everyone has their big event in Santa Fe — Spanish Market, Indian Market, the Bandstand — but there was no big annual event for young, emerging, progressive artists and musicians, for people who aren’t so interested in doing the traditional stuff, not that anything’s wrong with that, but are instead creating new forms of art and new forms of financial viability. We were looking at the people like us and realized there was no major venue, so we decided we had to create it.” Exemplifying the type of music AHA wants to showcase is Luke Carr’s Storming the Beaches With Logos in Hand, a large-scale percussive opus. After providing Pasatiempo with a novella-length description of the project, Carr was persuaded to condense it to a more tweetable sentence: “It’s a sci-fi rock opera that poses an advanced Native American culture against a defiant colony in the war over the myth of ‘Pigrow.’” (In turn, he describes “Pigrow” as a color whose power has been harnessed by the native culture that rules the dystopic future he imagines.)
Until recently, Carr had been focusing on solo work and performing as a one-man band, looping drum patterns that he would then play guitar and sing over. For this project, he continues layering rhythms, many of them inspired by West African and Haitian drumming, but with a small army of percussionists helping him out. “For the performance at the AHA fest, there may be 11 or 12 of us, I’m not sure exactly. But essentially that includes about six drummers doing different percussion pieces on top of guitar, bass, voice, and violin. And there will also be horns. So it’s kind of a miniature orchestra that is very percussive, kind of old world and new world — a balanced sound for sure — like post-punk with African rhythms.”
Why do all these venues go out of business?Why is it so hard to become a successful band here? And why do people tend to leave Santa Fe when they’re on the verge of success? - - - Shannon Murphy , founder,After Hours Alliance Carr is scheduled to perform at 7:30 p.m. “It’s going to be really cool to present this to the community at the biggest show for progressive arts that there is in this town,” he said. He sees it as a rare opportunity to generate interest in a nontraditional project, adding that he hopes to develop it into a full recording and touring project through a currently active Kickstarter campaign. Murphy said other highlights from the festival range from instrumental rock and electronica act D Numbers to a Phoenix-based drummer named Peter Breslin. “His is maybe one of my favorite concepts. We’re giving him a booth, like we would with the visual artists, and he’s scheduled 10 to 15 minute sets with about 10 Santa Fe musicians that he contacted on his own. He’s also going to have a sign-up sheet where people in the audience can sign up for a duet and perform with him, completely unrehearsed and unplanned.” She singled out Breslin because she thought his project “really invites what we aim for with the festival always, which is that spontaneity, where as an audience member you’re also a participant.” As a whole, because the festival incorporates nearly 40 artists and musicians within a broad spectrum of media, there’s bound to be something for everyone — those who demand extremity, for example, can visit the festival’s “harsh noise listening station” provided by Heavy Metal Vomit Party. While Murphy is more aware than most people of the standard criticisms leveled against local emerging arts and nightlife, she also recognizes a unique convergence of opportunities at the present moment. She expressed surprise at how many talented people are approaching the same challenges, saying that many of these people share a similar set of qualities. “For a certain type of person, you’ll see something lacking, and you’ll realize stepping up and taking responsibility for creating it is the fastest way for you to feel complete about your life and the place you live.” Reflecting on this type of person, she had another realization, this one more Zen: “What you see as missing is a reflection of who you are, just as the thing you see missing is what you’re destined to create.” ◀
Luke Carr’s Storming the Beaches With Logos in Hand
20
PASATIEMPO I September 13-19, 2013
AHA Festival takes place at the Railyard Plaza (corner of South Guadalupe Street & Paseo de Peralta), from noon till 9 p.m. on Sunday, Sept. 15. No charge. Visit www.ahafestival.com.
The C.G. Jung Institute of Santa Fe Presents:
Jung
Lensic Presents FUSIONTheatre Company Tradition // Innovation // Excellence
and a i n o S d Vanya an and Spike asha
In The World
Lecture & Workshop
M
Karlyn Ward, Ph.D. & Janet Robinson-Vuksinick, M.A. analyst members of the C.G. Jung Institute of San Francisco
Lecture: The Hero Who Would Not Die: Warrior and Goddess in Ancient Greek and Modern Men Friday, September 20th 7-9pm $10 2 CEUs Dr. Ward will present a paper by her Jung Institute colleague, Virginia Beane Rutter, M.A., discussing how study of ancient Greek hero myths and hero worship can help us understand the psyches of our modern heroes, as well as the effect of their suffering on families who survive them. These ancient mortal men who had lived and died, Achilles, Odysseus, Herakles, were believed to exert power over the living after their deaths, and consequently were worshiped alongside the gods. Artemis, underlies the Homeric goddesses who intervene in the heroes’ exploits. This paper discusses how the heroic archetype manifests in the psyches, actions, and traumas of three modern men, all war veterans. Dynamics of the hero archetype, and the way it is affected by the feminine principle, may shed light on the treatment of PTSD. Lecture location: Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe
Workshop: Mary Magdalene - Why Now?
Saturday, September 21st 9am-1pm $50 4 CEUs Mary Magdalene, carrier of the shadow for 2000 years, has been enjoying a recent resurrection of her own, most recently in two major pieces of music premiered this year – an oratorio by John Adams, The Gospel According to the Other Mary, and Mark Adamo’s opera, The Gospel of Mary Magdalene. Analysts Ward and Robinson-Vuksinick each have been vitally interested in the figure of Mary Magdalene for many years. Using personal stories, current and historical works, and the libretti of these new works of music they will explore the archetypal and psychological meaning of Mary Magdalene. Who was she? What message does she bring? Workshop location: Hotel Santa Fe (Kiva “C” room), 1501 Paseo De Peralta, Santa Fe
For info & workshop pre-registration contact Deanne Newman, 505-988-5033 For expanded program details go to www.santafejung.org
For Giving Productions In association with
Santa Fe Performing Arts
September 27 & 28
Friday 8 pm Saturday 2 pm & 8 pm $20-$40 discounts for Lensic members & students
2013 Tony Award for Best Play 2013 NY Drama Critics’ Circle Award for Best Play
g er Duran
oph by Christ
Tickets: 505-988-1234 www.TicketsSantaFe.org the lensic is a nonprofit, member-supported organization
S E R V I C E C H A R G E S A P P LY A T A L L P O I N T S O F P U R C H A S E
More Than Ever
More Choice. More Choice. More Choice.
Proudly Present the Southwest Premier of the 2011 TONY NOMINATED
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21
LISTEN UP
Richard Bain
James M. Keller
Letter from Shakespeare-Land
S
ated as Santa Feans may be from classical music performances when summer turns to fall, we remain a little light in the drama department, even though our theater scene has charted an upward course in the most recent seasons. Many of us accordingly make theater going a focus of our travel, as I have done this month. Among the festivals that exalt (mostly) classic theater, none in our hemisphere rivals the Stratford Festival in Stratford, Ontario. That has been the institution’s name since 2008. Prior to that, it was called the Stratford Shakespeare Festival, which reflected whose plays it was overwhelmingly dedicated to producing. The enterprise was founded by a journalist named Tom Patterson who watched the town wilt as local industries dried up in post-World War II Ontario. Desperate times called for desperate solutions, and Patterson convinced the town fathers to follow one of the wackiest courses imaginable: to capitalize on the town’s name by founding a theater company that would promote the works of a certain playwright from a certain other Stratford. Fortunately, nobody involved had much inkling of what such an enterprise would entail — if they had, they surely would not have proceeded — and in their blissful naiveté, they contacted the eminent British director Tyrone Guthrie. Somehow the stars were aligned just right. He signed on, giving the festival the clout it needed to mount its first two productions, in the summer of 1953, with Alec Guinness as the headline star. Now here we are, 60 years later. Calling the Stratford Festival a festival is almost inaccurate. Its season runs from April through October, so really half a year; in Stratford, the festival is as likely to be in session as not. This is very convenient for Santa Feans, as it enables us to travel to get a theater fix before or after our own summer season. The city of Stratford (population roughly 31,000) is deeply invested in its dominant industry; you can stay at The Bard and Breakfast or get your hair cut at The Mane Stage or … that sort of thing. You can enjoy an excellent dinner at 5:30 p.m. because that hour falls conveniently between your matinee and your evening performance. You can go to bookstores that are exhaustively stocked with play scripts and arcane literary volumes. And, most important, you can spend your afternoons and evenings sitting in the dark watching the drama unfold before you. 22
PASATIEMPO I September 13-19, 2013
I
n certain of its essentials, the history of theater in Stratford parallels that of opera in Santa Fe: in the mid-1950s, a dreamer founds an artistic enterprise that, against many odds, grows to such national and even international prominence that it becomes an enduring part of the small city’s lifeblood. One wonders if anyone has explored setting up sister-city status between the two, a relationship that might enrich both of these artistically enterprising communities through cultural exchange. During its 2013 season, the four theaters at the festival have been bustling with 12 plays. Four are by Shakespeare — Romeo and Juliet, The Merchant of Venice, Othello, and Measure for Measure — and a fifth (which I regrettably missed) also involves him: a two-person play titled Taking Shakespeare (by John Murrell), in which an aging professor and a shiftless freshman find direction in their lives through a close reading of Othello. Of the others, my viewing tended toward dramatic classics — Beckett’s Waiting for Godot, Schiller’s Mary Stuart, and Coward’s Blithe Spirit, although for variety’s sake I also took in a spirited and altogether enjoyable, even moving production of Fiddler on the Roof by Sheldon Harnick and Jerry Bock (directed by Donna Feore). Musicals were inserted into Stratford’s offerings some years ago over the objections of many purists, but by now they are important in the commercial mix and are given with careful attention to artistic quality. The Fiddler on the Roof performance I saw was a Wednesday matinee in the 1826-seat Festival Theatre; the place was absolutely packed, and the tour buses from Toronto and elsewhere arrived in long lines. (The summer’s other musical offering is the rock opera Tommy, and although I did not see it, I assume from the amount of real estate allotted to Tommy-related merchandise in the gift shops that it was a magnet for many.)
A
festival ought to offer productions that vary in their aims and points of view. It is inevitable that attendees will be drawn to some more than others thanks to the directorial stance as well as to the individual and ensemble performances. Of the four Shakespeare productions, the finest was The Merchant of Venice, directed by Antoni Cimolino, formerly the festival’s general director but as of this season its artistic director. In a program essay, he wrote of his own family connection to the region of Venice and of the generation of his parents, who, in the 1930s, saw the devastating results of politically promoted anti-
David Hou
David Hou
Miichael Copper
Michael Copper
Scenes from this year’s Stratford Festival in Ontario: top, left to right, Scott Wentworth in The Merchant of Venice; Wentworth, Sara Topham, and Daniel Briere in Romeo and Juliet; bottom, left to right, Bethany Jillard and Dion Johnstone in Othello; Christopher Prentice and Stephen Ouimette in Measure for Measure; opposite page, Festival Theatre; images courtesy the Stratford Festival
Semitism. He set Shakespeare’s action in the Venice of that time, though with a light hand that in no way conflicted with the text. Outdoor scenes were mostly dominated by a street café, and the interiors sometimes involved a gramophone and radio. I did bristle with annoyance when the scene in which the young lovers Lorenzo and Jessica (Shylock’s daughter) bask in the moonlight was interrupted by angry political speeches that momentarily blotted out the romantic music being broadcast on the radio. But annoyance was Cimolino’s goal at that moment, and the emotions turned heart-rending when, not long after, the play concluded with Jessica being presented with her father’s yarmulke. Shylock is bankrupt, broken, and defeated by the end of this play, but in this production we understood that his fate was still worse. But for that, it was The Merchant of Venice as we expect it, or rather, as we would dream of it. The central role of Shylock was supposed to have been undertaken by the very eminent Brian Bedford, but a health issue forced his withdrawal while the piece was in rehearsals, and he was replaced by Scott Wentworth, who proved magnificent in the part. As it happens, Wentworth was already portraying Tevye,
the father in Fiddler on the Roof who must balance the traditions of his community and the advancing social forces that envelop his village and his family. The actor carried through the season shouldering the roles of both these beleaguered Jewish fathers, and although both were essentially “true to type” they were deeply realized in different ways. His Tevye was involving but understated, his doleful eyes telegraphing from the first glimpse that he was world-weary but through it all grown wise. He seemed to accept with equanimity the singing and dancing Anatevkans who swirled around him, but on the whole it seemed that he would have been content to live a less challenging life. As Shylock, he was hungry to seize the opportunity for revenge against the Christians who had so relentlessly abused him, to channel his simmering bitterness into retaliation that was at once delicious and revolting. Michelle Giroux tendered an entirely winning interpretation of Portia, commanding and dignified, smoky of voice and trenchant of wit, sultry in a way that seemed quite continued on Page 24
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Listen Up, continued from Page 23
R
omeo and Juliet, as directed by Tim Carroll, provoked considerable debate, but I found it beautifully crafted and intellectually stimulating. Carroll has been affiliated with Shakespeare’s Globe theater in London, and there he became involved in restoring period practices — the theatrical equivalent of the historically informed performance movement in musical interpretation. Even if we moderns cannot lay certain claim to “authenticity” when it comes to recovering ancient ways, we can nonetheless be pretty sure about quite a lot, and it does no harm to occasionally integrate some of these concepts into new realizations of old plays. In this case, the Festival Theatre was approached much as a Shakespearean stage would have been, with the play being given in daylight; here that translated into a single basic lighting cue. There were no set changes, and most characters’ costumes remained the same throughout. Pretty much all the responsibility for the production was therefore invested in the performers. (Here Carroll drew the line on historicity and at least allowed a mixed-sex cast.) This was not the most strongly cast R & J a theater goer will ever see, and Romeo in particular (Daniel Briere) was rather a cipher — not objectionable but hardly an adolescent with hormones a-pumping. Juliet (Sara Topham) made up for it in good part, conveying a sense of youthful romantic awakening. The play was the center of the event, to be sure, but the evening also included aspects of a variety show, with musicians playing a few numbers and members of the cast dancing Elizabethan dances — very nicely, in every case. At the beginning of the second half, the entire cast assembled to sing a choral rendition of Arcadelt’s famous madrigal “Il bianco e dolce cigno,” most creditably. In all, this added up to a stimulating and thought-provoking approach, one that conveyed the play responsibly while shedding original light on the very nature of Shakespeare’s theatrical aims and goals. Measure for Measure and Othello were limited by the imagination and scope of their directors (Martha Henry and Chris Abraham respectively) and the capabilities of some of their central cast members. Othello was the better of the two, handsome to behold in abstracted, brilliantly lit sets dominated by the color red — as in blood or a handkerchief ornamented with a strawberry motif. But since Iago (Graham Abbey) seemed at most a minor-league villain, and since he and Othello (Dion Johnstone) displayed only the most surface camaraderie, the play seemed just a relentless turn of the screw rather than a gripping personal drama. In Othello, moreover, one wants to hear serious voices — sonorous, resounding, expressive voices. Instead, we mostly got shouting. Waiting for Godot (directed by Jennifer Tarver) also failed to grip. Estragon and Vladimir (Stephen Ouimette and Tom Rooney) allowed surprisingly little humor to creep into their waiting, and although the estimable Brian Dennehy made a gruff romp of Pozzo and Randy Hughson as Lucky was stunning in his Act 1 outburst, it did not add up to a memorable Godot. Great productions arrived with Mary Stuart (also directed by Cimolino) and Blithe Spirit (which Bedford had directed before his illness). Both were cast very strongly with actors of stature, including many with longstanding ties to the festival. Schiller’s play was rendered as a titanic collision of monarchs, as
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PASATIEMPO I September 13-19, 2013
David Hou
right for a rich heiress of the interwar period. The production also captured the sense of Venice as a geographical crossroads, doubtless more notable in Shakespeare’s time than in the 1930s, but so be it. Wentworth’s Shylock stopped short of caricature, yet there was never any doubt about his Jewish identity and the pride with which he wrapped himself in it. The Prince of Aragon, one of the courtiers who arrives seeking Portia’s hand, got a workout from Antoine Yared, who adopted an accent that placed some of Shakespeare’s syllables distant from the realm of his pronunciation. Cimolino’s direction extended to subtle details. A wrenching moment, for example, came at the end of a scene in Act 2, when the Prince of Morocco has failed in his suit for Portia. He is portrayed by a black actor, Michael Blake; Portia’s sidekick, Nerissa (the very appealing Sophia Walker), is also black. Portia is glad to be rid of the Prince, and, looking down her nose, she comments to Nerissa, “Let all of his complexion choose me so.” Nerissa has no verbal response, but she appears at that moment profoundly hurt, a reaction Portia seems not to notice. Anti-Semitism is famously an engine of The Merchant of Venice, but this smart and sensitive production manages to enlarge the topic to a larger context of racism through such deft touches as this. Left to right, James Blendick, Ben Carlson, and Wendy Thatcher in Blithe Spirit
portrayed by Lucy Peacock (Mary) and Seana McKenna (Elizabeth), appearing respectively in their 26th and 22nd Stratford seasons. The former bowed in morbid woe but, when it counted, braced herself with pride, and ultimately she won the moral battle. The latter was utterly captivating, garbed in stunning Elizabethan regalia, entering dancing with her courtiers, but by the end repulsing onlookers with her deceitful politics. And such courtiers she had, with the likes of Dennehy as the exhausted Earl of Shrewsbury, who eventually has had enough of her, and the dependably splendid Geraint Wyn Davies, who was smarmy and reptilian as Elizabeth’s traitorous love interest the Earl of Leicester. These were actors who could fill a theater even with a mere mezzo forte and who could dazzle the farthest corner with a passing glance. Word got out fast about this one, and Mary Stuart had to be extended four times to accommodate audience demand. (Also extended this summer were Fiddler on the Roof, Waiting for Godot, Measure for Measure, and Taking Shakespeare.)
S
o, too, did Blithe Spirit triumph with a full volley of dramatic talent, with McKenna as the odd Madame Arcati, conjuring up the return of Elvira, the departed wife of Charles Condomine. Elvira is portrayed by Giroux, now indeed a 1930s lady of leisure — and she wreaks hilarious havoc in the Condomine household, and particularly on Charles (Ben Carlson) and his current wife, Ruth (Topham). Played at the Avon Theatre, the festival’s proscenium house, within a lavish and lovely country-home set, it was a delicious celebration of witty banter and tightly coordinated farce, marvelous in individual performances as well as in ensemble spirit. Coward’s play is an evergreen for good reason, and it positively sparkled in its outing at Stratford. But enchanting in its own right is the pleasure of re-encountering fine actors in markedly different roles from one day to the next — McKenna as Mary Stuart and Madame Arcati, Giroux as Portia and Elvira, Topham as Ruth and Juliet, Dennehy as Shrewsbury and Pozzo. The play’s the thing, of course, but great acting brings pleasures on its own, and it is heartening to know that so much of it awaits us just a day distant. ◀ For information about the Stratford Festival, visit www.stratfordfestival.ca. The current season continues through Oct. 27. The 2014 season will include 12 plays, all touching on the subject of madness. Among the offerings will be five Shakespeare productions: two separate, very different takes on “A Midsummer Night’s Dream” (one by Chris Abraham, the other by Peter Sellars), “King Lear” (directed by Antoni Cimolino), “King John” (directed by Tim Carroll), and “Antony and Cleopatra” (directed by Gary Griffin). Among other offerings are Brecht’s “Mother Courage,” Coward’s “Hay Fever,” Farquhar’s “The Beaux’ Stratagem” (directed by Cimolino), “Crazy for You” (by George and Ira Gershwin), and “Man of La Mancha” (by Mitch Leigh and Joe Darion).
season opening Recital
conrad tao, pianist and composer Thursday, September 19 at 7:30pm St. Francis Auditorium, New Mexico Museum of Art champagne Reception in the courtyard following the concert Music by Bach, Ravel, RachManinoff, Monk, tao, and PRokofiev
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santa fe Pro Musica orchestra thomas o’connor, conductor conrad tao, piano Brian shaw, trumpet Saturday, September 21 at 6pm Sunday, September 22 at 3pm Lensic Performing Arts Center Haydn symphony no. 83 in G Minor “la poule” SHoStakovicH concerto in c Minor for Piano, trumpet, and string orchestra, op. 35 Mozart Piano concerto no. 9 in e-flat Major, k. 271 “Jeunehomme” Meet the Music introduction: saturday and sunday one hour before each performance at the lensic ticketS $20, $35, $45, $65 students and teachers $10 santa fe Pro Musica Box office: 505.988.4640 (ext. 1000), 800.960.6680 tickets santa fe at the lensic 505.988.1234 for complete season concert listing visit www.santafepromusica.com
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An actual bubblegum album by a serious grown-up band in 2013? Yes indeed. Ooey Gooey Chewy Ka-blooey by The Dirtbombs was long promised by the group’s singer and guitarist Mick Collins. The Dirtbombs are a serious band, right? In my book they are. Started by Collins in the ’90s following the demise of his previous group, The Gories — an inspired blues/punk/slop band — The Dirtbombs were the best (if not the most famous, which would be The White Stripes) group to come out of the Detroit garage scene. But bubblegum? Those of you who weren’t around when bubblegum ruled the AM airwaves might not know what the term means. Sometimes it is used to describe any vapid teen pop, but that’s not what The Dirtbombs are doing on this album. According to the All Music Guide, “Bubblegum is a lightweight, catchy pop music that was a significant commercial force in the late ’60s and early ’70s. Bubblegum was targeted at a preteen audience whose older siblings had been raised on rock ’n’ roll. It was simple, melodic, and light as feather — neither the lyrics nor the music had much substance. Bubblegum was a manufactured music, created by record producers that often hired session musicians to play and sing the songs.” The true giants of the genre were Buddha Records bands like The Ohio Express (known for hits like “Yummy Yummy Yummy” — yes, there was love in their tummies — and “Chewy Chewy”); The 1910 Fruitgum Company (“1, 2, 3, Red Light,” “Simon Says”); The Kasenetz-Katz Singing Orchestral Circus (“Quick Joey Small”); and made-for-TV bands like The Partridge Family, The Banana Splits, The Archies, and Lancelot Link & The Evolution Revolution. Now technically, The Archies weren’t human. They were, in fact, cartoon characters. And The Banana Splits were human, but they were humans dressed like cartoon animals. But even more out-there is the fact that The Evolution Revolution were trained chimpanzees dressed in wigs and hippie costumes who appeared on Lancelot Link, Secret Chimp, a live-action Saturday-morning kiddie show in the early ’70s. An album of
Lancelot Link’s music was actually released back then, and a video of the Lancelot Link song “Wild Dreams ( Jelly Beans),” posted in a recent Ooey Gooey preview piece on Spin.com, shows these chimps indeed sounded a little like the Dirtbombs do on their new album. Back during the great bubblegum scare, I was a little older than the target age group for this music, and for the most part I didn’t share Collins’ affection for it. In fact, I hated the stuff. But little by little, I began to see at least some value in the genre. Wilson Pickett had a hit with The Archies’ “Sugar Sugar.” A few years later, The Talking Heads covered “1, 2, 3, Red Light.” Meanwhile, The Dickies, an L.A. punk group, did a magnificent version of The Banana Splits theme song. And The Cramps covered “Quick Joey Small.” And now The Dirtbombs have bubblegum on the soles of their shoes. They didn’t do covers of bubblegum hits. Instead, as Collins explained in an interview in Ghetto Blaster, “I wasn’t trying to make a period piece; I was more seeing if I could pick up where bubblegum left off.” If nothing else, Collins and crew capture the weird essence of many bubblegum elements. Just look at the song titles: “Sunshine Girl,” “We Come in the Sunshine,” “Sugar on Top,” “No More Rainy Days,” “Hot, Sour, Salty, Sweet,” “Hey! Cookie,” etc. I don’t know whether I’m in more danger of sunstroke or a diabetic coma after listening to this. There are several songs that — apart from the candy-coated lyrics — don’t sound like a big stretch for The Dirtbombs. “Hot, Sour, Salty Sweet” is one of those, and so are “Sugar on Top” and “It’s Gonna Be Alright.” Collins’ guitar is righteously raunchy in these songs, even if the melodies are poppier than your usual Dirtbombs tune. And “Hey! Cookie” sounds like, well, a garage-rock number. It would have fit seamlessly in early Dirtbombs albums. But other tunes sink deeper into the bubblegum goo. “We Come in the Sunshine” owes a big debt to “Good Vibrations,” but there also are strange components such as the Bobby Sherman-style horns and vocal harmonies that sound closer to The Cowsills than The Beach Boys. “The Girl on the Carousel” is a dreamy slow dance featuring an oboe. But the biggest leap is “No More Rainy Days,” which, after a minute or so of what sounds like an Oompa Loompa march, goes into a weird interlude featuring the voice of the sun. That’s right, the actual sun, whose droning rumble was recorded by a solar observatory run by Stanford University. I’ll admit, these tunes are all fun and catchy, even if the childlike lyrics and lollipops and rainbows start to wear down a listener used to grittier themes. My main beef is that this is the second genre exercise in a row for The Dirtbombs — the previous album, Party Store, being a tribute to Detroit techno bands. I just hope the next album by this band I love so much is less gooey and has more ka-blooey. Also recommended: Electric Slave by Black Joe Lewis. This is the hardest-edged record so far in the short but thrilling catalog of Joe Lewis, an Austin native who, according to a recent piece in his hometown paper, recently moved to Montreal. Unlike his previous two albums, this one is released under Lewis’ name alone, not with his band The Honeybears. The horn section is still there, but the soul and funk elements of Lewis’ early work are less apparent. Also missing are any obvious crowd-pleasers, such as the funny spoken-word segments like “Mustang Ranch” from previous albums. I’m not saying crowds won’t be pleased. Electric Slave is raw, punk-infused electric blues rock. Less jive and more wallop. The album starts out with “Skulldiggin’,” which has such a distorted, fuzzed-out bass that in a just world, every obnoxious kid with a weaponsgrade car stereo would be blasting this at every intersection in America. “Guilty” is a frantic rocker with tasty guitar-sax interplay. The nearly seven-minute “Vampire” sounds like a stripped-down cousin of Concrete Blonde’s “Bloodletting (The Vampire Song).” Screamin’ Jay Hawkins could have done this one. Two other standouts are the highly caffeinated “Young Girls,” which reminds me of Barrence Whitfield & The Savages, and “The Hipster,” a ferocious cruncher built on a mutated “Everybody Needs Somebody to Love” guitar riff and incorporating some lyrics of “Wang Dang Doodle.” I bet the Electric Slave song that gets the most airplay is “Come to My Party.” I hope a lot of new fans respond to that invitation. Black Joe Lewis always throws an amazing musical party. ◀
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27
PASA TEMPOS
album reviews
JOHN DOWLAND BARBEZ Bella Ciao Lachrimae, or Seaven Teares (Fra (Tzadik) The faint of heart (or Bernardo) Failing to secure a court hearing) might balk at Brooklyn appointment from Elizabeth I, the lutenist group Barbez’s unconventional lineup. and composer John Dowland (1563-1626) It includes clarinet, violin, vibraphone, set off to seek his fortune away from his electric guitar, bass, drums, theremin, native England in Germany, Italy, and espeand the occasional poetry recitation. cially Denmark, where he spent seven years With these tools, the band incorporates serving Christian IV, beginning in 1598. the sounds of old Europe into an avantWhen Elizabeth died in 1603, he hastened to rock substructure, displaying the kind publish his collection Lachrimae, or Seaven of tightness that only comes from playTeares, which he dedicated to Anne of Denmark, Christian IV’s sister ing together for over 15 years. Central to Barbez’s soundscape is the (and wife of Elizabeth’s successor James I). In his printed dedication to eerie space-moanings provided by the theremin (in terms of strangeher, Dowland wrote, “And though the title doth promise teares, which ness, it’s the anteater or naked mole rat of the musical-instrument Musicke weepes, neither are teares shed always in sorrowe, but sometime kingdom). Despite the current craze over the instrument, it sounds far in ioy and gladnesse.” At first glance, there is not much ioy and gladnesse from gimmicky or ironic in the hands of master player Pamelia Kurstin — in the seven pavanes played here in emotionally penetrating interpretations she has lent her expertise to albums by David Byrne and Yoko Ono in by the Italian early-music consort Gambe di legno, which comprises the past. The title track on Bella Ciao is a beautiful interpretation five viols and lute. But listen carefully. Each version of this stately of an Italian anti-Fascist anthem from World War II. In fact, dance is crafted to reflect a different context for tears that are the Italian resistance is referenced repeatedly through the respectively “old,” “old-new,” “sighing,” “sad,” “insincere,” incorporation of poems by Pier Paolo Pasolini and Alfonso “amatory,” and “honest.” Some of these are clear in their Gatto. The second main influence behind this album meaning, others less so; but each of Dowland’s seven (the band’s fifth) is ancient Roman Jewish music, which settings sheds new light on the musical subject. It’s too might be on its way to theremin-like popularity thanks In terms of strangeness, bad there are no program notes to explicate the musical to Barbez’s latest effort, but it would take a musicologist and historic mysteries of this collection, and that this to untangle the nuances of these mixed influences. the theremin is the anteater or fully priced CD runs only 33 minutes. — James M. Keller That they meld so well is surprising; that the resulting combination rocks is even more so. — Loren Bienvenu naked mole rat of the musicalALEXIS CUADRADO A Lorca Soundscape (Sunnyside) Spanish poet Federico García Lorca came to the United NEKO CASE The Worse Things Get, the Harder I Fight, instrument kingdom. States in 1929 and was immediately struck by its inequality, the Harder I Fight, the More I Love You (Anti-) Early in both before and after the great crash. The resulting her career, Neko Case sang honky-tonk, punk-rock, and collection, Poeta en Nueva York, not only delved into his New gospel-influenced country gothic, but over the years she’s York experiences but also worked from a new, surreal sense smoothed out her rock-and-roll impulses to a more melodious of experimentation that came to characterize his work before layering of vocals achieved with her longtime backup singer, his murder during the Spanish Civil War. Bassist Alexis Cuadrado Kelly Hogan. Her newest album is a hybrid of old and new, with lyrics simultaneously direct and poetic, often alluding to or specifically has arranged some of the poems from that collection into songs, sung in Spanish, that express the uncertainty and perseverance that flow through referring to abuse and sexism. Even if you don’t know what she’s talking about, Lorca’s work. The two principle musical voices here are singer Claudia the images and extended metaphors are intriguing enough to make you Acuña and alto saxophonist Miguel Zenón. Acuña covers the lyrics with want to delve deeper into their meaning. Nearly every song is a stand-out, respect and a subdued passion that’s conveyed even if one doesn’t know but the laconically angry “Night Still Comes”; the driving, funny “Man,” in which Case tries on a dangerous strain of defensive masculinity; the the language. Lorca, difficult to translate because of his obscure word a cappella missive to children with hateful parents “Nearly Midnight, combinations and strange symbolic associations, inspires the musicians Honolulu”; and the accusatory “Local Girl” have the capacity to get to something that’s at once stirring and beautiful. From “Vuelta de stuck on a loop in your head. Case’s song paseo” (Back From a Walk): “Murdered by structures are unusual, so that even when the sky./Among the forms that move toward the tunes have a pop feel, they resemble the snake/and the forms searching for crystal/ I will let my hair grow.” Pianist Dan Tepfer spoken-word poetry and jazz. Some stays sympathetic to the collection’s strange songs strike an eerie retro-pop chord, seriousness, and the percussion section adds as if Case and Hogan might burst into a everything from an understated Latin tinge to chorus by the Angels or the Shirelles — what sounds like the rattle of bones. This is but they control their effusive enjoya beautiful, considered work, as poetic ment, channeling the momentum into as the words that inspired it. a surprisingly political album. — Bill Kohlhaase — Jennifer Levin
28
PASATIEMPO I September 13-19, 2013
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The Archaeology of New Mexico
Free Lecture Series by David E. Stuart (SAR)
Energy Consumption and the Rise of Chacoan Society Wednesday, Sept. 18, 2013, 7:00–8:00 pm, James A. Little Theater
Decline and Dissolution of the Chacoan World
Wednesday, Oct. 9, 2013, 7:00–8:00 pm, James A. Little Theater
505.983.8977 604 N. GUADALUPE ST. DE VARGAS CENTER 5STARBURGERS.COM School for Advanced Research For more information, visit www.sarweb.org
Financial Planning for Women
An educational presentation for widows, wives, orphans and the Masons and men who love them.
Saturday, Sept. 21 2:30 pm at Montezuma Lodge #1, 431 Paseo de PeraltaPeralta Santa Fe, NM
Presenter: John R. Adams, Financial Advisor Raymond James & Associates, Inc. Member NYSE SIPC 218 E. Marcy Street, Santa Fe, NM
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Sponsored by: Montezuma Lodge #1, AF&AM • 431 Paseo de Peralta Santa Fe, NM 30
PASATIEMPO I September 13 - 19, 2013
Photo by and courtesy of Jason S. Ordaz
Free Public Lectures No Advance Reservations
ON STAGE THIS WEEK Total immersion: Arcos Dance
Enrique Martínez Celaya’s The Pearl is already a pretty immersive affair. The SITE Santa Fe exhibit covers almost 12,000 square feet and surrounds visitors with artwork of many mediums — painting, sculpture, video, photography, sound, and writing. For three days, choreographed and improvised dance are also on that list, courtesy of Arcos Dance. The company’s piece A Kinetic Encounter is designed to work within the atmosphere created by Martínez Celaya. According to Arcos’ associate artistic director, Erica Gionfriddo, “This immersive performance allows the audience to explore the exhibit anew while taking their cues from eight dancers, who activate the open spaces surrounding the pieces and direct the audience on a path through the installation.” Showtimes are 6 p.m. Friday, Sept. 13; 10:30 a.m. Saturday, Sept 14; and 2 and 4 p.m. Sunday, Sept. 15. Performances are free and take place at SITE (1606 Paseo de Peralta, 989-1199). Details at www.arcosdance.com. — L.B.
Homecoming: Jerry Lopez
Not many born and bred Santa Fe musicians grow up to become bandleaders in Las Vegas, Nevada. Despite several decades of out-of-state success, singer and guitarist Jerry Lopez still has New Mexico on his mind. His newest album, Mis Raíces, is about roots in more ways than one. Not only does it celebrate the town of his birth, but it also includes songs written by his father, Gilbert Lopez Sr. The singer’s appearance back on native soil raises funds for the National Latino Behavioral Health Association and takes place at the Lensic Performing Art Center (211 W. San Francisco St.) at 7 p.m. on Saturday, Sept. 14. Tickets ($20 to $35) are available by calling 988-1234 and from www.ticketssantafe.org. — L.B.
Fall flamenco: Antonio Granjero & EntreFlamenco
Straight on the clicking heels of Juan Siddi’s summer season at the María Benítez Cabaret, Antonio Granjero is stepping in with his EntreFlamenco company. Granjero and company kick off their season on Wednesday, Sept. 18. The program runs from Wednesday through Saturday every week until Oct. 12. Like Siddi, Granjero is a Spanish-born dancer who developed his skills on a national and then international stage. He, too, was handpicked by legendary American dancer María Benítez to join her traveling company as a soloist and choreographer, and he has been returning to her Santa Fe headquarters at The Lodge at Santa Fe (750 N. St. Francis Drive, 992-5800) for 15 years. EntreFlamenco’s productions are notable for the variety of flamenco styles they incorporate, both in terms of song and dance and original costume and set design. Shows start at 8 p.m. Tickets, $25 to $45, can be purchased through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). — L.B.
Company of three
The trio of violinist Philip Setzer, cellist David Finckel, and pianist Wu Han bring a staggering amount of chamber-music know-how to their performances. Finckel and Setzer spent 34 years working together as members of the Emerson String Quartet. Finckel and Wu Han, who are married, serve as co-artistic directors of three notable chamber-music organizations: the Chamber Music Society of Lincoln Center (in New York); the summer festival Music@Menlo (in the Bay Area); and the festival Chamber Music Today (in Seoul). The couple also founded and directs the recording label ArtistLed, which recently released its 16th recording, comprising two piano trios by Dvoˇr ák. One of them is the well-known “Dumky” Trio, which the three musicians will play at the Lensic Performing Arts Center (211 W. San Francisco St.), along with trios by Beethoven (in G Major, op. 1, no. 2) and Shostakovich (in E Minor). The concert, sponsored by Santa Fe Concert Association, takes place at 7:30 p.m. on Monday, Sept. 16. Tickets ($20 to $75) are available by calling 988-1234 and from www.ticketssantafe.org. — J.M.K. PASATIEMPOMAGAZINE.COM
31
INSIDE THE MUSIC OF MARY GAUTHIER
Bill Kohlhaase I The New Mexican
Rodney Bursiel
ary Gauthier, singer of beautiful, sometimes disturbingly personal music, will tell you she was trouble from day one. That’s not exactly true. Born at St. Vincent’s Womens and Infants Asylum in New Orleans, Gauthier was given up for adoption on that very first day. She’ll tell you that coming from a place called an asylum marked her. What followed, despite caring adoptive parents, was when the trouble began. Enrolled in her first rehabilitation program when she was 15 and a runaway not long after, Gauthier seemed willing to waste her life. Hers wasn’t a slow decline, she explained in a phone call from her home in Nashville. “I wonder about how a slow decline works, how you might ward it of. I was completely hooked by my first drink. There was nothing slow about it. She tried a stint as a philosophy major at Louisiana State University and dropped out. She attended culinary school in Boston, all the while wrestling with addiction, and then opened a Louisiana-styled restaurant there. “I got sober in the restaurant business,” she said. “I was often too tired to do anything else.” Clean since 1990, Gauthier dedicated her life to music. She wrote her first song at 35. Writing, she explained, is the thing that allowed her to stay clean. “Grief, human emotion, those things are made worse by isolation. When you write you bring other people into your world, people who have similar experiences, who have empathy and have shared your problem. It’s a wonderful method of healing, and it helps other people, too, as a byproduct, even if that’s not the intention. That’s one of the important things for survival. By nature, we need to be in a tribe. We need to be connected.” Her first album, Dixie Kitchen, came in 1997 and was named for her Boston restaurant. Despite its strong country flavor, it dealt with common themes in 32
PASATIEMPO I September 13-19, 2013
unusual ways (“Skeleton Town,” “The Other Side of Free”) and topics untouched by country lyricists (“Goddamn HIV”). She followed with Drag Queens in Limousines, a collection that included an ode to Karla Faye Tucker, the Texas woman found guilty of murder and executed in 1998 (“A little girl lost, a world full of pain/He said it feels good/so she gave him her vein”). Filth & Fire features a number of songs of down-and-out lifestyles, and her 2005 recording Mercy Now was seen as something of a breakthrough, both in the melding of the tone of her songs and lyrics and in the refinement of her my-life-is-your-life storytelling. Gauthier’s life seemed to shadow her subjects. Her lyrics could speak about her own experience even as she zeroed in on her characters, as in her song “Karla Faye.” One of the more unlikely of these identifications can be found in her tune “Last of the Hobo Kings,“ a song inspired by the death of “Steam Train” Maury (Maurice W. Graham) in 2006. “I was finishing up two months in Europe and was tired and wanted to get back home, and I happened to read his obituary in The New York Times, and I knew I had to write that song. I exchanged my ticket back so I could spend another four or five days there and wrote it. This was a song that came from my heart and the soul. After some research I felt like I knew him. I knew something about hobo culture and learned how his place in that community became legendary. He was something of an elder statesmen. “I absolutely identified with him. He’s the kind of person I would have liked straightaway. That’s important when I tackle a song about a person that’s not me. I have to go out and get them. There are some people I’ll never get. The people I get continued on Page 34
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Mary Gauthier, continued from Page 32 are the outsiders. I’ve felt like an outsider most of my life. I’ve realized that the characters I get are the people whose lives are a lot like mine. Characters I can write about. I can’t write at all about characters that I don’t get.” The Foundling was an even more personal recording. Its haunting title song about an abandoned child without a name cuts extremely close to Gauthier’s origins. About the time she was recording, she hired a private detective to search records that would reveal her birth mother. When Gauthier followed up on the results, there was no response. “I guess she didn’t want to make contact, and I have to respect that. I may try again, but she has the right to her privacy. I also want to know who my father is, and she’s the only one with that information. When she gave me up, I guess she thought she was doing the right thing.”
When the inspiration comes,it whispers and then runs away. It’s your job to chase it.-- - Mary Gauthier
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Gauthier said there are few things she wouldn’t write about. “I don’t talk about my family members or their business matters. There’s a boundary there I have to respect. But I’m willing to explore all the challenges I’ve faced. And not just mine. When I’m unpacking these life stories I’m talking about the human condition. I won’t do any songs about embarrassing sexual exploits or anything shallow. But any deeply spiritual and emotional challenges are fair game.” Inspiration, she said, comes frequently. “Inspiration is a beautiful thing. That’s the easy part. But the song itself is work. Where a song comes from is ultimately a mystery. I can’t explain it. It comes from somewhere and goes through me and then I have to transcribe what the inspiration is trying to say. That transcribing is the hard part.” She cites the claim that Leonard Cohen, whose music hers sometimes resembles, took two years to write “Hallelujah.” “He just stuck with it,” she said of the now-famous song that has been used in a number of film soundtracks. “That’s the thing with writing. You have to stick with it. When the inspiration comes, it whispers and then runs away. It’s your job to chase it.” While Gauthier’s subject matter is often dark, the music itself is often sweet, even uplifting. Her concert recording, Live at Bluerock, a two-CD set, is full of examples. “That’s the hard thing for people to take about my music. People will offhandedly say your songs are heavy, your songs are challenging. Songs aren’t supposed to be that way. But I sing the blues, and the blues make you feel better. They’re sung by people who are optimistic. If they weren’t optimistic, they wouldn’t be singing.” This kind of attitude made Gauthier a perfect candidate to make a video for the It Gets Better Project directed at gay, lesbian, bisexual, and transgender youth. “High school was really hard for me,” she says in her video. “I was beat up, I was picked on, I was ‘gay kid,’ I looked gay. It was hell. I felt so alone; I felt like there was something wrong with me.” Gauthier said that “it does get better as people get to know each other for who they are rather than using labels. There’s hope, there’s hope. Just because there’s a hurricane doesn’t mean the sun won’t shine. It’ll pass. The sun shines even in the middle of a hurricane. Tackling life doesn’t have to lead to despair. I’m the proof of that.” ◀
details ▼ Mary Gauthier benefits for Peace Talks Radio ▼ Concert for Peace with Rahim Alhaj 7:30 p.m. Friday, Sept. 13 James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Road $25 & $44 (includes reception); at the door & from www.holdmyticket.com ▼ 7:30 p.m. Saturday, Sept. 14 Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque $25; at the door & from www.holdmyticket.com
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PASATIEMPO I September 13-19, 2013
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Conrad Tao
Lauren Farmer
A
Loren Bienvenu I For The New Mexican
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PASATIEMPO I September 13-19, 2013
Ravel’s Gaspard de la nuit is a notoriously challenging work for solo piano. Pianist and critic Charles Rosen singled out its third movement, “Scarbo,” as “technically one of the most difficult pieces ever written.” Tao’s rendering of Voyages is so fluid as to seem effortless, so the piece’s complexity does not draw undue attention to itself or disrupt the overall dreaminess established by earlier tracks. Standing in contrast is Tao’s Iridescence, a work for piano and iPad that follows the Ravel. Its position as album closer helps bring the moody voyage to an absorbing conclusion. Acknowledging that he grew up as part of the “playlist generation,” Tao said, “MP3 culture has made me appreciate the sequencing of an album; I tried to sequence things in an interesting and cohesive but maybe surprising way.” So he first sets the tone with Railroad by contemporary composer Meredith Monk, followed by five preludes by Rachmaninoff (chosen out of a set of 24 that covers every major and minor key, because he saw them as “individual snapshots of moods”), which are then balanced out by a set of original compositions titled Vestiges. The four pieces of Vestiges form the nexus of the album. They move between inward moments (“Upon Being”) and more reflective ones (“Upon Viewing Two Porcelain Figures”) in the manner of odes by John Keats (“Odeon Melancholy”; “Ode on a Grecian Urn”). Being someone who spends most of his time composing and performing, Tao said the process of recording a full-length album of carefully selected repertory was an “amazing and different experience. I knew [it would be] beforehand, but I wasn’t 100-percent prepared. In the end, I found it compellingly different and enjoyed it
Things to come Santa Fe Pro Musica emerges from summer hibernation with an extensive 2013-2014 season that runs from September to April. Following Conrad Tao’s opening concerts, Thomas O’Connor conducts Tchaikovsky’s Serenade for String Orchestra (Oct. 19 and 20 at St. Francis Auditorium). The program also includes works by Handel and Gluck, as well as Thea Musgrave’s Orfeo II featuring flutist Carol Redman. On Nov. 10, Oberlin Conservatory’s quartet in residence, the Jasper String Quartet, performs pieces by Haydn, Kernis, and Beethoven at St. Francis Auditorium. Pro Musica’s holiday schedule goes Bach to the future, with its annual A Baroque Christmas concerts scheduled for Dec. 20 through 24 at Loretto Chapel, followed by the Brandenburg Concertos on Dec. 28 & 29 at St. Francis Auditorium. Works by Vaughan Williams, Barber, and Beethoven are scheduled for Jan. 25 and 26 dates at the Lensic. Debussy, Mahler, and Shostakovich herald the approach of spring at St. Francis Auditorium on March 1 and 2, featuring guest mezzo-soprano Deborah Domanski. On March 16, the St. Francis plays host to the Variation Trio with Benjamin Hochman, and the season comes to a close at the Loretto Chapel with a Baroque Holy Week concert (April 17 to 19) that concludes with Handel’s Gloria. For more details, including ticket and subscription prices, visit www.santafepromusica.com or call 988-4640. — L.B.
details ▼ Conrad Tao with the Santa Fe Pro Musica Orchestra ▼ Season opening recital 7:30 p.m. Thursday, Sept. 19 ▼ St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. David Long
rticles on Conrad Tao and his work focus on the pianist’s age (he is now 19) and his many awards for performance and composition. This is entirely justifiable, except when it results in a glossed-over take on his music’s impact and his thoughts about the creative process. From an interviewer’s perspective, Tao makes things easy — he is exceptionally well-spoken and thoughtful in his responses. Perhaps this is because he is extremely busy and understands the value of making each word count. When he spoke with Pasatiempo, he had just completed a large-scale orchestral work commissioned by the Dallas Symphony. It will be performed in November, in observance of the 50th anniversary of the assassination of John F. Kennedy, and Tao admitted to being “very excited and a little terrified.” He returns to Santa Fe for Santa Fe Pro Musica’s season opener on Thursday, Sept. 19. During his last visit, in April 2012, he participated in a live recording of two Mozart piano concertos with the Pro Musica Orchestra. This time around, he’ll have his mind on the music from his recently released debut full-length album, Voyages, a pensive and virtuosic collection of pieces that transports the listener through time — from Rachmaninoff’s day to the present — and more hypnotically, through space. “I wanted to create an album that existed in this somewhat dreamy, liminal headspace, with a lot of works that seemed kind of suspended in time or surreal. So that’s where things like Gaspard de la nuit or Iridescence came in,” Tao said.
Thomas O’Connor conducting Santa Fe Pro Musica
Peter Norby
The composer’s perspective
quite a lot. It was a lovely way of forcing myself to think at length how I really wanted something to sound.” Some might overlook the spontaneous aspect of recording classical music, assuming that any creativity or improvisation would be limited to the compositional process. However, Tao said, “I’m a performer, and so I’m accustomed to this very spontaneous onstage type of work, and I think the key thing for me was understanding that there’s a real place for that type of spontaneity in the recording studio.” The creative process persists even after recording. Now, even though he’s been playing the pieces on Voyages for 18 months, he is still “living with them and figuring them out” in a performance context. It’s unusual for the composer to devote such an extended period of time to any work, especially ones that are his own. “I agonize over things a lot, and then once I decide I’m finished, I’m usually very quickly over it. Maybe when I’m done there’ll be a little time to go back, but it’s sort of like you closed a chapter and you just have to move on, especially with stuff that’s more recent. I feel like with my older works — and by older, I mean just two to three years older — once you pass a certain amount of time it’s like, OK, I can look back and reflect and listen and I won’t hate myself.” Time limitations also contribute to Tao’s unwillingness to dwell on completed projects. Since making his concert debut at age 8 (performing Mozart’s Piano Concerto in A Major), Tao has pursued a full-time international touring schedule. His fall lineup this year includes more than 50 dates with stops in such faraway places as Sweden and Chile. On top of that, he is currently enrolled in a joint degree program at Columbia University and Juilliard. Incessant practicing and composing fill every available moment in between. It’s no surprise that Tao is selective about the projects he takes on. He said, “I want to devote my creative energy to things that are actually galvanizing.” Earlier this summer, the pianist discovered a way to do that without sitting down at the keys. He created and curated the Unplay Festival, a three-night concert series that took place in June (funded in part by one of his most recent honors, the Avery Fisher Career Grant, awarded by the Lincoln Center), melding classical and new music in an alternative venue space. Tao and his band Sriracha kicked off the event with a live performance of Iridescence, but much of the festival was devoted to sets by classically influenced genre-bending collectives like Panoply Performance Laboratory and Iktus Percussion. “With every work that I do, I try to have an idea behind it. A principle or a concept,” he said. “We’re not just doing alternative venues because they’re fun and cool but because they provide a meaningful alternative to this already established context for listening to classical music. ... Changing the context of how you can listen to this music or where you can listen to this music also changes who can listen to this music, and it potentially opens up new avenues of access and communication.” With Unplay and the composing of his Dallas Symphony commission now in the past, Tao is once more looking to the future. “Because I’m kind of in the immediate aftermath of a large finished work, I’m in that stage of gathering ideas. I feel like a field reporter or something, just trying to collect and gather ideas into some kind of gigantic database, making notes and lists. “When I’m not doing that or practicing,” he added, “I’m marathoning Breaking Bad.” Of course, by Tao standards that probably means watching one episode a week. ◀
▼ $20-$65; Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org) ▼ Tao and the Pro Musica Orchestra perform 6 p.m. Saturday, Sept. 21 & 3 p.m. Sunday, Sept. 22, at the Lensic Performing Arts Center (211 W. San Francisco St.)
Jasper String Quartet
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PASATIEMPO I ????????? ??-??, 2013
Michael Abatemarco I The New Mexican
A SMUDGE, A STAIN,
A UNIVERSE
For 41 years Charles Greeley and his wife, fellow artist Bunny Tobias, have lived in Glorieta, where they run Gallery Zipp, housed in a 250-year-old adobe structure attached to their home and studios. Greeley, whose abstract paintings and landscape collages of the Southwest are featured in the exhibition Limitless at Eggman & Walrus, spent many of those years working in a variety of mediums. He turned from painting to collage about a decade ago, using printed Japanese papers, and then returned to painting. “I was doing landscape collages with magazine prints, museum catalogs, stuff like that,” Greeley told Pasatiempo. “This woman opened up a Japanese-paper import store in Albuquerque. She offered me a show and gave me $500 in Japanese paper to make the pieces, and 10 years later I’m still using it. They’re mulberry paper that’s heavily silk-screened. There’s a huge variety of colors. They’re mainly floral and geometric patterns. When it becomes a Southwest landscape it sort of assumes the colors, atmosphere, and light. I’ve been painting since the ’60s. The show I’m having is mainly paintings, but I’ll have these in it.” There is also a preview of collage artist Bernadette Freeman’s work. A solo show of Freeman’s art is scheduled for December. Greeley’s collages, based on real locations, are vibrant, richly patterned works, distinct from his paintings, which, though they have a landscape feel, are less representational. “My collages have influenced the paintings. There’s so many textures and matrixes of colors in those papers that I automatically started coming up with those subtleties when doing the painting.” Greeley’s collages are first composed in pencil. He cuts out the shapes of the drawings and uses them as stencils, tracing and cutting the decorative papers to match them. Greeley’s works in acrylic are rendered in a more spontaneous fashion. They are a blend of elaborate line patterns — like something from a topographic map — and abstract and geometric forms. Circles, hexagons, stars, and other shapes float in swirling maelstroms of color that Greeley refers to as “mindscapes.” They resemble molecular structures but are expansive — like a cosmic vision. Some of the geometric configurations were inspired by Moroccan tile designs but Greeley also lists Odilon Redon, James Ensor, and Max Ernst as primary influences. “We got invited to this Max Ernst retrospective in Houston one time, and this doctor was there, and I mentioned to him that my work was molecular, and he asked me if I wanted to view his electron microscope. I looked at slides of viruses and stuff, and it was like Hubble telescope stuff. The smallest things in the world, but it looked like outer space.” Greeley, who grew up in New York, graduated in 1963 from the School of Visual Arts, where he met Tobias. The couple felt the New York art scene was too restrictive, with gallery owners directing the trajectory of artists’ careers. “In New York I got this rap about ‘too exotic’ and ‘go to California.’ So I just gave up on that place. Getting away from New York was the best thing we ever did. In 1966 my brother called me up and said they’d busted a couple in an apartment for playing Ravi Shankar music and that I should stop playing that music immediately or else they’ll be at the door. We went to live in Mexico for six months to deprogram. Eventually, we made our way to San Francisco. At the time, people said San Francisco was 10 years ahead of New York, but they didn’t believe that in New York. But we realized people were freer and more enlightened. It was all about the raising of consciousness. There seemed to be more of that in California, which eventually got to New Mexico, too.” San Francisco in the 1960s has become almost synonymous with the hippie counterculture, with literature, music, and art of the area influenced by experiments with psychedelic drugs and different states of consciousness. “I came out of this group of San Francisco visionaries. There were a lot of artists getting their masters degrees. They were experimenting with just about everything that was out
PA I N T I N G S A N D C O L L A G E S BY C H A R L E S G R E E L EY
there. We tried to come up with an equivalent vision of what would happen on one of those trips. But now it’s all unconscious and just comes out. It’s like speculating on clouds or daydreaming. A lot of painters, they’re just daydreamers. Forty years ago I was caught up with what it meant. That doesn’t seem to bother me now. In New York they’d say ‘This is like abstract Surrealism,’ which put it in a time warp of the ’30s. They didn’t see it as another form of Abstract Expressionism, because that was supposed to be flat, and all this stuff has depth.”
People have lost their sense of dreaming, not enjoying the present, not looking forward to the future. The idea that I could return to this dream space and enjoy the time passing was a turn-on. - - Charles Greeley
Eventually, Tobias and Greeley wanted to distance themselves from the Bay area art world and came to New Mexico in the early 1970s. Greeley returned to painting two years ago. “A woman who had a piece of mine from 1974 sent me a jpeg of it, and Bunny and I thought it was better than what I was doing at the time, so I just started painting like that again. People have lost their sense of dreaming, not enjoying the present, not looking forward to the future. The idea that I could return to this dream space and enjoy the time passing was a turn-on. Part of your art education is that Leonardo da Vinci talked about being inspired by a paint-stained, aged wall. The smudge, the stain becomes imagery. All you have to do is get something going, and it becomes a world of fantasy.” ◀
details ▼ Charles Greeley: Limitless; collages by Bernadette Freeman ▼ Opens Friday, Sept. 13; reception 5 p.m. Saturday, Sept. 14; through Oct. 12 ▼ Eggman & Walrus, 130 W. Palace Ave., second floor, 660-0048
Above, Charles Greeley: Time Around, acrylic on canvas; opposite page, Pecos River, 2011, Japanese paper collage PASATIEMPOMAGAZINE.COM
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station
The New Mexican Adele Oliveira I
n o i ts at
K. Schmidt
orget all the standard art forms,” said artist Allan Kaprow in his 1960s lecture “How to Make a Happening.” “Don’t paint pictures, don’t make poetry, don’t build architecture, don’t arrange dances, don’t write plays, don’t compose music, don’t make movies, and above all, don’t think you’ll get a happening out of putting all these 9 ) OAKLAND together. ... The point is to make something new, something that doesn’t even 16th street station remotely remind you of culture.” Kaprow is credited with inventing the art form known as a happening in late ’50s. One of the first such events was called 18 Happenings in 6 Parts and took place at Reuben Gallery in New York. The gallery was divided into different rooms in which performers executed a series of prescribed actions, like squeezing oranges and lighting matches. In 9 conceiving of the happening, Kaprow’s aim was to inject both the familiar rhythms and the unexpected detours of life into art. In Assemblages, Environments and Happenings, he wrote, 7 “The line between art and life should be kept as fluid, and 8 perhaps indistinct, as possible. ... By avoiding the artistic modes, there is the good chance that a new language 8) LOS ANGELES will develop that has its own standards.” union station A new national art project called Station to Station: A Nomadic Happening arrives in the Santa Fe Railyard on Wednesday, Sept. 18. The project will move across the country on a nine-car train, but because of logistical constraints, the train will not come to Santa Fe from Albuquerque (artists, performers, and crew will travel north by bus). The event is at once orchestrated and chaotic: dozens of visual artists, musicians, architects, chefs, and other creatively inclined people will create a collaborative experience — if not quite a Kaprow happening, at least in the tradition of one. Before the project launched on Sept. 6, no one involved
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PASATIEMPO I September 13-19, 2013
The Southern California Drive-In Movie Society
N R A I LS O Y T R A P T R A T I O N ’S A T S O T N O I T S TA
7 ) BARSTOW sk yline drive-in theater
6 6) WINSLOW la posada
5 5 ) SANTA FE santa fe railyard
to stati on n o i t a t ot s
By its nature, the project is a constellation of ideas.
At the end, there will be hundreds of sh
I’m interested in the sense of displacement that comes from constant change and flux.
whether or not you were there in September. - - - Doug Aitken, creator of Stati
st. paul union depot
4
3 ) CHICAGO union station
y time and watch.
Because Station to Station is nomadic, you can acc ess it.
4 ) MINNEAPOLIS/ST. PAUL
3
ort films that anyone can pull up at an
2 2 ) PITTSBURGH union station
1
1) NEW YORK riverfront studios
on to Station
in Station to Station was sure what it would look, sound, or feel like, or what would occur once it was set in motion. Station to Station was created by Doug Aitken, a visual artist who works mainly in video and digital media. Initially, what’s most striking about the project is its scale: the sheer number of the participants and works presented during the tour makes it difficult to pin down and impossible to digest at once. Beginning in New York and concluding in Oakland, the cross-country trip will make nine scheduled stops in cities and small towns (as well as two unannounced stops) and includes visual artists of all disciplines (Peter Coffin, Thomas Demand, and Ed Ruscha, to name a few); musicians as varied as Beck, Patti Smith, and Albuquerque-based group The Handsome Family; and one-stop-only events — some of the culinary variety, like an Alice Waters-driven cookout in Oakland and an enormous cactus omelet cooked by Ruscha in Winslow, Arizona. A short performance by Aitken will open and close each happening. Station to Station’s website (www.stationtostation.com) will be updated with video along the way, and new content — such as a prerecorded interview with James Turrell — will be added daily. The digital art will be shown on a triptych of screens at the stops and will also be available online. A physical focus at each stop are the ever-changing “art yurts” designed by artists Kenneth Anger, Urs Fischer, Liz Glynn, Carsten Höller, and Ernesto Neto, and musical performances that vary from city to city. At Santa Fe’s sold-out show, Cat Power, The Handsome Family, Nite Jewel, and THEESatisfaction are slated to perform. Ticket holders are not allowed on the train itself, which serves as a mobile studio and broadcasting station between stops. And while the musical portion of the show is sold out, the public will be able to tour the yurts. “I wanted to see something exist where it wasn’t anchored to one place, continued on Page 42
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Station to Station, continued from Page 41
n o i ts at
Courtexy Levi’s
station
to stati on n o i t a t ot s
but was constantly changing,” Aitken told Pasatiempo. “I wanted to allow for friction between different forms of art and culture. ... I think there’s a tremendous amount of spontaneity. We’ve created an architectural framework, but I’m fascinated by the idea of art as a living system.” Spontaneity, it turns out, requires a great deal of advance planning. Station to Station was produced by Molly Logan, president of FredThinks, an event production company. Last-minute changes and navigating red tape are the norm: originally, Station to Station was to stop in Lamy, but because of various regulations and space constraints, it was relocated to the Railyard. The project’s organizational demands are enormous; new performers were added while others dropped out. “I met Doug about three and a half years ago,” Logan said. “We started talking, and he pulled out a napkin and drew a train going across the country and said, Do you want to do this? I said yes without really knowing what I was saying yes to.” Logan spent about six months in Washington, D.C., working out an agreement with Amtrak for using its rail system during the tour. “At that point, we had no funding and couldn’t pay anybody. I spent a year and a half just figuring out if we could do it.” While the project is sponsored by Levi Strauss & Co., all of the artists and musicians agreed to participate for free. After the funding was secured, Logan devoted most of her time to marketing strategies. “It’s important to us to put art and culture into digital distribution channels. People shouldn’t have to opt in to participate in art; it should be something you bump into.” Station to Station enjoys broad institutional support. At each stop, the project works with partner organizations, like MoMA PS1 in New York, the Walker Art Center in Minneapolis, and SITE Santa Fe here. Douglas Fogle, an independent curator who was previously the chief curator at the Hammer Museum in Los Angeles, helped Aitken select and approach artists to participate in Station to Station. Fogle is also a consultant for SITElines, SITE Santa Fe’s new biennial series, planned for 2014. It was Fogle who approached Glynn, whose 17-foot-diameter yurt will change from location to location. Much of Glynn’s work blends structures and performance. “I was excited about the idea of going on tour with a performance, because I’d never really had the right venue,” she said. “I’ll be traveling on the train all the way across the country, and at each site, my yurt will change and accumulate.” Glynn’s yurt is based on models of the universe drawn from theoretical physics. She will conduct interviews with scientists who study space from the train, which will then be played back in her yurt, the inside of which is a gray-felt maze whose path changes at each stop. “The idea of reaching people who aren’t the standard higher art audience is interesting. Kids who take the time to go to music shows might be more open to the content ... And while the physical size of the yurt forces a type of intimacy, there are so many people involved. That chaos appeals to me.” Musicians were often approached by other musicians, or got involved through word-ofmouth. “We’re friends with Jeff Tweedy, who recommended us for the New Mexico stop,” said Rennie Sparks of The Handsome Family. “Usually, we wouldn’t do something like this, but it seemed really interesting. It all seems like it’s pretty loose — I do know we’re playing for half an hour. Maybe it’s good to go into it with a sense of adventure and mystery.” Station to Station concludes on Sept. 28 in Oakland, just three weeks after it embarked. The train, which is made up of borrowed cars (one from 1912, another a 1940s observation car) will be disassembled. The yurts disappear, the omelet is eaten, and everybody goes home. But Aitken sees the end of the physical tour as the beginning of something else, and posits that digital tools allow us to remotely retrieve happenings after the fact. While it is a less immediate experience, participating in a happening online does democratize the form. “By its nature, the project is a constellation of ideas,” he said. “At the end, there will be hundreds of short films that anyone can pull up at any time and watch. ... I’m interested in the sense of displacement that comes from constant change and flux. Because Station to Station is nomadic, you can access it, whether or not you were there in September.” ◀
details ▼ Station to Station: A Nomadic Happening ▼ 6 -10:30 p.m. Wednesday, Sept. 18 (7 p.m. procession of participants wearing African headdresses, organized by artist Meshac Gaba) ▼ Santa Fe Railyard, northwest corner of Guadalupe Street and Paseo de Peralta ▼ Tickets ($25) for performances in the Farmers Market Pavilion sold out, installation and other events no charge; see www.stationtostation.com/location/santa-fe
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PASATIEMPO I September 13-19, 2013
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ART IN
REVIEW
Rex Ray: Colortopia, Turner Carroll Gallery, 725 Canyon Road, 986-9800; through Sept. 29
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carnival spirit runs through Colortopia, the Rex Ray exhibit at Turner Carroll Gallery. Ray, in compositions that recall design motifs from the 1950s and ’60s, makes images for visual-pleasure junkies, full of color and quirky patterns that delight the eye. From a distance, his works look like paintings, but close inspection reveals a complex building up of materials that includes silk-screened and hand-painted cut paper and photographic elements. Colortopia features large-scale geometric abstractions and examples of a new, small series of Ray’s clown portraits. The larger pieces in the show are nonobjective, ornamental abstractions arranged in configurations that lend them a floral, organic appearance. Ray infuses his canvases with strong kaleidoscopic graphics. Colors and shapes pop off the background. Finial and tear-shaped components appear and reappear from canvas to canvas along with other shapes that suggest spinning Ferris wheels or pinwheels as well as daisies and other blossoms. Titles such as Ossomyces and Thamnolyrica intimate a biological influence, and the forms and patterns resemble molecular structures at their most elemental. At the same time, the colors, shapes, and arrangements are retro, psychedelic, and a little mystical, with an elegant decorative sense. The most curious aspect of Ray’s work is his blend of styles and materials. Perhaps best described as mixed-media collages, the pieces are infused with a fair amount of splatter and loose brushwork, but these don’t contrast with the collaged elements so much as complement them. Silk-screened dot patterns appear here and there, overlaid with cut-paper dots and dripped paint. The chaotic elements are often confined to a broader structure. Peer into a finial shape or a similar form — rich, variegated worlds are contained therein. Although lost among the larger works on view, the small clown portraits are similarly composed, using a combination of printing and hand-coloring techniques. Essentially still lifes, the clown faces are photographic images with oil paint and silk-screening and are based on antique Murano glass clowns. Ray’s painting technique is gestural, and he allows the paint to run and drip, which adds to the melancholy feel of the portraits. These clowns are not sophisticated, sly Harlequins as much as simple, sad hobo types. With
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PASATIEMPO I September 13-19, 2013
Rex Ray: from left, Almo A3 #2; Senso A4 #1; both 2011, oil and pigment print on canvas with silk-screen overprinting Top, from left, Ossomyces, 2012; Xanthrocodone, 2013; both mixed-media collage on linen
one exception — Senso A4 #1 — they are not sinister. Still, if you suffer from coulrophobia (fear of clowns), you might want to stay away. Even if you are unfamiliar with his name, you’re probably familiar with Ray’s work. He gained an international reputation for his album-cover and poster designs as well as his work for Apple, Dreamworks, and other companies. Ray is also well known for his geometric abstractions, and most of the work in Colortopia is nothing new. The clown portraits draw interest because they’re a departure from the wild, varicolored topiary forms of the abstract pieces, but they could be shown to better effect. Stuck in a corner at the back of the room, they seem almost an afterthought. The clowns are also more painterly than the other imagery. It will be interesting to see if Ray continues with what is, apparently, a rare venture into figurative work. — Michael Abatemarco
Art Exhibition of Chilean Artist Carlos Carulo selection of works 1984 to 2013 .
invites you for
Yom Kippur Friday, September 13 Kol Nidrei 6:55pm
Saturday, September 14 Morning Services 8:30am Children's Service 10:30am Yizkor & Mussaf 11:00am Afternoon Services 5:15pm
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Warm & Welcoming Environment • Traditional, Meaningful Services Children’s Programs • Free & Open to All
Complete Schedule At KolBeRamah.org 551 W Cordova Road, Suite F • 505-216-6136
"El otro Chile" at El Museo Cultural
on Wednesday, September 18, 2013 between 5:30 and 8:30 p.m. el
MUSEO
CULTURAL de Santa Fe
Artes visuales, música y cine con sabor del sur
Free chilean Art Exhibition featuring paintings, sculpture, music and films.
El Museo Cultural de Santa Fe, on the Railyard, 505-992-0591 www.elmuseocultural.org
Join Us
September 21st 5:30~8:00 pm 750 Camino Lejo Santa Fe, NM 87502
Arlene Cisneros Sena Kevin Red Star Stan Natchez Amado Peña Robb Rael Armando Adrian Lopez Amado Joseph Comellas
Daily headlines from santafenewmexican.com and Fridays from pasatiempomagazine.com.
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Flamenco with Chuscales, Mina Fajardo & Paella by Taberna Tapas by SFCC East Side Eatery Premier Silent Auction featuring
YOUR MORNING FIX.
“Angelito Mio”
Honorary Chair Justice Patrico M. Serna, Retired
Rising Stars in the Southwest
A 501 (c) 3 Organization Tickets at Alphagraphics and online at www.RisingStarsSouthwest.org
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Paul Weideman I The New Mexican
Ancient migrations David E. Stuart’s Finding the Calories project
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nthropologist David E. Stuart doesn’t deal in possibilities or even probabilities to explain the rise and fall of the Chaco Canyon culture. Instead, he employs detailed analyses of the energy — specifically, the calories — involved in maintaining a population living off the land. The number of Ancestral Puebloan people at Chaco dramatically increased beginning in the 9th century, but by the late 1200s, everyone was gone. Stuart speaks about “Energy Consumption and the Rise of Chacoan Society” on Wednesday, Sept. 18, by Stuart, interim president and a senior scholar at the School for Advanced Research. This is the first in a planned series of free public lectures presented by SAR under the umbrella The Archaeology of New Mexico: Lessons on Land Use, Resources, and Cultural Institutions for Our Modern World. Stuart speaks on Oct. 9 about “Decline and Disillusion of the Chacoan World.” Stuart earned his bachelor’s degree in anthropology at West Virginia Wesleyan College and his M.A. and Ph.D., both in anthropology, at the University of New Mexico, where he is a part-time professor of anthropology and associate provost emeritus. Among his many books are The Magic of Bandelier, the novel The Ecuador Effect, and Pueblo Peoples on the Pajarito Plateau: Archaeology and Efficiency. Pasatiempo: Tell us about your Finding the Calories project. David E. Stuart: I’ve been doing undergraduate teaching at UNM in addition to some administrative work for about 40 years now. In the last few years I have phased in a multiyear project where we asked students to engage in basic research, trying to answer questions that my profession has never been able to answer. One has to do with the assumption that when pottery and the techniques of making it became available in 200s and 300s A.D. in southern New Mexico, in the Mimbres country, they rapidly spread to the Four Corners district because they were so much more efficient than the more ancient technique of heating rocks in a pit and putting them in another pit lined with clay or hide to boil your ground-up grass seeds and corn and such. I got an engineer who dealt with thermodynamics, a facilitator with my students, and they went out and replicated this. They used micaceous-pottery vessels approximately the same size as those from 300 to 400 A.D. in the Maxwell Museum collection. They cut and broke up firewood and measured everything with thermometers to come up with the BTUs [British thermal unit, the amount of heat energy needed to raise the temperature of one pound of water by one degree Fahrenheit] in the firewood. Pasa: What was the point of that? Stuart: Well, what they determined was that it was much more expensive to do pottery cooking if you measure it from the perspective of consumption of raw calories as BTUs in the firewood, but it was less labor for the women tending the fire to do it with the pot than to do it with the stone-boiling technique. So in the short term, in the early days of the settlements where firewood was plentiful it was just like putting ethanol in gasoline these days. It was an expedient thing to do, but it had long-term unsustainable costs, which became a factor in why people had to move away from particular districts after 20 or 40 years of using up the firewood. It cost a lot more energy, but the human calories consumed were fewer to do it, so it minimized the need to expand your agricultural fields as long as you had cheap, plentiful firewood nearby. When the firewood was gone, you were going to move, and you’d have to do more farming. Pasa: So people were using up the resources on the land. 46
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Stuart: That’s right. Then we went on to larger questions and calculated the caloric needs for a family of 11 in the Four Corners in 200 A.D. and projected that over time, in terms of population growth and wood use and other factors, and gave ourselves a thousand-year picture, basically of the energetics: why the system grew as it did and why it came undone. Pasa: Talk more about this focus on calories. Stuart: All calories eventually translated to corn, beans, and David E. Stuart, SAR’s interim president squash, and we know what the yields were by decade, we know what the dry weight of the corn was, and we know other pertinent factors, so it’s pretty easy to compute the changing work and labor demands and the declining nutritional status of the farmers. Pasa: People had to go farther and farther for fuel. Stuart: That is a factor, but the bottom line is they created a system that became more and more expensive in terms of labor and land they had to have and the corn they had to grow, and the more infrastructure they created, the more they had to support. So they got themselves into an inadvertent growth model, from the bottom up, and began to act like contemporary America. The growth curve from 200 A.D. to 950 was a ninefold increase, which is the same curve as what we saw in the United States from 1880 to 1980. Pasa: In October you will address the decline and abandonment of Chaco. What were some of the dynamics? Stuart: It all boils down to labor, corn, nutritional status, and costs. The reason I took this line of research, and I’ve lectured about this at the Sorbonne and Edinburgh, is that the arguments do not rest on opinion or tortured theoretical permutations. This is not faith-based anthropology. This is not sitting in an armchair and modeling it; this is all about the calories that everybody in America deals with every day. Eventually the Chacoans ran out of good land for farming. We’re doing some of the same things in contemporary America. We’re making some of the very same mistakes that the Chacoan elites made in the 1000s and 1100s. It cost them their world, their way of life. They pushed a particular model of doing things past capacity. Pasa: You don’t theorize, for example, about possible behaviors and conflicts that may have arisen? Stuart: It’s not like I never did that in my career, but I look back and I think this is more real, more tangible. Any engineer would agree with this. The economists get this. These are practical, real-world matters: How are you going to make it through today, through the week, through the season? How are you going to support a pregnancy? How many calories does the woman need to lactate long enough? And when can the child join the labor pool and become productive? Pasa: Wasn’t drought an important factor?
Above, incised petroglyph of Navajo ye’ii (god) figure at Chaco Canyon; top right, Peñasco Blanco ruin at Chaco; left, Hungo Pavi ruins looking toward Fajada Butte; photos David Grant Noble/School for Advanced Research
Stuart: There were droughts, and there was overfarming of the land. Corn steals nitrogen very quickly from the soil. There was overhunting and game got scarcer and you had pernicious anemia. There were 10 or 12 factors that all collided. Pasa: Didn’t the people grow beans to replenish the soil? Stuart: Some did, some didn’t. It depended on the soil, the elevation, and how hard the farmers were pushing to get a big corn crop. Corn is the most expedient crop, just as it was for the earliest Dutch settlers in New Amsterdam. It wasn’t that the Europeans coming to the Eastern seaboard preferred corn — they vastly preferred wheat, rye, and buckwheat — but if you were starting out a new field or you had a bad harvest the year before, the first thing you planted was Indian corn, maize. This work doesn’t solve everything about Chaco, but it is a base from which you can leap into other domains of explanation without getting too far away from the realities of what it was like for real families in the real world over a 800- or 900-year period. ◀
details ▼ David E. Stuart lecture: “Energy Consumption and the Rise of Chacoan Society,” presented by School for Advanced Research ▼ 7 p.m. Wednesday, Sept. 18 ▼ James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Road ▼ No charge; 954-7200
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Michael Abatemarco I The New Mexican
STRANGE SIGHTINGS WO R K S BY A L L A N & G LO R I A G R A H A M
You’ve seen them on the internet, and you’ve seen them on TV. Perhaps you’ve even seen them in person or thought you did. Think about the way they move, flicking in and out of sight at dizzying speed and stopping to hover just long enough to for you to notice. Then, whoosh, they’re gone again, the way a random thought or word is held pure and crystalline in the mind but vanishes — along, it seems, with your memory of it. Allan Graham, under the moniker Toadhouse, presents pieces from his UFO series at David Richard Gallery as part of the exhibition Any Position Limits the View (We Are Only Here for a Spell). But Toadhouse’s paintings are not about visitors from outer space — except insofar as that’s a metaphor for thoughts themselves. At a distance, a painting from the series looks nearly monochromatic, and shapes emerge: clusters of marks that coalesce into disclike objects. The forms you see are composed of words. Some are sentences, and others are single words that rain down or encircle the more figurative imagery. As a title, From and Form in an If Shower — one of the paintings from the UFO series — sounds like the kind of tag that provokes a viewer to say “I just don’t get it.” But Toadhouse uses titles descriptively. The UFO shapes in the painting were made using the two words from and form. The marks falling all around them are repetitions of the word if. “The only things I’m showing that have been shown before are the UFO paintings,” said Graham, who began signing his pieces as Toadhouse in the late 1980s. “I started out as a painter. Then I did three-dimensional pieces, taking stretcher bars, manipulating them and stretching canvas over them. When I went back to the flat surface again, I was doing all this writing, just notes to myself, that I shared with [Vincent] Barrett Price, the poet. We go back a good 30 years. I started writing these notes to myself in a subterranean room I built with my son. We called it Toadhouse because we kept finding toads in it. That’s where I started writing the notes, and I’d give them to Barrett.” Graham and his son built the kivalike structure at Graham’s former home in Albuquerque. Price is one of 25 poets represented in a photographic and video project Graham collaborated on with his wife, Gloria Graham, called Add-Verse. David Richard shows Add-Verse, as well. “We did it together 10 years ago. Gloria took the photographs, which are all candid shots she did while I was talking to them, and I shot video. It’s a historic piece because seven of the poets died since then. The oldest was 100 to begin with — that was Carl Rakosi. There are some that are local, like Arthur Sze and Mei-Mei Berssenbrugge, but the others, like Michael McClure, Diane di Prima, Robert Creeley — they’re historic names.” The Add-Verse photographs are portraits of the poets, while the video component of the project is a montage in a continuous loop. The poets recite examples of their work, and the camera focuses on their hands and the text they’re reading. “We have enough poet friends to know that I’m not a poet,” Graham said. “They’re dedicated in an entirely different way. But I always saw a twist in language where it would go different ways depending on how you received it.” The exhibition title refers to the multiple meanings of words but also to the ways in which we look at art. The view can be limited by one’s physical position and by the subjective associations one makes with words. “I tagged on We Are Only Here for
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a Spell to the title. The word spell has three meanings. Time, language, and illusion.” David Richard also features Graham’s preToadhouse sculptures — the oldest, As Real as Thinking, goes back about 30 years. These sculptures are shaped canvases plastered with pages of text. Language and wordplay have dominated Graham’s work since that time. “It’s an interest in the way the mind sees things through words. I was strongly visual prior to that, so I just brought the visual and language things together.” Most of the work created since his show at SITE Santa Fe in 2000 has not been shown publicly and includes hard-edged minimalist paintings from a series mostly based on four-letter words, some of them swear words. These also appear at David Richard. The paintings read as abstractions, but their titles, such as Full and All, are, like the UFO titles, descriptive. The words can be detected in the paintings. Graham composed them as arrangements of geometric shapes, using just the negative spaces between the letters. He examines the relationship between language in its written form and art, erasing any perceived barrier between them. The medium he uses, common to artist and writer alike, is graphite. “Writing is a form of drawing. When I did the UFOs with all the little words, it kept taking off. But you have to build the painted surface of the canvas up to the point where it will take the writing with very little pressure, otherwise you’d be cracking the paint. It’s got to move fluidly. I knifed on thin layers of oil paint. It’s a long process to where it would close the weave off.” Graham applies the graphite to the paint before the paint has fully cured, so, when completely dry, the graphite doesn’t smudge. More recent works such as Urinating Beneath a Star Swept Sky are intended to have a bit of humor. “Humor loosens the mind up to accept things,” Graham said. “I did an interview with John Yau of The Brooklyn Rail and quoted G.K. Chesterton. It goes something like, ‘Do you know why angels can fly? Because they take themselves lightly.’ It’s just fantastic, and I try to remind myself of that because the art world is way too serious. I grew up with a father who made really bad jokes at the dinner table. I realized much later that I inherited it. Now I realize that our son does that, too.” The UFOs are the few works in the show in which the arrangement of words have a visual appearance similar to the objects in the series title. “There’s a tradition of what’s called concrete poetry, where you do drawings with words to look like what’s described in the poem, but that wasn’t what UFOs was about. It was never diagrammatic.” But imagery in the series does reflect the meaning of the words in an odd way. “I took the word kill, and when I wrote it using just the negative spaces to create the letters, one element was like this arrow pointing back. Automatically you make a reference in your mind, but it’s kind of like watching a flame and listening to music, and you’re convinced the flicker goes along with the music. It’s the mind that makes the connections.” ◀
details ▼ Toadhouse (aka Allan Graham): Any Position Limits the View (We Are Only Here for a Spell); Graham & Gloria Graham: Add-Verse ▼ Through Oct. 19 ▼ David Richard Gallery, 544 S. Guadalupe St., 983-9555
Toadhouse (aka Allan Graham): Your Head Shapes Your View, 2008, pigmented ink and graphite on paper; opposite page, As Real as Thinking, 1983, wood and paper collage on canvas
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Look back in Angora Robert Nott I The New Mexican Plan 9 From Outer Space, terrible sci-fi classic, not rated, 11 p.m Friday and Saturday, Sept. 13 and 14, Jean Cocteau Cinema, 3 chiles Viewing Plan 9 From Outer Space, Ed Wood Jr.’s masterpiece (when compared with the rest of his films), one can be forgiven for wondering what the other eight plans were. This particular plan involves outer-space invaders shooting long-distance electrodes into the pineal and pituitary glands of the recently dead, bringing them back to life in an effort to persuade earthlings to stop creating weapons of destruction. The aliens only manage to revive three corpses — a massive police detective played by Swedish wrestler Tor Johnson, a frail old man played by Bela Lugosi and his stunt double, and the old man’s kinda hot young wife, played by cult horror figure Vampira, aka Maila Nurmi. This trio of ghouls moves as slowly as snails yet still manages to overwhelm fast-running humans. The police are called into investigate these strange doings, and the actors portraying cops keep pointing their guns at their own feet and heads as they pontificate with such brilliant lines as, “Inspector Clay is dead ... murdered! And someone’s responsible!” Incidentally, the entire picture is narrated by a guy sitting in a coffin, who solemnly notes, “We are all interested in the future, as that is where you and I will spend the rest of our lives.” And then he takes us into a flashback. Weird. But that’s the story of Ed Wood Jr., who died, forgotten and broke, in late 1978. By most accounts he was a charming, cross-dressing, hard-drinking man who believed his movies — which included Glen or Glenda (cross-dressing sexchange antics), Bride of the Monster (mad scientist makes monster-men in the swamps while rallying against atomic weaponry), and The Sinister Urge (young women caught up in the smut industry) — contained serious sociopolitical messages. You could make a night out of watching all of his films in a row, but you probably shouldn’t. Wood is gone, but his films — particularly Plan 9 From Outer Space — survive. And luckily for Santa Feans, the Jean Cocteau Cinema is screening this 1959 beauty as part of its late-night screening series at 11 p.m. Friday and Saturday, Sept. 13 and 14. By most accounts Wood shot Plan 9 in four to six days on a minuscule budget in the old Quality Studios soundstages, with prop tombstones so lightweight that the actors kept knocking them over as they walked through the graveyard set. “The sets looked like something a 6th-grade class has hastily put together,” actor Gregory Walcott recalled in a first-person account of the production. “The crew seemed fairly normal, but the cast members were a bizarre assemblage of Wood’s cronies: hopeful actors, former wives, an astrologer, an over-the-hill wrestler, a few cross-dressers, and his chiropractor. The set had an ambience 50
PASATIEMPO I September 13-19, 2013
of an old-time carny side-show, not a professional movie sound stage. I went home that first day and I remember distinctly saying to my wife, ‘Honey, this has got to be the worst film ever made.’ ” He said a mouthful. Just about the time of Wood’s death, film critics and authors Michael Medved and Harry Medved bestowed one of their infamous Golden Turkey Awards on Plan 9 From Outer Space, citing it as one of the worst films ever made. Jon Bowman, manager of the Jean Cocteau, doesn’t agree. He thinks Phil Tucker’s cheapie sci-fi picture Robot Monster (1953) is worse. That one features a guy dressed in an ape suit with a diving helmet on his head who uses a bubble machine to try to destroy the earth’s last six human survivors, who live just around the corner from his cave in Bronson Canyon. Don’t laugh — knowing Bowman, he’s likely to run that one as part of his late-night screening series sometime down the line.
Hubcaps over Hollywood; below, Criswell; opposite page, Maila Nurmi and Tor Johnson
Plan 9 was financed by a Baptist church group that hoped Wood would use the profits to make religious pictures. Among the players is the aforementioned astrologer Criswell, who in narrating the film insists that it is all based on fact. Lugosi’s participation is now legendary: Wood shot footage of the actor cavorting about in one of his Dracula capes before Lugosi’s death in August 1956. Then, to mask his star’s death, Wood hired his chiropractor, Tom Mason, to fill in. According to Bowman, “It was never really clear if the footage Wood shot of Lugosi was part of this project or for a different project, but when Lugosi died Wood inserted it into this film along with the horrendous coverage footage of his double [Mason] holding his cap over his face so you can’t tell it’s not Bela Lugosi.” Only you can tell, and that’s part of the fun. Wood actually released the film as Grave Robbers From Outer Space in 1957 before his Baptist backers gave him grief for using “grave robbers” in the title. He — or someone — retitled it Plan 9 From Outer Space, and it was rereleased to an unsuspecting public in 1959. Wood’s second wife, Kathy, recalled to author Rudolph Grey for his book Nightmare of Ecstasy: The Life and Art of Edward D. Wood, Jr., how the weather conspired to dampen spirits on the night of the film’s preview in the Los Angeles area. “It was raining like hell. We had this Cadillac convertible and couldn’t get the top up. I said, ‘Eddie, you go down there, the hell with it, I’m not going. It’s raining outside and we can’t get the top up!’ Poor Eddie! Poor darling Eddie! Anyway Eddie gets in the car and he looks so sharp. And here it is, Eddie’s driving along, trying to look nonchalant, the rain is pouring, he’s all dressed up in this suit, he’s going over the top of Barham Boulevard, and everybody’s looking at him. He’s crazy! And he’s trying to be nonchalant. Even though the car was starting to fill up!” Sadly, that was not only a harbinger of things to come, but probably the highlight of Wood’s career. He made a few more films, including Night of the Ghouls and Orgy of the Dead, before turning to penning erotic novels including Black Lace Drag and Young, Black and Gay. By the 1970s he was working in one capacity or another on low-budget sexploitation films. Wood’s friend Phil Cambridge told Grey that Wood said, “Plan 9 is my pride and joy. If you want to know me, see Glen or Glenda, that’s me, that’s my story. No question. But Plan 9 is my pride and joy.” It’s probably a lot of people’s pride and joy, Ed. ◀
FREE Workshop! Preparing for Fall
Extending the season for both ornamentals and vegetables
Drop in SATURDAY, SEPTEMBER 14, between 9 and 11 a.m. County Fairgrounds, 3229 Rodeo Rd. No registration required.
A community service of
Learn more at sfmga.org
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movIng Images film reviews
A classic whydunnit Michael Abatemarco I The New Mexican The Missing Piece: Mona Lisa, Her Thief, the True Story, documentary, not rated, in English, French, and Italian with subtitles, The Screen, 3.5 chiles Sometimes a filmmaker starts off making one project only to see it veer in unexpected directions. Such is the case with The Missing Piece: Mona Lisa, Her Thief, the True Story, a documentary by Joe Medeiros. The filmmaker started his research into Vincenzo Peruggia more than 35 years ago, in the hopes of writing a dramatic screenplay based on the story. Peruggia, a laborer, was convicted for the 1911 theft of Leonardo da Vinci’s masterpiece from the Louvre in Paris. The reasons behind the theft — unsolved for two years — are unclear. Some think, possibly because of a story line in a 1932 film about the theft, that he did it for the love of a woman. Others believe he did it out of a sense of patriotism, attempting to return the Mona Lisa to Italy in retribution for the masterworks taken by French soldiers during Napoleon’s Italian campaigns, many of which were never returned. The truth is less romantic, but Medeiros presents it effectively, in an engaging way. When Medeiros learned that Peruggia had an 84-year-old daughter still living in the northern Italian town of Dumenza, close to the Swiss border, where Peruggia lived, he flew to meet her. “My name is Celestina Peruggia,” she tells him. “I am
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Cartoon in response to the theft of the Mona Lisa, mocking the “well-known zeal of the guards.”
the daughter of the man who stole the Mona Lisa. And I am in the sunset of my life.” Celestina wants answers. Her father died at the age of 44, when she was still a toddler, and she remembers little about him, but his legacy is one of disgrace. Like many, she believed nationalistic pride led her father to steal the painting. Medeiros wonders why, if that was the case, no memorials have been erected in the town to commemorate Peruggia, whose crime was apparently intended as a gift to all of Italy. Local folk explain that laws prevent memorials that honor criminal behavior, though there is one erected in memory of Benito Mussolini, leader of the National Fascist Party and prime minister of Italy from 1922 to 1943. The Missing Piece is not a whodunnit, as the culprit has been known for many years, but the question of how he did it and why are important elements of the film. Reconstructing the events from the original police reports and archives at the Louvre, we learn that Peruggia was hired to help install protective glass throughout the galleries after the Louvre came under fire for its poor security. The Mona Lisa hung on a wall by four hooks among many other Renaissance masterpieces from Italy. It could be removed by simply lifting it off the hooks. The theft happened on a Monday, when the museum was closed to the public and the security presence was significantly reduced. The film’s dramatizations of these events are mainly told through interviews, playful animated sequences, and stock footage, and it’s a thorough reconstruction. Peruggia may have acted out of bitter resentment after being thought of by the French as a sale macaroni, a derogatory term for Italians. Peruggia
had been arrested in France twice before, once for attempted theft, but Medeiros believes that incident was a simple misunderstanding. Peruggia, a short, unassuming family man, could not have stolen the Mona Lisa, people felt, because he lacked the shrewd intelligence of an art thief. Twice stricken with lead poisoning, Peruggia may have been acting out of an impulse beyond his control. A criminologist explains how lead poisoning affects the part of the brain that controls decision making and suggests a correlation between the effects of lead poisoning and criminality. This explanation never seems quite right, though. Some think Peruggia was acting in the service of a wealthy aristocrat. Pablo Picasso became implicated merely because he based many of his paintings on tribal artworks in the museum’s collections and had access to them. The poet Guillaume Apollinaire was also suspected. Both men flatly denied the charges. One theory suggest that one Eduardo de Valfierno, a con man from Argentina, masterminded the theft, but The Missing Piece persuasively argues that Peruggia acted alone. Letters written by Peruggia indicate that his motive was purely financial. Celestina’s hope to find some noble explanation for her father’s infamous heist looks to be undone by this news, but her emotional reaction takes Medeiros and his film crew by surprise and leads to a satisfying conclusion. If you visit Dumenza today, never mind Mussolini. Look instead for a small tribute to a small man who successfully orchestrated one the biggest heists in modern history. ◀
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The art of war Jonathan Richards I For The New Mexican Cutie and the Boxer, documentary, not rated, in Japanese with subtitles, Center for Contemporary Arts, 3 chiles Any woman who has ever subordinated her ambitions and her career to those of a man (and you know who you are) will identify with this sometimes charming, sometimes uncomfortable, and often poignant documentary about Noriko and Ushio Shinohara, a couple of Japanese-American artists who have been struggling in the New York art scene for better than 40 years. Until recently, Ushio has been the visible one. As a young man in Tokyo, he established himself as a formidable young Turk of the art word with his “boxing paintings,” action-drip works created by the wiry bantamweight artist strapping paint-soaked sponges to boxing gloves and going a few rounds with a large canvas. He came to New York at the end of the ’60s to make his splash in a world-class pond. And while he made a reputation and hung out with Andy Warhol and the stars of the New York art world, somehow none of that ever translated into the big bucks. In 1972 a pretty 19-year-old art student named Noriko came to New York from Japan to pursue her dreams. There she met the swaggering bad boy with the boxing gloves and the big reputation and fell in love. She moved in with him (and started paying his rent), and a few months later she was pregnant. Ushio was 21 years older than Noriko. Between her son, Alex, and her self-centered, immature husband, Noriko found herself with two children to raise.
Noriko Shinohara
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Bam! Biff! Pow!: Ushio Shinohara
Ushio was an alcoholic until recent years, when he developed an allergy to liquor that left him gasping for breath when he drank. Old home movies and clips from a 1979 documentary show the middleaged Ushio in maudlin bouts of boozy carousing with his friends. The movie doesn’t go into the effect his alcoholism had on his career, but the question hangs there. Alex, who grew up with an alcoholic father as a role model, is now an artist with the same inclination toward drink. When they met, Ushio was the star, and the teenaged Noriko assumed the role of assistant, and then wife and mother (not in that order; they were not married until 1979). Over the years, Ushio has seen no reason to upset that balance. “The average one has to support the genius,” he says, and there is no question in his mind who is which. “I’m not his assistant,” Noriko tells us. “It’s better I make my work. But sometimes I help, because it’s an emergency.” “Because I’m husband,” Ushio says, with a twinkle that does not disguise his underlying conviction. Noriko shakes her head and laughs. “You are so pitiful!” The digs and the wounds and the depths of the friction in this four-decade relationship are on clear display. But so is the affection. The perennial shortage of money is part of the problem. The movie begins on Ushio’s 80th birthday, and one of the first bits of news we get is that they don’t know where the money is coming from to pay the rent. They live in the Dumbo section of Brooklyn, where they share a studio — it used to be all Ushio’s, and to be fair, he does work a lot bigger, executing fantastic brightly painted larger-than-life cardboard motorcycle sculptures, among other projects. But in recent years Noriko has put her foot down and claimed her
half of the studio space for herself, citing Virginia Woolf as her authority for a woman needing a room of her own. Noriko talks about the deadening effect that their relationship has had on her art, so it is a bit of a surprise to check the record and find that her work has been shown in dozens of exhibitions in New York and Japan dating back to 1981. But it was with her development of her alter ego, the cartoon character of Cutie, that Noriko really came into her own. The name comes from an encounter with a young man on the street who called out to the then-50ish Noriko, “Hi, cutie!” Cutie is introduced to us naked (“because she is so poor,” Noriko explains), and we see her in a number of moods as she deals with her life and her difficult husband, to whom she assigns the name Bullie. Noriko executes these ink drawings in notebooks in the form of something like a graphic novel, and when the Japanese owner of a Soho gallery comes to see Ushio’s work, she persuades him to have a look at her work as well. “This series was first entitled ‘Child-raising hell,’” she tells the admiring gallery owner, “but later it turned into ‘Ushio raising hell.’ ” Filmmaker Zachary Heinzerling makes himself invisible, blending into the Shinoharas’ life so naturally that we are not aware of another presence in the room. The result is a sometimes startling window on a relationship that has been through the strain of ego and poverty and alcoholism, but for which things seem to be looking up. “We are like two flowers in one pot,” Noriko explains philosophically. “Sometimes we don’t get enough nutrients for both of us. But when everything goes well, we become two beautiful flowers. So it’s either heaven or hell.” ◀
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A life more or less ordinary Laurel Gladden I For The New Mexican This Is Martin Bonner, day-in-the-life nondrama, rated R, The Screen, 3 chiles Every once in a while, a modest film comes along, catches you off-guard, and reminds you that the role of cinema actually isn’t to keep you constantly stimulated, excited, and amused, particularly using artificially stirred-up emotions, contrived drama, and CGI gimmicks. This Is Martin Bonner — a touching, restrained work from writer-director Chad Hartigan — is one of those. Not much happens in this brief, spare film, but it still seems to deal with a profound notion: What makes an ordinary life worth living? Martin Bonner’s not a typical protagonist by any stretch. He’s a divorced 60-something Australian expat who has moved from Maryland to Reno, Nevada, for a new job — managing a group of “mentors” who help recently released prison inmates reenter society. He’s a decent guy who lives alone in a small tickytacky apartment, listens to records and 8-track tapes while he makes his dinner, buys random household items at auction and flips them on eBay, and referees local teenage girls’ soccer games. Every couple of days he calls his children, who live two time zones away — a daughter who’s concerned that Martin isn’t dating and a son who apparently never returns any
Sam Buchanan and Richmond Arquette
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PASATIEMPO I September 13-19, 2013
Paul Eenhoorn
calls. Gray-haired Paul Eenhoorn plays Martin, and he looks like a guy you might actually know from the gym, the bank, the laundromat, or the diner. When Travis (Richmond Arquette, brother of David, Patricia, and Rosanna) gets released from prison a day early, Martin gives him a ride into town. Travis looks as wide-eyed and unsure as a baby. On the way to the shabby motel that will be Travis’ new home, Martin offers to buy him a cup of coffee. Each of these men is at a sort of crossroads and looking to mend some kind of fence (to say more would be to risk revealing too much of the little this film has up its sleeve). You start to wonder whether this is the beginning of a beautiful friendship.
But this isn’t your typical “two men form an unlikely bond” tale. Not much feels forced or contrived. Hartigan doles out select information in tiny bites, although frankly, it wouldn’t have hurt for him to have fleshed out his characters a bit more. He lets the story unfold at its own slow, natural pace, like an ambling, postprandial stroll. This tempo won’t please everyone. I’ll admit that at times, my mind wandered, and I started to think this film was too loose, minimal, and austere. But by the time the closing credits rolled, I was sad — almost shocked — to see it end, and in the hours that followed, my mind wandered off other, more pressing topics and back to This Is Martin Bonner. A real-life authenticity imbues nearly every scene. The opportune bursts of ambient noise, like the disorienting rumble and howl of a passing train. The echoing, sometimes almost hollow-sounding instrumental score by Keegan DeWitt. The way Sean McElwee’s cinematography captures the cold crispness of winter air and hints at beauty in drab, even dirty, ordinary things. Watch his 360-degree panorama of the highway, storage tanks, and dingy light-industrial buildings outside Travis’ motel. Notice his careful scan of Martin’s almost monastic golden-lit apartment, with its thrift-store dining table and couch. Nothing about the characters or the city around them is glamorous, but the film doesn’t feel artificially “gritty,” either. When Travis explains why he was in prison and Martin talks about his own past, there’s nothing melodramatic about the scene. They’re just a couple of dudes having some coffee and talking. It struck me as something like William Blake’s desire to “hold infinity in the palm of your hand and eternity in an hour.” Isn’t that the stuff ordinary lives are made of? ◀
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MOVING IMAGES pasa pics
— compiled by Robert Ker
I DECLARE WAR An innocent game of “capture the flag” between 12-year-olds becomes a battleground, courtesy of directors Robert Wilson and Jason Lapeyre. They bring the kids’ imaginations to visual life, transforming sticks into machine guns and so on, to show just how seriously the combatants take their fantasy. Not rated. 96 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) INSIDIOUS: CHAPTER 2 Director James Wan brings us his second horror film in the last three months, after the hit The Conjuring. This story follows the family of the 2011 Poltergeist-like 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 anywhere in the listing. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
Barrels of fun: James Callis, Jennifer Coolidge, Bret McKenzie, and Keri Russell in Austenland, at Regal DeVargas in Santa Fe
opening this week AUSTENLAND Hollywood’s obsession with Jane Austen has given us this comedy about a woman who has an obsession with the author. Keri Russell plays Jane, who attends a sort of “Jane Austen fantasy camp.” She may not be able to meet her own Mr. Darcy, though; her limited financial means leave her stuck in the servant’s quarters. Rated PG-13. 96 minutes. Regal DeVargas, Santa Fe. (Not reviewed) BECKETT ON FILM In 1991 Michael Colgan, artistic director of Dublin’s Gate Theatre, staged a Samuel Beckett Festival over three weeks. Later, when he and co-producer Alan Moloney decided to capture the Beckett repertoire on film, they rounded up an impressive collection of movie and stage directors and stars. A selection of the Beckett cycle will be shown in free screenings at 11 a.m. on Sundays in September. Come and Go and Waiting for Godot screen Sunday, Sept. 15, only. Not rated. Running times vary. The Screen, Santa Fe. ( Jonathan Richards) BLAZE YOU OUT Española is the setting for this crime drama written and directed by Mateo Frazier and Diego Joaquin Lopez. Filmed on location with a mix of local and national actors, Blaze You Out tracks the efforts of Lupe (Veronica Diaz-Carranza), a club 58
PASATIEMPO I September 13-19, 2013
DJ, who must find her younger sister, Alicia (Melissa Cordero), before she is killed by kingpins of the heroin trade. Cast and crew members attend the 6:30 p.m. Friday, Sept. 13 screening. Rated R. 98 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) CUTIE AND THE BOXER Noriko and Ushio Shinohara have been struggling in the New York art scene for more than 40 years. For much of that time, Noriko worked as her more famous husband’s assistant and neglected her own art. But in recent years she has emerged, largely through the development of her alter ego, the cartoon character Cutie. In this documentary, filmmaker Zachary Heinzerling gives us a window on a relationship that has been through the strain of ego and poverty and alcoholism. Not rated. 82 minutes. In English and Japanese with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 54. THE FAMILY Robert De Niro and Michelle Pfeiffer play the parents of a family that ends up in the witness protection program in Normandy, France, after daddy rats out his mafia family. This is a lighthearted satire of mob dramas, so if you think there aren’t going to be corny jokes and comedic examples of culture clash, then fuggedaboutit! At this point, De Niro may have spent more years spoofing his on-screen persona than he spent crafting it. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
THE MISSING PIECE: MONA LISA, HER THIEF, THE TRUE STORY Speculation surrounds Vincenzo Peruggia’s 1911 theft of the Mona Lisa from the Louvre in Paris. Filmmaker Joe Medeira’s in-depth research into the case becomes a matter of honor after promising Peruggia’s only surviving daughter that he would uncover the truth. The film is a smart and playful investigation of Peruggia’s past and has unexpected emotional depth. Not rated. 85 minutes. In English, French, and Italian with subtitles. The Screen, Santa Fe. (Michael Abatemarco) See review, Page 52. PLAN 9 FROM OUTER SPACE Depending on your viewpoint, this may be the worst or the best science-fiction film ever made. Goofy aliens resurrect the dead to force earthlings to play nice together. Unintentional high jinks ensue. This is Ed Wood’s best-known work, and whatever you think of it, keep in mind that teens today are more likely to recognize this title than, say, Citizen Kane. 11 p.m. Friday and Saturday, Sept. 13 and 14, only. Not rated. 78 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) See Screen Gems, Page 50. A TEACHER Writer/director Hanna Fidell’s minimalistic look at the impact of an affair between a Texas high-school teacher and one of her male students wastes no time in drawing viewers into the emotional maelstrom, but it doesn’t provide much insight regarding motivation and thus often makes its female protagonist look like an idiot. The two leads — Lindsay Burdge and Will Brittain — do their best to make up for this shortcoming. Not rated. 75 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) THIS IS MARTIN BONNER Every once in a while, a small film catches you off-guard and reminds you that the role of cinema
isn’t to keep you constantly stimulated, excited, and amused. This touching picture from writer-director Chad Hartigan is one of them. Martin Bonner (Paul Eenhoorn) is a divorced 60-something Australian expat living alone in Reno, where he helps ex-cons like Travis (Richmond Arquette) reenter society. This brief, spare film isn’t your typical “two men form an unlikely friendship” tale. Not much happens, but it still deals with a profound question: What makes an ordinary life worth living? Rated R. 87 minutes. The Screen, Santa Fe. (Laurel Gladden) See review, Page 56.
now in theaters THE ARTIST AND THE MODEL This emotionally rich film by Fernando Trueba is a philosophical exploration of the motivations of artists. Mercè (Aida Folch), a refugee from Franco’s Spain, agrees to model for aging sculptor Marc Cros ( Jean Rochefort) during World War II. As their relationship deepens, artist and model awaken to the essential beauty of life and love. Rated R. 105 minutes. In French and Spanish with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism drawn loosely from A Streetcar Named Desire. Cate Blanchett will catch the Academy’s eye as Jasmine, a Park Avenue socialite who lost everything when her husband (Alec Baldwin) went to jail for financial fraud. She goes to San Francisco and moves in with her blue-collar sister Ginger (a perfect Sally Hawkins). The rest of the cast, which includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) 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 all 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 Reagan and sees him into retirement through Obama’s election. A fine cast includes Oprah Winfrey as his wife and star cameos as the presidents. Director Lee Daniels does heroic work in wrangling it all. Rated PG-13. 132 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) CLOSED CIRCUIT Eric Bana and Rebecca Hall star as two lawyers and former lovers who are assigned to
the trial of a suspected terrorist (Denis Moschitto). Issues of confidentiality, mysterious deaths, and shocking conspiracies come up before the gavel comes down. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Not reviewed) DESPICABLE ME 2 The 2010 hit gets its sequel with this story about the exvillain Gru (voiced by Steve Carell), who is called out of retirement to track down a bad guy. The animation is a step up from the first film, and the plot is mercifully to the point. Unlike many family films, Despicable Me 2 is proudly a comedy, and it shelves the action, life lessons, and sentiment in favor of attempts at laughter. Whether or not it succeeds is up to the viewer, and the filmmakers hedge their bets by bringing slapstick for the kids and pop-culture references for the adults. Rated PG. 98 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) ELYSIUM Director Neill Blomkamp (District 9) presents a futuristic tale in which the wealthy live in a utopian space station called Elysium, while everyone else lives on Earth in what could be called “District 99%.” Matt Damon plays a man in an L.A. shantytown who fights back. The film is reminiscent of Paul Verhoeven’s satirical sci-fi films but without that B-movie sense of fun; it’s just obvious, ugly, overly violent, and has nothing good to say about the human race. The special effects, however, are incredible. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) THE ENGLISH TEACHER Linda Sinclair ( Julianne Moore) is a middle-aged spinster and high-school English teacher. She has her Louisa May Alcott and her Brontë sisters, and she has her students. But when Jason (Michael Angarano), a former pupil turned aspiring playwright, comes back to town, her world begins to unravel. Craig Zisk, known for his work in edgy TV comedies, goes all gooey in his feature debut. Julianne Moore has to eat, and so do Greg Kinnear and Nathan Lane; they all do the best they can here under the circumstances. Rated R. 93 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) EUROPA REPORT In the midst of the exhausting special-effects arms race at the multiplex, it’s a pleasure to watch a science-fiction film that looks as if it were crafted by human hands. Ecuadorian director Sebastián Cordero’s low-budget movie — about a crew aboard a spaceship on a mission to one of Jupiter’s moons — does the trick, with its found-footage approach and nods to Kubrick and Lovecraft. The characters could be stronger, the ending less telegraphed, but the lived-in sets and homespun effects give you much
to savor. Rated PG-13. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) GETAWAY As Ethan Hawke hit middle age, his boyish good looks were replaced with a gaunt, tortured-looking face — giving him new career possibilities working in thrillers. Here he plays a former professional driver who races to rescue his wife after she is kidnapped. Selena Gomez plays a passenger who is swept along for the ride. Rated PG-13. 94 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE GRANDMASTER Ip Man, the martial arts master who helped popularize kung-fu and taught Bruce Lee, has been the subject of several films of late. Wong Kar-Wai directed this one, though, which will undoubtedly look better than the rest — and probably better than any other film currently in theaters. Tony Leung (Infernal Affairs) and Zhang Ziyi (Crouching Tiger, Hidden Dragon) star. Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. (Not reviewed) IN A WORLD ... Lake Bell wrote, directed, and stars in this comedy about a woman who tries to break the gender barrier in a very specific professional sector: voice actors who narrate movie trailers. Alas, her biggest competition is her father (Fred Melamed), the man whose gravelly delivery made the words “In a world where ...” famous. Rated R. 93 minutes. Regal DeVargas, Santa Fe. (Not reviewed) INSTRUCTIONS NOT INCLUDED As Valentín (Eugenio Derbez) prepares for his big move from Mexico to Hollywood to realize his dream of becoming a stuntman, a former lover leaves him a surprise to take along: a screaming baby. Valentín learns how to be father at the same time that he learns how to take a fall, to comedic results. In English and Spanish with subtitles. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MORE THAN HONEY Director Markus Imhoof takes us inside the hive to discover the hidden lives of bees as well as what contributes to their troubling decline. The contrasts between old-school, European beekeeping and American beekeepers who profit from big agriculture suggest causes of colony collapse disorder even as the phenomenon spreads across the globe. After seeing this often beautiful, instructive film, you’ll want to save the bees for their own sake. Not rated. 95 minutes. Center for Contemporary Arts, Santa Fe. (Bill Kohlhaase) THE MORTAL INSTRUMENTS: CITY OF BONES Another fantasy series that you probably haven’t heard of unless you’re 14 or a parent hits the big continued on Page 60
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screen. The first installment centers on a girl (Lily Collins) who discovers she’s a Shadowhunter. The job has its drawbacks, such as having to fight powerful demons. It also has its perks, such as hanging out with hunks ( Jamie Campbell Bower). Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) MUSEUM HOURS Working as a guard in a museum can be an intensely meditative and introspective experience. Befriending a patron named Anne (Mary Margaret O’Hara) gives Johann (Bobby Sommer), a guard at Vienna’s Kunsthistorisches Museum, an opportunity to reinvigorate his life while sharing insights into art and existence. Johann tours Vienna with Anne and gains a richer understanding of and appreciation for his city and the timeless spirit that animates it today, as it did in the time of Pieter Bruegel the Elder. Not rated. 107 minutes. In English and German with subtitles. The Screen, Santa Fe. (Michael Abatemarco) ONE DIRECTION: THIS IS US — EXTENDED FAN CUT If you who helped this boy band’s “Best Song Ever” win the fan-voted “best song of the summer” award at the MTV Video Music Awards, you don’t need prompting to see this documentary. This new version, double-dipping into parents’ wallets in the space of a few weeks, boasts 20 more minutes and four more songs. Rated PG. 106 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Not reviewed) PERCY JACKSON: SEA OF MONSTERS Now that Harry Potter has hung up his broomstick, Percy Jackson (Logan Lerman), basically Potter in a world full of Greek gods instead of wizards, fills the void and finds the Golden Fleece in this sequel to his 2010 film. Rated PG. 107 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) PLANES This animated film is almost exactly like Pixar’s Cars — right down to the underdog story and the uncomfortable stereotypes — and is even said to take place in the same world. The only major difference can be found in the title. Rated PG. 92 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
spicy
medium
bland
heartburn
mild
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PASATIEMPO I September 13-19, 2013
RIDDICK Who would have thought back in 2000 that the minor-hit Pitch Black would give us a supporting character worthy of his own franchise with sequels some 13 years later? Yet Riddick is back, and he’s bald, grumbling, and embodied once more by Vin Diesel. The plot will no doubt be Riddick-ulous and involve fighting mercenaries and aliens in space. Rated R. 119 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE SMURFS 2 Just when it looked like Grown Ups 2 would be the worst movie of the summer, Hollywood gave us a little-loved sequel to the smurfing 2011 stinkfest. Screens in 2D only at Dreamcatcher, Española. THE SPECTACULAR NOW The writers of 2009’s much-loved (500) Days of Summer adapt Tim Tharp’s coming-of-age novel into a film that is much about teen alcoholism as it is teen romance. The plot can get repetitive, and it relies on some familiar tropes, such as the hard-partying guy hooking up with the unpopular girl, but it also feels true. Much of the credit goes to the lead actors (Miles Teller and Shailene Woodley) who look like actual high school students rather than 25-year-old models and light up the screen with natural, likable performances. Rated R. 95 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Robert Ker) THIS IS THE END James Franco, Jonah Hill, Seth Rogen, Danny McBride, Craig Robinson, and Jay Baruchel are holed up in Franco’s mansion when the apocalypse hits during a raging party. These guys aren’t playing characters — they’re playing themselves, often as preening, egotistical jerks. Suffice it to say, the mileage you get out of this comedy will vary depending on how much you like these dudes. Emma Watson and Michael Cera kill in their cameos, and the cocky, obnoxious McBride pretty much steals the show. If it looks like a film made by a bunch of buddies trying to crack each other up, that’s because it is. Rated R. 107 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send you out of the theater wondering about that barrier that kept them from headliner stardom. But Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
2 GUNS Mark Wahlberg and Denzel Washington play men who pull off a bank heist, only to find out that they’re both cops who have been tricked into committing the robbery, not knowing the other is also undercover. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) WE’RE THE MILLERS In one of the year’s biggest surprise hits, a stripper ( Jennifer Aniston) and a pot dealer ( Jason Sudeikis) join up, recruit a couple of kids, and pretend to be a family so they can sneak drugs across the border from Mexico. The plan does not go off without hitches or high jinks. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE WORLD’S END Director Edgar Wright and stars Simon Pegg and Nick Frost cap their “Cornetto trilogy” (thus far 2004’s Shaun of the Dead and 2007’s Hot Fuzz) with their finest collaboration yet. Pegg plays a man who coaxes his mates to reenact a hometown pub crawl they attempted many years ago — this time with the goal of drinking pint number 12 at the World’s End pub. Alas, they soon find that the local populace has been replaced by robots, and feel the only way to avoid suspicion is to finish the crawl. This leads to silly fighting and nods to films like Invasion of the Body Snatchers, but the film shines for its melancholy ruminations on friendship and nostalgia, not the sci-fi action. That the laughs come early and often doesn’t hurt. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) YOU’RE NEXT At the 2011 Toronto International Film Festival, this horror film generated a lot of buzz about its thrilling originality. I guess you had to be there. It’s true that the flick boasts a few new twists in the standard home-invasion story, but they’re not interesting enough to elevate it above other low-budget bloodletting pictures — some of which, like The Strangers and Them, at least handle the acting and the suspense significantly better. Not rated. 94 minutes. Regal Stadium 14, Santa Fe. (Robert Ker)
other screenings El Museo Cultural de Santa Fe 555 Camino de la Familia, 992-0591 6 and 7:30 p.m. Wednesday, Sept. 18: Las Mujeres del Pasajero. Screens as part of the “El Otro Chile” opening reception. No charge. ◀
“
RICHARD ROEPER
GRADE: A .
”
What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Fri. to Sun. 1:15 p.m., 2 p.m., 4 p.m. Mon. to Thurs. 2 p.m., 4 p.m. The Artist and the Model (R) Fri. to Thurs. 6 p.m. Cutie and the Boxer (R) Fri. to Sun. 11:30 a.m., 3:15 p.m., 5:15 p.m., 7:15 p.m. Mon. to Thurs. 3:15 p.m., 5:15 p.m., 7:15 p.m. More Than Honey (NR) Fri. to Sun. noon A Teacher (NR) Fri. to Thurs. 8:15 p.m. JeAn CoCteAu CinemA
418 Montezuma, 505-466-5528 Blaze You Out (R) Fri. 6:30 p.m. Sat. and Sun. 4:15 p.m. Wed. 8:45 p.m. The English Teacher (R) Fri. 4:15 p.m. Sun. 2 p.m. Mon. 8:45 p.m. Wed. and Thurs. 4:15 p.m. Europa Report (PG-13) Fri. and Sat. 2 p.m. Sun. 8:45 p.m. Tue. 8:45 p.m. Wed. 2 p.m. Thurs. 8:45 p.m. I Declare War (NR) Fri. 8:45 p.m. Sun. to Wed. 6:30 p.m. Thurs. 2 p.m., 6:30 p.m. Plan 9 From Outer Space (NR) Fri. and Sat. 11 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, www.fandango.com Austenland (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:30 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. Blue Jasmine (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Closed Circuit (R) Fri. and Sat. 1:20 p.m., 3:50 p.m., 6:50 p.m., 9:35 p.m. Sun. to Thurs. 1:20 p.m., 3:50 p.m., 6:50 p.m. The Grandmaster (PG-13) Fri. and Sat. 1 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 4:40 p.m., 7:10 p.m. In a World... (R) Fri. and Sat. 1:50 p.m., 4:20 p.m., 7:20 p.m., 9:45 p.m. Sun. to Thurs. 1:50 p.m., 4:20 p.m., 7:20 p.m. The Spectacular Now (R) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7:40 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:10 p.m., 7:40 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, www.fandango.com 2 Guns (R) Fri. to Thurs. 9:55 p.m. The Butler (PG-13) Fri. to Thurs. 12:25 p.m., 3:45 p.m., 7 p.m., 10:05 p.m. Despicable Me 2 (PG) Fri. to Thurs. noon, 2:25 p.m., 4:50 p.m., 7:15 p.m. Elysium (R) Fri. to Thurs. 1:10 p.m., 4:10 p.m., 7:35 p.m., 10:10 p.m. The Family (R) Fri. to Thurs. 1:30 p.m., 4 p.m., 4:30 p.m., 7:05 p.m., 7:35 p.m., 9:45 p.m., 10:10 p.m. Getaway (PG-13) Fri. to Thurs. 10 p.m. Insidious: Chapter 2 (PG-13) Fri. to Thurs. noon, 2:30 p.m., 5 p.m., 7:30 p.m., 10:05 p.m. Instructions Not Included (PG-13) Fri. to Thurs. 1:20 p.m., 4:05 p.m., 4:20 p.m., 7:10 p.m., 7:20 p.m., 10:15 p.m. The Mortal Instruments: City of Bones (PG-13) Fri. to Thurs. 1 p.m., 9:50 p.m. One Direction:This Is Us — Extended Fan Cut 3D
(PG) Fri. to Thurs. 2:40 p.m., 5:15 p.m., 7:45 p.m., 10:15 p.m.
One Direction:This Is Us — Extended Fan Cut (PG)
Fri. to Thurs. 12:10 p.m.
Percy Jackson: Sea of Monsters (PG) Fri. to Thurs.
12:05 p.m., 2:40 p.m., 5:10 p.m., 7:45 p.m. Planes (PG) Fri. to Thurs. 12:15 p.m., 2:35 p.m., 5:20 p.m., 7:40 p.m. Riddick (R) Fri. to Sun. 1:35 p.m., 4:45 p.m., 7:30 p.m., 10:20 p.m. Mon. to Thurs. 1:35 p.m., 4:45 p.m., 7:30 p.m., 10:20 p.m. This IsThe End (R) Fri. to Thurs. 12:50 p.m. We’re the Millers (R) Fri. to Thurs. 1:25 p.m., 4:40 p.m., 7:25 p.m., 10:05 p.m. The World’s End (R) Fri. to Thurs. 1:15 p.m., 4:25 p.m., 7:15 p.m., 9:55 p.m. You’re Next (R) Fri. to Thurs. 10:15 p.m.
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the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Beckett on Film — Come and Go and Waiting for Godot (NR) Sun. 11 a.m.
SCREENPLAY BY JERUSHA HESS & SHANNON HALE DIRECTED BY JERUSHA HESS
The Missing Piece: Mona Lisa, Her Thief, the True Story (NR) Fri. and Sat. 2 p.m., 5:40 p.m.
Sun. 1:30 p.m. Mon. to Thurs. 2 p.m., 5:40 p.m. Museum Hours (NR) Sat. 11:45 a.m. Sun. 5:30 p.m. This Is Martin Bonner (R) Fri. and Sat. 3:50 p.m., 7:30 p.m. Sun. 3:50 p.m. Mon. to Thurs. 3:50 p.m., 7:30 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 2 Guns (R) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. The Butler (PG-13) Fri. 4:25 p.m., 7:05 p.m. Sat. and Sun. 1:50 p.m., 4:25 p.m., 7:05 p.m. Mon. to Thurs. 4:25 p.m., 7:05 p.m. The Family (R) Fri. 4:45 p.m., 7:15 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. Insidious: Chapter 2 (PG-13) Fri. 4:30 p.m., 7 p.m., 9:55 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:55 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Instructions Not Included (PG-13) 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. Planes (PG) Fri. 4:35 p.m., 7:25 p.m., 9:30 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:25 p.m., 9:30 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:25 p.m. Mon. to Thurs. 4:35 p.m., 7:25 p.m. Riddick (R) Fri. 4:35 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m. The Smurfs 2 (PG) Fri. 4:40 p.m., 6:55 p.m., 9:25 p.m. Sat. 2:10 p.m., 4:40 p.m., 6:55 p.m., 9:25 p.m. Sun. 2:10 p.m., 4:40 p.m., 6:55 p.m. Mon. to Thurs. 4:40 p.m., 6:55 p.m. The Spectacular Now (R) Fri. 4:50 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. We’re the Millers (R) Fri. 4:55 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m.
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RESTAURANT REVIEW Laurel Gladden I For The New Mexican
With the in crowd
Jalapeño’s Fresh Mexican Grill 242 Old Santa Fe Trail, 983-8431 Breakfast 7-11 a.m.; lunch & dinner 11 a.m.-9 p.m. daily Takeout available Patio dining in season Noise level: quiet friendly chatter Handicapped-accessible on building’s north side Beer & wine Credit cards, no checks
•
The Short Order Jalapeño’s Fresh Mexican Grill, originally tucked away in a strip of stores, has expanded its horizons. In taking over the spot formerly occupied by the well-loved Guadalupe Café, the restaurant is now just steps from the Roundhouse and on a prime corner on one of Santa Fe’s main tourist drags. Breakfast is a winner, and the lunch and dinner menu is nearly overwhelming in scope. Service and timing are where things go off the rails, though. Some kinks need to be ironed out if Jalapeño’s is going to stand up to the neighborhood’s stiff competition. Recommended: breakfast tacos, vegetarian breakfast burrito, Mexican taco bowl, and chicken mole burrito.
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.
62
PASATIEMPO I September 13-19, 2013
Jalapeño’s Fresh Mexican Grill, originally tucked away in a strip of stores, has expanded its horizons. In taking over the spot formerly occupied by the well-loved Guadalupe Café, the restaurant has put itself steps from the Roundhouse and on a prime corner on one of Santa Fe’s main tourist drags. This also means it faces some stiff competition — the “Guad” has moved down the street, the eagerly awaited Santa Fe Bite has opened its doors, and a handful of other solidly ensconced restaurants are all within a stone’s throw. Jalapeño’s serves breakfast, lunch, and dinner and recently obtained its beer and wine license. I can’t wait to enjoy a cold beer or an agave-wine margarita on the patio, beneath vividly colored umbrellas and with a plate of smoky roasted-tomato and creamy-tart avocado-tomatillo salsas, chunky pico de gallo, and guacamole in front of me. In the midst of winter’s doldrums, the wildly bright red, yellow, and green interiors will offer a welcome burst of cheery color. Breakfast is a winner. The mildly spicy egg- and avocadostuffed tacos may be my new favorite way to start the day. They’re perfectly savory on their own, but add a drizzling of stewed green chile or thin-but-peppery red chile sauce (or both) for good measure. If you’re still not sated, move on to the heap of refritos and sweet roasted russet potato. The vegetarian breakfast burrito is a super-healthy morningkickoff option. Just the right amount of scrambled egg, plenty of fresh green spinach, mushrooms, tomato, potato, bell and poblano peppers, and zucchini are swaddled in an enormous, soft, mild flour tortilla. I wasn’t able to finish mine in one sitting, but I was craving the leftovers by early afternoon. The lunch and dinner menu is nearly overwhelming in scope, with salads, ceviche, quesadillas, tacos, burritos, enchiladas, fajitas, tortas, burgers, and more. Most of these are made with a choice of meat — everything from steak, ground beef, carne asada, carnitas, and chicken to barbacoa beef cheek, pork belly, cochinita pibil, al pastor, desebrada, and lengua — or that veggie blend. The menu includes a few seafood dishes to boot. Unless the kitchen can figure out how to melt the cheese more thoroughly, skip the queso fundido. A spoon stood up straight in the middle of our deep bowl of the stuff, and when we tried stirring it or spooning it onto our tortilla, it pulled away from the sides of the bowl, mostly retaining its rounded globular shape. The queso had nice subtle saltiness, and the chorizo added a pleasant funky sweetness. I couldn’t help but wonder, though, if I hadn’t clogged up some small artery with just a few bites. Good thing, then, for the Mexican taco bowl, full of beans, rice, a little lettuce, and those fresh veggies. Earlier this year I took an exploratory “fish taco tour” along California’s Pacific Coast Highway, and while the Bajastyle pescado tacos at Jalapeño’s can’t compete with the ones I ate looking out over the Pacific, they’re not bad specimens. The flaky white fish was piping hot and had a perfectly crunchy and tawny beer-batter crust, but heavily applied guacamole and an overly generous schmear of chipotle aioli dampened the deliciousness.
On the whole, we found the combination platters forgettable, overshadowed by other, superior enchilada-taco-relleno combos in town. The inclusion of a spinach enchilada on the “veggie lover’s” version is a welcome touch, though. Juicy, tender, well-seasoned chicken fills the thigh-sized mole burrito. Try it with both red and green. Rather than a traditional deep, chocolaty mole, the burgundy-hued sauce here more closely resembles standard red chile, though there’s a hint of distinctly nutty, fatty sesame seed. The dusty-sweet flavor of cinnamon comes through in the green sauce, and you’ll detect the warmth and mild bitterness of green chile powder. A shower of queso fresco on top adds a pop of white and a salty, milky punch. Service and timing are where things go off the rails. Jalapeño’s need to iron out some kinks if it’s going to succeed on this busy tourist thoroughfare. Everyone’s certainly friendly, welcoming, and well-meaning. Service is a team effort, and that can often work well during the rush, but the team needs to beef up communication so that three different servers don’t stop by and ask if you’re ready to order — especially if you’re still waiting for your appetizer. On more than one visit I overheard eager diners inquire as to the whereabouts of their food — and a few of them seemed more than a little bit miffed. If you’re on vacation, you have a little free time to squander, but hardworking locals on their lunch breaks — who has time to wait 30 minutes for takeout? ◀
Check, please Lunch for two at Jalapeño’s: Chips, salsa, and guacamole ......................................$ 10.00 Fish tacos ...................................................................$ 9.00 Veggie lover’s combination plate ................................$ 12.00 TOTAL .......................................................................$ 31.00 (before tax and tip) Breakfast to go for two: Vegetarian breakfast burrito ......................................$ 7.95 Breakfast tacos ...........................................................$ 8.95 TOTAL .......................................................................$ 16.90 (before tax and tip) Lunch for two, another visit: Queso fundido ...........................................................$ 9.00 Mexican taco bowl .....................................................$ 11.00 Chicken mole burrito ................................................$ 11.00 TOTAL .......................................................................$ 31.00 (before tax and tip)
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pasa week Friday, Sept. 13
and Andy Zadrozny on bass, 7 p.m., doors open at 6 p.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $25, 983-6820.
gallery/museum openings
Blue rain gallery 130-C Lincoln Ave., 954-9902. New works by painters Erin Currier and Rimi Yang, reception 5-7 p.m., through Sept. 28. Commissioner’s gallery — new mexico state land office 310 Old Santa Fe Trail, 827-5762. Art of the Southwest and More, paintings by Sharon Higgins, reception 5-7 p.m., through September. David richard gallery 544 S. Guadalupe St., 983-9555. Add-Verse, photo and video project by Allan Graham and Gloria Graham; through Oct. 19 (see story, Page 48); Any Position Limits the View (We Are Only Here for a Spell), text- and language-based art by Allan Graham (aka Toadhouse); . evoke Contemporary 130-F Lincoln Ave., 995-9902. Points of View, paintings by Francis Di Fronzo and Lisa Grossman, reception 5-7 p.m., through September. greenberg Fine art 205 Canyon Rd., 955-1500. The Light of an Open Heart, work by still life artist Wendy Higgins, reception 5-7 p.m. meyer east gallery 225 Canyon Rd., 983-1657. Still Lifes With a Twist, work by Jacob A. Pfeiffer, reception 5-7 p.m., through Sept. 26. meyer gallery 225 Canyon Rd., 983-1434. Winter Fields, Summer Pastures, work by Douglas Fryer, reception 5-7 p.m., through Sept. 26. pippin Contemporary 200 Canyon Rd., 795-7476. Group show of works by ArtGraze artists and interior designers, reception 5:30-7:30 p.m., through Sunday. santa Fe Clay 545 Camino de la Familia, 984-1122. In/Site, works by Meredith Brickell and Lynn Duryea, reception and artists talks 5-7 p.m., through Oct. 26. silver sun 656 Canyon Rd., 983-8743. Bears, Buffaloes, and Friends From the Heart, sculpture by Michael Connor; Pivotal Conversations, paintings by Jovan Sherman; reception 5-7 p.m., through Sept. 24.
TheaTer/DanCe
A Kinetic Encounter ARCOS Dance presents a performance in conjunction with Enrique Martínez Celaya’s installation The Pearl, 6 p.m., SITE Santa Fe, 1606 Paseo de Peralta, no charge, visit arcosdance.com for information, encores through Sunday. Two Sisters and a Piano opening night Teatro Paraguas presents Nilo Cruz’s play set in 1991 Cuba, 7:30 p.m., 3205 Calle Marie, $12 and $15, 424-1601, Friday-Sunday through Sept. 29.
Books/Talks
another universe: ancient China, mind, and landscape Poet David Hinton discusses his book Hunger Mountain: A Field Guide to Mind and Landscape, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6070. Blaze You Out Gothic crime drama filmed in Española and written and directed by Mateo Frazier and Diego Joaquin Lopez, 6:30 p.m. screening followed by a Q & A session with local cast and crew members, Jean Cocteau Cinema, 418 Montezuma Ave., 466-5528.
ouTDoors
santa Fe Botanical garden at museum hill Open 9 a.m.-5 p.m. daily April-October, 10 a.m.-4 p.m. Tuesday-Sunday November-March, 715 Camino Lejo, $5, santafebotanicalgarden.org.
evenTs
pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year.
nighTliFe
ClassiCal musiC
TgiF organ recital Jan Worden-Lackey performs works by Bach, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext. 16.
Scheinbaum & Russek shows photographs by Walter Chappel (1925-2000), 812 Camino Acoma
in ConCerT
peace Talks radio benefit KUNM Radio’s series celebrates 10 years with an event including performances by Americana singer/songwriter Mary Gauthier (see story, Page 34) and Iraqi oud player Rahim Alhaj, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf,
los lonely Boys Texican rock ’n’ rollers, Los Plateros and Sol Fire open, 6:45 p.m., Santa Fe Community Convention Center, $25, VIP tickets $75, 988-1234, ticketssantafe.org. neko Case Singer/songwriter, 7:30 p.m., the Lensic, $29-$39, ticketssantafe.org, 988-1234.
Pasa’s Little Black Book......... 65 Exhibitionism...................... 66 At the Galleries.................... 67 Museums & Art Spaces........ 67 In the Wings....................... 68
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compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
Elsewhere............................ 70 People Who Need People..... 71 Under 21............................. 71 Pasa Kids............................ 71
PASATIEMPO I September 13-19, 2013
1060 Cerrillos Rd., general admission $25, 6:30 pre-show reception $44, tickets available online and at the door, peacetalksradio.com. santa Fe music Collective The jazz series continues with flutist Ali Ryerson joining local ensemble Straight Up, with Brian Bennett on piano, John Trentacosta on drums,
(See Page 65 for addresses) Bishop’s lodge ranch resort & spa Jazz guitarist Pat Malone, 6-9 p.m., no cover. Cowgirl BBQ Blues guitarist/songwriter Dave Duncan, 5-7:30 p.m.; Jay Boy Adams & Zenobia, with Mister Sister, bluesy Americana fusion, 8:30 p.m., no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Blues band Night Train, 8 p.m.-close, no cover. la posada de santa Fe resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. legal Tender at lamy railroad museum E. Christina Herr & Wild Frontier, 6 p.m., no cover.
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 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.
Low ’n Slow Lowrider Bar at Hotel Chimayó de Santa Fe Jazz off the Plaza, revolving jazz trio with Loren Bienvenu on drums, 9:30 p.m.-close, no cover. The Mine Shaft Tavern Carissa Leigh, country western tunes, 6 p.m., on the deck. Open-mic night with Glen Neff, 7 p.m.-close, call for cover. The Palace Restaurant & Saloon Local rock cover band Chango, 9:30 p.m., call for cover. Pranzo Italian Grill Geist Cabaret with David Geist, 6-9 p.m., call for cover. Second Street Brewery Hot Club of Santa Fe, Gypsy jazz, 6-9 p.m., no cover. Second Street Brewery at the Railyard, Banjo and cello duo The Littlest Birds, 7-10 p.m., no cover. Tiny’s Bluesman Joshua Alan McNeil, 5:30 p.m.; classic-rock band Controlled Burn, 8:30 p.m.; no cover. The Underground at Evangelo’s Grunge/folk-rock band Colorblind Poet, 9 p.m., call for cover. Vanessie Pianists Doug Montgomery, jazz and classics, 6-8 p.m.; Bob Finnie, pop standards piano and vocals, 8 p.m.-close; call for cover. Warehouse 21 Kill the Mic concert including rappers Crim Deezy, Rec Syphen Records, and Dan K Stackhouzemusick, 7 p.m., call for cover.
14 Saturday GaLLERy/MUSEUM oPEnInGS
Eggman & Walrus 130 W. Palace Ave., second floor, 660-0048. Limitless, paintings by Charles Greeley; works by by Bernadette Freeman; reception 5-9 p.m., through Oct. 12 (see story, Page 38). James Larson Studio 33-A Bisbee Ct., Marble, bronze, and terra cotta sculpture by Larson, open studio 5-9 p.m.
In ConCERT
Jerry Lopez The singer/songwriter performs in support of the National Latino Behavioral Health Association, 7 p.m., the Lensic, $20-$35, 988-1234, ticketssantafe.org. Railyard Concert Series Seattle-based indie rock band Minus the Bear, Tera Melos opens, 7 p.m., Railyard Plaza, 1607 Paseo de Peralta, no charge, lineup schedule available online at heathconcerts.org.
THEaTER/danCE
A Kinetic Encounter ARCOS Dance presents a performance in conjunction with Enrique Martínez Celaya’s installation The Pearl, 10:30 a.m., SITE Santa Fe, 1606 Paseo de Peralta, visit arcosdance.com for information, no charge, encores Sunday. Two Sisters and a Piano Teatro Paraguas presents Nilo Cruz’s play set in 1991 Cuba, 7:30 p.m., 3205 Calle Marie, $12 and $15, 424-1601, Friday-Sunday through Sept. 29.
BookS/TaLkS
dawn Wink The Santa Fe writer reads from and signs copies of Meadowlark, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Janet Eigner and donald Levering The local poets read from their works, 3 p.m., Op.Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 428-0321 (see Subtexts, Page 16). Let’s Grow! Preparing for Fall Members of the Santa Fe Master Gardener Association share tips and techniques for extending the gardening season, 9-11 a.m., Santa Fe County Fairgrounds, 3229 Rodeo Rd., no charge, 471-6251. Maria dancing Heart Hoagland The author and end-of-life coach discusses and signs copies of The Most Important Day of Your Life: Are You Ready?, 2-4 p.m., Ark Books, 133 Romero St., 988-3709. Michael Chabon The Amazing Adventures of Kavalier and Clay and The Wonder Boys author reads from his works, fields audience questions, and joins in a discussion with filmmaker George R. R. Martin, 7 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., no charge with hardback purchase, $5 with paperback purchase, 466-5528 (see story, Page 18).
EVEnTS
Hungry Mouth Festival Hosted by St. Elizabeth Shelter in celebration of its 27th anniversary; chef-led cookoff, music, and auction, 6-9 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $100, 982-6611.
Talking Heads
another Universe: ancient China, Mind, and Landscape Poet and Chinese translator David Hinton draws on his new book Hunger Mountain: A Field Guide to Mind and Landscape in his illustrated presentation at St. John’s College, 7:30 p.m. Friday, Sept. 13, Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 984-6070.
pasa week
317 aztec 150 317 Aztec St., 820-0 nter dinner Ce ng pi agora Shop courtyard de, 466-1270 7 Avenida Vista Gran the Inn agoyo Lounge at E. Alameda St., 3 30 a ed on the alam 984-2121 nt anasazi Restaura Anasazi, the of Inn d oo Rosew e., 988-3030 113 Washington Av Betterday Coffee 5-1234 55 905 W. Alameda St., nch Resort Ra e dg Bishop’s Lo Lodge Rd., ps & Spa 1297 Bisho 7 983-637 Café Café 6-1391 500 Sandoval St., 46 ó ay Casa Chim 8-0391 409 W. Water St., 42 ón es M El ¡Chispa! at 983-6756 e., Av ton ing ash W 213 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. te Café The den at Coyo 3-1615 98 , St. r 132 W. Wate lton El Cañon at the Hi 811 8-2 100 Sandoval St., 98
Pasa’s little black book Spa Eldorado Hotel & St., 988-4455 o 309 W. San Francisc El Farol 3-9912 808 Canyon Rd., 98 ill El Paseo Bar & Gr 848 2-2 99 , St. teo 208 Galis Evangelo’s o St., 982-9014 200 W. San Francisc Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral St., 982-3433 rcy Ma . La Boca 72 W ina La Casa Sena Cant 8-9232 98 e., Av e lac Pa E. 5 12 at La Fonda La Fiesta Lounge , 982-5511 St. 100 E. San Francisco a Fe Resort nt Sa de da sa Po La e Ave., 986-0000 lac Pa E. 0 33 and Spa at the The Legal Tender eum us M d oa Lamy Railr 466-1650 151 Old Lamy Trail, g arts Center in Lensic Perform o St., 988-1234 211 W. San Francisc The Lodge Lodge Lounge at St. Francis Dr., N. 0 75 Fe at Santa 992-5800 l rider Bar at Hote Low ’n Slow Low Fe 125 Washington a Chimayó de Sant Ave., 988-4900
The Matador 116 W. San Francisco St., 984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & Lounge 1611 Calle Lorca, 983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at Garrett’s desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030
continued on Page 69
Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 988-3333 Sweetwater Harvest kitchen 1512-B Pacheco St., 795-7383 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at Evangelo’s 200 W. San Francisco St., 819-1597 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia diner 326 S. Guadalupe St., 988-7008
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exhibitionism
A peek at what’s showing around town
sandra Filippucci: Cactus I, 2013, wax encaustic and crayon on birch panels. Sandra Filippucci creates abstract pieces in mixed media as well as works on Japanese rice paper. Euphorbia, an exhibit of her New Mexico cacti-inspired pieces, is on view at Linda Durham’s The Wonder Institute (28 Arroyo Calabasas). The show opens Sunday, Sept. 15; admission is by appointment only. Call 466-4001.
erin Currier: Punkabbestia, 2013, acrylic and mixed media on board. Blue Rain Gallery (130-C Lincoln Ave.) presents From Paris to Phnom Penh, an exhibition of work by Erin Currier. The artist collages her acrylic portraits with trash she collects on her travels. Her subjects are often artists, writers, and political activists. Currier’s new work was inspired by her recent journeys in Europe and Southeast Asia. The show opens with a 5 p.m. reception on Friday, Sept 13. Call 954-9902. Lynn Duryea: Mound #6, 2013, slab-constructed terra cotta and steel. Santa Fe Clay (545 Camino de la Familia) presents In/Site, an exhibit of work by Meredith Brickell and Lynn Duryea. Among Brickell’s works is an interactive ceramic assemblage called Bones that visitors can rearrange into new configurations. Duryea’s ceramics are inspired by industrial design and mechanics. The exhibit opens Friday, Sept. 13, with a 5 p.m. reception. An artist talk follows at 5:30 p.m. Call 984-1122.
Jovan sherman: One Way Trip, 2013, acrylic on canvas. Silver Sun Gallery (656 Canyon Road) presents two concurrent solo exhibits: Bears, Buffalos, and Friends From the Heart by Michael Connor and Pivotal Conversations by Jovan Sherman. Connor is a Chippewa sculptor specializing in animal imagery carved in soapstone and alabaster. Sherman is an abstract painter who incorporates suggestive, figurative imagery into her work. The reception for both shows is Friday, Sept. 13, at 5 p.m. Call 983-8743. 66
PASATIEMPO I September 13-19, 2013
sheila mahoney Keefe: Dwelling Place 1, 2013, mixed media. Dwelling Places is an exhibit of Sheila Mahoney Keefe’s abstract paintings. The pieces are inspired by a visit the artist made to the site of a Civil War battleground during a retreat at Holy Cross Abbey in Berryville, Virginia. The show is at Hand Artes Gallery (County Road 75, No. 137, Truchas) and opens on Tuesday, Sept. 17. The reception is at 3 p.m. on Sept. 21. Call 505-689-2443.
At the GAlleries Anishnaabensag Biimskowebshkigewag (Native Kids Ride Bikes) Installations by Métis artist Dylan Miner, shown at First National Bank; Museum of Contemporary Native Arts; Santa Fe Place Mall; and Santa Fe Community Gallery through Sept. 27. Call Santa Fe Art Institute for information, 424-5050. Bellas Artes 653 Canyon Rd., 983-2745. Pozos Azules, work by textile artist Olga de Amaral, through Sept. 28. Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Green/Bronze, mixed-media paintings by Ed Moses, through, Sept. 23. Chiaroscuro Contemporary Art 702½ Canyon Rd., 992-0711. Headwater, Emmi Whitehorse’s paintings; contemporary Native group show, including Rick Bartow, Rose B. Simpson, and Harry Fonseca; through Saturday, Sept. 14. Eight Modern 231 Delgado St., 995-0231. With Fire, Flags, and Sacrifice, new works by Katherine Lee, through Oct. 19. Ellsworth Gallery 215 E. Palace Ave., 989-7900. The Invisible Thread, paintings by Elise Ansel, through Oct. 26. Get Framed 418 Cerrillos Rd., Suite 3, 424-6996. Glüm: Madder Than the Old Man, New Mexico artists respond to the privatization of community events, through Sunday, Sept. 15. Giacobbe-Fritz Fine Art 702 Canyon Rd., 986-1156. Reveal, new paintings by Britt Freda, through Sept. 20. GVG Contemporary 202 Canyon Rd., 982-1494. Sculpniture, works by Ernst Gruler, Jamie Monroe, and Dean Pulver, through Monday, Sept. 16. James Kelly Contemporary 550 S. Guadalupe St., 989-1601. Enrique Martínez Celaya: The Pearl, site-specific installation, through Sept. 21. Jane Sauer Gallery 652 Canyon Rd., 995-8513. Abstract Rhythms, ceramic sculpture by Sheryl Zacharia, through Monday, Sept. 16. Legends Santa Fe 125 Lincoln Ave., 983-5639. Totem and the Animal Within, works by Marla Allison and Robert Spooner Marcus, through Monday, Sept. 16. Paintings by Ben Wright, through Wednesday, Sept. 18. Longworth Gallery 530 Canyon Rd., 989-4210. Rumi on Canvas, work by Rahileh Rokhsari, through September. Manitou Galleries 123 W. Palace Ave., 986-0440. Paintings by Ethelinda and bronze sculpture by Jim Eppler, through Sept. 20. Marji Gallery 453 Cerrillos Rd., 983-1012. Expressionist paintings by Johannes Boekhoudt; work by glass artist Bruce Pizzichillo; Australian Aboriginal art, through September. Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Those Who Dared, portraits of historical figures and other noteworthy individuals, through Sept. 22. Nüart Gallery 670 Canyon Rd., 988-3888. Meetings With My Daemons, new paintings by Alexandra Eldridge, through Sept. 22. The Owings Gallery 120 E. Marcy St., 982-6244. New paintings by Ed Mell, through Saturday, Sept. 14.
Peyton Wright 237 E. Palace Ave., 989-9888. Homage to Color, retrospective of works by Stanton Macdonald-Wright (1890-1973). Photo-eye Gallery 376-A Garcia St., 988-5159. Storms, Mitch Dobrowner’s cloud studies, through Sept. 21. Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Dream Catchers, paintings by Joel Nakamura, through September. Pop Goes to the Dogs, group show in support of the Santa Fe Humane Society, through Jan. 1. Santa Fe Public Library Main Branch, 145 Washington Ave., 955-6784. Migration: Ebb and Flow, book art and prints by Trina Badarak, through September. Scheinbaum & Russek 812 Camino Acoma, 988-5116. Beyond Reality, works by photographers Minor White (1908-1976) and Walter Chappell (1925-2000), through October 12. TAI Gallery 1601-B Paseo de Peralta, 9841387. Two Roads Diverge in a Bamboo Forest: Oita’s Art Movement, bamboo art, through Sept. 21. Turner Carroll 725 Canyon Rd., 986-9800. New paintings by Rex Ray, through Sept. 29 (see review, Page 44). Vivo Contemporary 725-A Canyon Rd., 982-1320. Momentum, group show, through Oct. 8. Wade Wilson Art 217 W. Water St., 660-4393. Active Sight and the Landscape, work by Jim Woodson; Conflicting Scales: Musicality and Dissonance, encaustic paintings by Winston Lee Mascarenhas; through Sept. 25. William Siegal Gallery 540 S. Guadalupe St., 820-3300. Nauticus, works by Karen Gunderson, David Henderson, and Tom Waldron, through Saturday, Sept. 14. Yares Art Projects 123 Grant Ave., 984-0044. Energy Fields, sculptural video installations by Susanna Carlisle and Bruce Hamilton; Four Square, abstracts by painter Penelope Krebs, through October 28. New work by jewelers Yazzie Johnson and Gail Bird, through Sept. 21. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Common Language, collaborative works by Susan Davidoff and Rachelle Thiewes; Regeneration, Davidoff’s works on paper; through Sept. 20.
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. Making Places, interdisciplinary installation by Linda Fleming and Michael S. Moore, through Sept. 22. Gallery hours available online at ccasantafe.org or by phone, no charge. El Rancho de las Golondrinas 334 Los Pinos Rd., 471-2261. Living history museum and historic paraje on El Camino Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month.
Coming Down From the Mountain, by Billy schenk, in the New Mexico Museum of Art exhibit Back in the Saddle
Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Changing Hands: Art Without Reservations 3/Contemporary and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines; Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; through December. Open 10 a.m.5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, through December • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays. Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, collection of toys and folk art. Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays; school groups no charge. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room,
late-colonial-period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Back in the Saddle, 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 2014. Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; free on Sundays for NM residents. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin (1943-1984), through September. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission. Poeh Museum Fashion designs by Patricia Michaels, through November. 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Enrique Martínez Celaya: The Pearl, site-specific installation, through Oct. 13. Open 10 a.m.5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; closed Wednesday beginning in September. $10; seniors and students $5; 10 a.m.-noon Saturday no charge; Friday no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m. daily.
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In the wings MUSIC
Taos Chamber Music Group Twenty-first season opener Bach Joy, 5 p.m. Saturday and Sunday, Sept. 28-29, performers include Kathleen McIntosh, Sally Guenther, and Stephen Redfield, Harwood Museum of Art, Taos, $20 in advance, taoschambermusicgroup. org, discounts available. Concordia Santa Fe World Winds, chamber music, 2 p.m. Sunday, Sept. 29, St. Francis Auditorium, New Mexico Museum of Art, donations accepted, 913-7211. Canadian Brass The quintet performs jazz, classical works, marches, and big band tunes, 4 p.m. Sunday, Sept. 29, Duane Smith Auditorium, Los Alamos, $30, 988-1234, ticketssantafe.org. Santa Fe Symphony Orchestra & Chorus Music of Beethoven, Mozart, and Shostakovich, 4 p.m. Sunday, Sept. 29, the Lensic, $20-$70, 988-1234, ticketssantafe.org.
Alloy Orchestra The instrumental trio performs live accompaniment for the 1927 silent film Metropolis, 7 p.m. Tuesday, Oct. 29, the Lensic, $10-$20, ticketssantafe.org, 988-1234. Iva Bittová Vocalist/violinist, 7:30 p.m. Friday, Nov. 8, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com. Robert Cray Band Blues guitarist, 7:30 p.m. Sunday, Nov. 10, the Lensic, $34-$54, ticketssantafe.org, 988-1234. Richard Smith Finger-style guitarist, 8 p.m. Thursday, Nov. 14, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com. Charles Lloyd & Friends Jazz reedist/composer, with Reuben Rogers on bass, Eric Harland on drums, and Bill Frisell on guitar, 7 p.m. Tuesday, Nov. 19, the Lensic, $20-$45, 988-1234, ticketssantafe.org.
THEATER/DANCE
steve vai, 7:30 p.m. thursday, oct. 24, the Lensic, $29-$51, ticketssantafe.org, 988-1234.
Boom Tic Boom Percussionist/composer Allison Miller, with pianist Myra Melford and bassist Todd Sickafoose, 7:30 p.m. Friday, Oct. 4, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com. Steve Earle and The Dukes Roots singer/songwriter, 7:30 p.m. Tuesday, Oct. 15, Greer Garson Theatre, SFUA&D, $42-$62, 988-1234, ticketssantafe.org. Serenata of Santa Fe The chamber music ensemble’s season continues with No Stone Unturned, music of Brahms and Messiaen, 3 p.m. Sunday, Oct. 20, performers include Debra Ayers, L.P. How, and Christof Huebner, Scottish Rite Center, 463 Paseo de Peralta, $25, 988-1234, ticketssantafe.org. Geri Allen, Terri Lyne Carrington, and Esperanza Spalding Jazz trio, 7 p.m. Sunday, Oct. 20, the Lensic, $30-$60, 988-1234, ticketssantafe.org. Leni Stern African Trio Jazz guitarist with Senegalese musicians Mamadou Ba and Alioune Faye, 7:30 p.m. Monday, Oct. 28, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.
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PASATIEMPO I September 13-19, 2013
Middletown Greer Garson Theatre presents Will Eno’s comedy, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Oct. 4-13, SFUA&D, 1600 St. Michael’s Dr., $12 and $15, 988-1234, ticketssantafe.org. The Rumi Concert Poetry, music, dance, and storytelling, 7:30 p.m. Friday, Oct. 4, the Lensic, $25-$100, 988-1234, ticketssantafe.org. Dos Patrias: La Poesía de Cuba Teatro Paraguas’ poetry series, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Oct. 11-20, 3205 Calle Marie, $8 and $10, Sundays pay-what -you-wish, 424-1601. 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, 988-1234.
Upcoming events Museum Hill, $35 in advance online at risingstarssouthwest.org or at Alpha Graphics, 2002 Cerrillos Rd., 473-1300. Fuster Cluck 2 Benefit party in support of the Eldorado Nine’s legal defense fund; live music by eclectic folk-rock band Joe West & The Santa Fe Revue and Neil Young cover band Drastic Andrew & The Cinnamon Girls; food, drinks, and prizes, 6 p.m. Saturday, Sept. 21, La Tienda Performance Space, Eldorado, $20 suggested donation at the door or online at paypal.com. Lannan Foundation events In Pursuit of Cultural Freedom Series: Tim DeChristopher, climate justice activist and co-founder of Peaceful Uprising, in conversation with Terry Tempest Williams, 7 p.m. Wednesday, Sept. 25; Jeremy Scahill, author of Dirty Wars: The World Is a Battlefield, and Tom Engelhardt, 7 p.m. Wednesday, Oct. 30; Lannan Literary Series, writers Jamaica Kincaid and Robert Faggen, 7 p.m. Wednesday, Oct. 16, the Lensic, $6, students $3, 988-1234, ticketssantafe.org. Dale Chihuly The Institute of American Indian Arts alumnus and glass artist presents a public lecture on his work, 10:30-11:30 a.m. Friday, Sept. 27, IAIA auditorium, 83 Avan Nu Po Rd., no charge, 424-2300. Heartbeat: Music of the Native Southwest Museum of Indian Arts and Culture exhibit opening 1-4 p.m. Sunday, Sept. 29; events include performances by Tewa Women’s Choir and Navajo alt-rock duo Sihasin, by museum admission, 476-1250. Anne Hillerman The author of Spider Woman’s Daughter celebrates the launch of her first novel reviving her late father’s Leaphorn and Chee crime series, 6 p.m. Wednesday, Oct. 2, Inn at Loretto, 211 Old Santa Fe Trail, no charge, book sale proceeds benefit Friends of the Santa Fe Public Library, 955-2839. A Little Magic Under the Big Top Benefit gala for Big Brothers Big Sisters; dinner prepared by Chef Charles Dale of Bouche French Bistro, art auction, and a performance by circus
arts and puppetry troupe Wise Fool New Mexico, 6 p.m. Saturday, Oct. 5, Buffalo Thunder Resort & Casino, visit bbbsnorthernnm.org or call 983-8360 for tickets and details. Atomic Surplus International, multidisciplinary group exhibit surveying the global nuclear legacy; also, Tony Price and the Black Hole, exhibit of historic ephemera from the Black Hole salvage yard and works from the estate of the late artist Tony Price, and auxiliary programs, opening reception 6-8 p.m. Friday, Oct. 11, Center for Contemporary Arts, 1050 Old Pecos Trail, suggested $5 donation, 982-1338. Spread 4.0 SITE Santa Fe’s recurring public dinners designed to generate financial support for artistic innovation; finalists include Axle Contemporary, Ligia Bouton, and New Mexico Acequia Association, 7 p.m. Friday, Oct. 11, Santa Fe Farmers Market Pavilion, 1606 Paseo de Peralta, $15-$50 sliding scale, tickets available at SITE Santa Fe only. Fifth Annual Santa Fe Independent Film Festival Grand-opening gala 6:30 p.m. Wednesday, Oct. 16, with the John Sayles thriller Go for Sisters; other films include the New Mexico premiere of Tapia and the madein-New Mexico feature Sweet Vengeance; also, filmmaker John Waters in his one-man show This Filthy World, 7 p.m. Saturday, Oct. 19, the Lensic; festival continues to Oct. 20, venues and ticket costs vary, festival pass $150, ticketssantafe.org, 988-1234. FUZE-SW Food + Folklore Festival Food conference with national and local chefs and authors, speakers include James Campbell Caruso, Rob DeWalt, and Cordelia Thomas Snow. Nov. 8-10, Museum of International Folk Art, $250, 476-1146, for updates visit fuzesw.museumofnewmexico.org. Holiday pie Mania Auction of pies supplied by local chefs and bakers; 1-5 p.m. Saturday, Nov. 9, Builders Source Appliance Gallery, 1608 Pacheco St., $5 in advance, $7 at the door, proceeds benefit The Food Depot, thefooddepot.org, 471-1633.
HAppENINGS
Navajo Time 2013: Chaco Canyon Interactive sonic installation by composer Raven Chacon and German sound artist Robert Henke, 3 p.m. Friday, Sept. 20, Chaco Culture National Historical Park, Nageezi, NM, call New Mexico Arts for more information, 827-6490. Reaching for the Stars Reception in support of Rising Stars in the Southwest’s Local Teen’s Dreams to Careers programs; 5:30 p.m. Sept. 21, silent art auction, catered refreshments, and flamenco performances by guitarist Chuscales and dancer Juan Siddi, Museum of Spanish Colonial Arts, 750 Camino Lejo,
singer/songwriter todd snider on stage oct. 22 at santa Fe sol stage & grill
pasa week
from Page 65
14 Saturday (continued) Salsa dance Beginners dance lesson 8:15-9 p.m., dancing with music by Café Mocha 9 p.m.-12:30 a.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10, hosted by Vista Grande Social Club, 603-0123 or 570-0707. Contra dance New England folk dance with music by Megaband and calls by Katherine Bueler, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $8, students $4, 820-3535. Rose Show Presented by the Santa Fe Rose Society, noon3 p.m., DeVargas Center, 564 N. Guadalupe St., no charge, call 988-4614 for more information. Santa Fe Artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 310-1555. Santa Fe Farmers Market 7 a.m.-noon; Collected Works Bookstore hosts Dave DeWitt, author of The Pepper Pantry, in a reading and signing of his book series, 9 a.m.-noon, 1607 Paseo de Peralta, 983-4098. Santa Fe Society of Artists Show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.
FleA MARketS
Second Street Brewery at the Railyard, Gregg Daigle Band, Americana and blues, 3:30-6:30 p.m., no cover. Sweetwater harvest kitchen Hawaiian slack key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. the Underground at evangelo’s DJ Dynamite Sol’s video jukebox, 9 p.m., call for cover. Upper Crust Pizza Country-tinged folk singer Dana Smith, 6-9 p.m., no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; Ron Newman and Christianne Miranda, 8 p.m.-close; call for cover.
15 Sunday ClASSICAl MUSIC
McFish Duo Harpsichordist Kathleen McIntosh and violist Marlow Fisher perform music of Bach, Brouwer, and Alex Shapiro, 3 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $5 at the door, for more information call 670-8273.
IN CoNCeRt
third Annual AhA Festival Including instrumental-electronica trio D Numbers and Luke Carr’s rock opera Storming the Beaches With Logos in Hand, noon-9 p.m., Railyard Plaza, no charge, presented by the After Hours Alliance, visit ahafestival.com for complete lineup (see Sound Waves, Page 20).
Pacific Curls folk trio performs at Santa Fe Sol Stage & Grill Sept. 19.
theAteR/DANCe
Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. the Santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. the Santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
A Kinetic Encounter ARCOS Dance presents a performance in conjunction with Enrique Martínez Celaya’s installation The Pearl, 2 and 4 p.m., SITE Santa Fe, 1606 Paseo de Peralta, no charge, visit arcosdance.com for information. Two Sisters and a Piano Teatro Paraguas presents Nilo Cruz’s play set in 1991 Cuba, 2 p.m., 3205 Calle Marie, pay-what-you-wish, 424-1601, Friday-Sunday through Sept. 29.
NIghtlIFe
BookS/tAlkS
(See Page 65 for addresses) Anasazi Restaurant Guitarist Jesus Bas, 7-10 p.m., no cover. Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at el Mesón Local jazz ensemble Bert Dalton and the Brazilian Experience, 7-10 p.m., call for cover. Cowgirl BBQ Local roots duo Indigie Femme, 2-5 p.m.; rock cover band Chango, 8:30 p.m., no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Blues band Night Train, 8 p.m.-close, no cover. la Posada de Santa Fe Resort and Spa Jazz guitarist Pat Malone, 8-11 p.m., no cover. legal tender at lamy Railroad Museum, Tornados, classic rock and country, 6-9 p.m., no cover. Mine Shaft tavern Jim & Tim, soulful blues, 3-7 p.m., on the deck; Sherry and the Blues Four, 7 p.m.; no cover. Pranzo Italian grill Geist Cabaret with David Geist and Julie Trujillo, 6-9 p.m., call for cover. Second Street Brewery Burqueno-Americana band The Saltine Ramblers, 6-9 p.m., no cover.
Middle Río grande Basin Water Rights A Journey Santa Fe discussion with lawyer Peter Thomas White, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.
oUtDooRS
Wildflower hike Led by Cerrillos Hills State Park manager Sarah Wood, 3 p.m., 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.
eVeNtS
12th Annual Stewart Udall legacy Dinner Honoring N. Scott Momaday with the Stewart Udall Environmental Award; 4:30-8 p.m., National Park Service Building, 1100 Old Santa Fe Trail, $175, 989-7019, proceeds benefit the Santa Fe Conservation Trust, visit sfct.org for more information. Museum of International Folk Art Fall harvest Festival and 60th-birthday celebration Presented in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Más, 1-4 p.m., 706 Camino Lejo, Museum Hill, 476-1200; by museum admission. Railyard Artisans Market 10 a.m.-4 p.m.; live music, guitarist Chris Abeyta 10 a.m.-1 p.m.; multi-instrumentalist Gerry Carthy 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta.
Santa Fe Society of Artists Show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.
FleA MARketS
NIghtlIFe
(See Page 65 for addresses) Cowgirl BBQ Zenobia, gospel/soul/R & B, noon; jazz trumpeter Tom Rheam’s Trio, Dick Hogle on drums and Dave Moir on bass, 8 p.m.; no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s Tone & Company, R & B jam band, 8:30 p.m., no cover. la Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover. Mine Shaft tavern Americana guitarist Gene Corbin, 3-7 p.m.; one-man blues band CW Ayon, 7 p.m.; no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
16 Monday ClASSICAl MUSIC
David Finckel, Philip Setzer, and Wu han Beethoven, Shostakovich, and Dvoˇrák piano trios, 7:30 p.m., the Lensic, $20-$75, 988-1234, ticketssantafe.org.
BookS/tAlkS
hopi history as told through Archaeology and oral tradition A Southwest Seminars’ lecture with E. Charles Adams, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.
Susanne kirk The Mystery Book Club of Santa Fe hosts the Scribner editor in a discussion on publishing manuscripts, 10 a.m., Santa Fe Public Library, La Farge Branch, 1730 Llano St., call 982-3955 for information.
NIghtlIFe
(See Page 65 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Fiesta lounge at la Fonda Buffalo Nickel, country, 7:30-11 p.m., no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover. tiny’s Great Big Jazz Band, 7-9 p.m.; Welcome Home Jimi Malone, 7-11 p.m.; no cover.
17 Tuesday BookS/tAlkS
georgia o’keeffe Museum Readers’ Club The discussion series continues with A New Culture of Learning: Cultivating Imagination for a World of Constant Change, by Douglas Thomas and John Seely Brown, 6-7:30 p.m., Education Annex, 123 Grant Ave., 946-1007, no charge.
eVeNtS
Santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. Santa Fe Farmers Market on the Southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940, final Southside market of the season.
NIghtlIFe
(See Page 65 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover. Cowgirl BBQ Jon Hogan & Maria Moss, scorch folk, 8 p.m., no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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El Farol Canyon Road Blues Jam 8:30 p.m.-midnight, no cover. La Fiesta Lounge at La Fonda Buffalo Nickel, country, 7:30-11 p.m., no cover. Second Street Brewery at the Railyard Acoustic open-mic night with Case Tanner, 7:30-10:30 p.m., no cover. The Underground at Evangelo’s Karaoke and dance party with DJ Optamystik. Vanessie Pianists Doug Montgomery, 6-8 p.m., and David Geist, 8 p.m.-close, no cover.
18 Wednesday gaLLERy/mUSEUm opEningS
El museo Cultural de Santa Fe 555 Camino de la Familia, 992-0591. El Otro Chile, group show of work by Chilean artists and New Mexico artists of Chilean heritage, reception 5:30 p.m.
ThEaTER/danCE
antonio granjero and EntreFlamenco Company opening night The third season kicks off at 8 p.m., The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 988-1234, Wednesday-Saturday through Oct. 12. Good People dress rehearsal Santa Fe Performing Arts presents a play by David Lindsay-Abaire, 7:30 p.m., 1050 Old Pecos Trail, pay-what-you-wish, Thursday-Sunday through Sept. 29.
BookS/TaLkS
Energy Consumption and the Rise of Chacoan Society Lecture by David Stuart, School for Advanced Research interim president and senior scholar, 7-8 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, 954-7200 (see story, Page 46). Joan houlihan and Jeffrey Levine The poets read from, answer questions on, and sign copies of their respective collections, 6 p.m. Collected Works Bookstore, 202 Galisteo St., 988-4226. nSa Surveillance and you A talk by Peter Simonson, executive director of ACLU-NM, 7 p.m., followed by a discussion, Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge, call 982-9674 for information. priyanka kumar The Santa Fe chapter of the Native Plant Society of New Mexico hosts a discussion by the author of Take Wing and Fly Here, 6:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, no charge, 690-5105. School for advanced Research colloquium Insurgency and Social Interaction in the New Kingdom Egyptian Fortress in Jaffa: Entanglement as an Explanatory Model, with UCLA visiting research associate Aaron A. Burke, noon-1 p.m., SAR Boardroom, 660 Garcia St., 954-7200, no charge. Sculpting the Stone: Jesús moroles New Mexico Museum of Art’s weekly docent talks continue, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075. Wheelwright Book Club A discussion of the memoir Looking for Lost Bird: A Jewish Woman Discovers Her Navajo Roots, by Yvette Melanson with Claire Safran, 1:30 p.m., Wheelwright Museum of the American Indian library, 704 Camino Lejo, Museum Hill, no charge, 471-4970.
70
PASATIEMPO I September 13-19, 2013
Pop Gallery shows works by Joel Nakamura, 142 Lincoln Ave.
nighTLiFE
(See Page 65 for addresses) ¡Chispa! at El mesón Flamenco guitarist Joaquin Gallegos, 7:30-9:30 p.m., no cover. Cowgirl BBQ Taylor Hodack Band, country music, 8 p.m., no cover. El Farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La posada de Santa Fe Resort and Spa Omar Villanueva, Latin fusion, 7-9:30 p.m., no cover. Tiny’s Mike Clymer and Nick Wimett’s electric jam, 8:30 p.m.-close, no cover. Vanessie Pianist David Geist, 7 p.m.-close, no cover.
19 Thursday CLaSSiCaL mUSiC
Santa Fe pro musica season opener Pianist Conrad Tao, music of Bach, Ravel, and Rachmaninoff, 7:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, $20-$65, ticketssantafe.org, 988-1234 (see story, Page 32).
in ConCERT
pacific Curls New Zealand-based folk trio, opening act Indigie Femme, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $15 in advance, $20 at the door, solofsantafe.com.
ThEaTER/danCE
antonio granjero and EntreFlamenco Company 8 p.m. Wednesday-Saturday through Oct. 12, The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 988-1234.
Good People opening night Santa Fe Performing Arts presents a play by David Lindsay-Abaire, 7:30 p.m., 1050 Old Pecos Trail, $20, discounts available, holdmyticket.com, call 982-7992 for reservations, Thursday-Sunday through Sept. 29.
BookS/TaLkS
Brainpower & Brownbags lecture The monthly series continues with Constructing the Land of Enchantment: Alice Corbin Henderson, Mabel Dodge Luhan, and Mary Austin, by Lois Rudnik, noon-12:45 p.m., Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090. Carmella padilla The Santa Fe writer discusses her new book The Work of Art: Folk Artists in the 21st Century, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. pablo Calvillo The film layout artist/animator discusses his work, 7:30 p.m., Tipton Hall, SFUA&D, 1600 St. Michael’s Dr., no charge, call 473-6440 for more information.
EVEnTS
Santa Fe Botanical garden Community day Extended hours 9 a.m.-6 p.m., admission waived for NM residents and students, $5 for nonresidents, santafebotanicalgarden.org, 471-9103. Station to Station National, train-traveling, multimedia public-art event, 6-10 p.m., Railyard Plaza, 1607 Paseo de Peralta, for details visit stationtostation.com (see story, Page 40).
nighTLiFE
(See Page 65 for addresses) ¡Chispa! at El mesón Jazz pianist Chris Ishee, 7:30-9:30, no cover. Cowgirl BBQ Local folk rockers The Bus Tapes, with Heather Tanner on guitar and vocals, Case Tanner on bass guitar, David Gold on lead guitar, and Milton Villarubia on drums, 8 p.m., no cover. La Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover.
La Fiesta Lounge at La Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La posada de Santa Fe Resort and Spa Jazz guitarist Pat Malone, 6:30-8:30 p.m., no cover. Legal Tender at Lamy Railroad museum Buffalo Nickel Two, 6-9 p.m., two-step dance lesson 7 p.m., no cover. Low ’n Slow Lowrider Bar at hotel Chimayó de Santa Fe Gerry Carthy, tenor guitar and flute, 8 p.m., call for cover. The matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m.-close, no cover. Second Street Brewery Joe West Trio, psychedelic country, 6-8 p.m., no cover. Second Street Brewery at the Railyard Folk singer-songwriter Steve Guthrie, 6-8 p.m., no cover. Tiny’s Americana band Broomdust Caravan, 8 p.m.-close, no cover. The Underground at Evangelo’s Destructive Guerilla Force, 9 p.m., call for cover. Vanessie Local jazz pianist Bert Dalton, 7 p.m.-close, call for cover.
▶ Elsewhere AlbuquErquE museums/art Spaces
albuquerque museum of art & history 2000 Mountain Rd. N.W., 505-243-7255. Estampas de la Raza: Contemporary Prints From the Romo Collection, through Sept. 29 • Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. TuesdaySunday; 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. Unm art museum Center for the Arts, 505-277-4001. Exhibits of works from the permanent collection in celebration of the museum’s 50th anniversary, running through Dec. 21: From Raymond Jonson to Kiki Smith • Andy Warhol’s Snapshots and Takes • From Rembrandt to Pollock to Atget. Opening Friday, Sept. 13, 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. Tuesday-Saturday; $5 suggested donation.
Events/performance
albuquerque Baroque players With guest flutist Carol Redman, associate artistic director of Santa Fe Pro Musica; music of Telemann, Clérambault, and Couperin, 7:30 p.m. Saturday, Sept. 14, Fellowship Christian Reformed Church, 4800 Indian School Rd. N.E.; 3 p.m. Sunday, Sept. 15, Historic Old San Ysidro Church, Corrales; $18, discounts available, 505-400-9385, albuquerquebaroqueplayers.com. Chatter Sunday The ensemble performs music of Bach, Bunch, and Saariajo; poetry reading by Bonnie Arning follows; 10:30 a.m. Sunday, Sept. 15, The Kosmos, 1715 Fifth St. N.W., $15 at the door only, discounts available, chatterchamber.org. mary gauthier Americana singer/songwriter, 7:30 p.m. Saturday, Sept. 14, Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044, $25 in advance and at the door, holdmyticket.com (see story, Page 34).
cerrillos
Nov. 15-17 at the Santa Fe Community Convention Center; for more information contact Sarah Pierpont, 603-0558, skpierpont@yahoo.com.
Fifth Annual Encaustic Art Institute Afternoon Gala and Art Auction 2-6 p.m. Sunday, Sept. 15, raffle, food, and music by Body & Soul Jazz Quartet, 18 County Rd. 55-A (General Goodwin Rd.), $15, eainm.com, 424-6487.
Filmmakers
Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.
española
Bond House Museum 706 Bond St., 505-747-8535. Preserve the Old, but Know the New: Traditional and Contemporary Native American Art, through Sept. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-3:30 p.m. Monday-Wednesday, noon-4 p.m. Thursday and Friday, no charge. Misión Museum y Convento 706 Bond St., 505-747-8535. A replica based on 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598. Open noon-4 p.m. Wednesday-Friday, 11 a.m.-3 p.m. Saturday; no charge.
Volunteers
Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 428-1353. Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; 9:30 a.m.-4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details.
los alamos Museums/Art Spaces
Bradbury Science Museum 1350 Central Ave., 667-4444. Open 10 a.m.-5 p.m. TuesdaySaturday, 1-5 p.m. Sunday-Monday; no charge. Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.1 p.m. Saturday, visit pajaritoeec.org for events schedule, no charge.
Events/Performances
Fifth Annual Next Big Idea Festival Day 11 a.m.-3 p.m. Saturday, Sept. 14, featuring hands-on science exhibits, robotic frisbee competition, Second Annual Trashion Show, and food booths, Fuller Lodge lawn, 2132 Central Ave., and the downtown area, no charge, 661-4844. Fest at Central Park Square Noon-6 p.m. Saturday, Sept. 14, food, beer and wine garden, concerts, Higher Ground, 12:30 p.m.; Surf Lords, 3 p.m., on the green near the Main St. roundabout.
madrid
Madrid Blues Fest Showcase of talent hosted by New Mexico Jazz Workshop, 2-6 p.m. Sunday, Sept. 15, Mine Shaft Tavern Amphitheater, $20 in advance, seniors and students $15, nmjazz.org. Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Ghost Town Past, new display celebrating Madrid’s 40th Rebirth Day, through October. Steam locomotive, mining equipment, and vintage automobiles. Open 10:30 a.m.4:30 p.m. daily. $5, seniors and children $3.
pilar
16th Annual Pilar Studio Tour Self-guided tour of the homes and studios of potters, painters, fiber artists, and photographers, 10 a.m.-5 p.m. Saturday and Sunday, Sept. 14-15, visit pilarstudiotour.org for directions, a studio map, and links to artists’ websites.
peñasco
Too Much Noise and Fidel Puppetry troupe Wise Fool New Mexico and puppeteer Christina Masoliver present shows geared toward young children, 2 p.m. Saturday, Sept. 14, Peñasco Theatre, 15046 NM 75, 575-587-2726, $5-$10 sliding scale, available in advance at brownpapertickets.com.
Taos Artist Collective shows watercolors by Bill Binger, 106 Paseo del Pueblo Norte, Taos
taos
E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Open 10 a.m.-5 p.m. TuesdaySaturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. The Taos Inn 125 Paseo del Pueblo Norte, 575-751-3752. Pressing on at the Taos Inn: Nine Artists/Nine Approaches, third annual printmakers’ show, reception 4:30 p.m. Thursday, Sept. 19, through Feb. 12. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Taos National Society of Watercolorists group exhibition, through Sept. 29. Museum open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge. Taos Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122. Colors of New Mexico, works by watercolorist Bill Binger and painter Kak Norton, through Oct. 4.
truchas
Hand Artes Gallery 137 NM 75, 505-689-2443. Dwelling Places, abstract paintings by Sheila Mahoney Keefe, opening Tuesday, Sept. 17, through Oct. 30.
▶ people who need people Artists
City of Santa Fe Arts Commission call for entries Common Ground annual prize and exhibit; open to amateur and professional artists ages 18 and older residing in Santa Fe County; framed two- and threedimensional pieces are eligible; deadline
for entry forms is Monday, Sept. 16; call 955-6707 or visit santafeartscommission.org for more information. New Mexico Arts 2013 Purchase Initiative Artwork (ranging from $1,000 to $40,000) sought from artists of all media residing in Arizona, Colorado, New Mexico, Oklahoma, and Texas; galleries located in these states may submit work by artists regardless of residency; submission deadline 11:59 p.m. Monday, Sept. 23; application and selection process online at callforentry.org. Portrait artist license available Santa Fe City Office of Constituent Services is accepting applications for one license in the Santa Fe Plaza Park Artist/Artisan Program for the next five-year term valid from September 2013 through December 2017; pick up applications at City Hall, 200 Lincoln Ave., Constituent Services Office, Room 102, or download forms at santafenm.gov; submission deadline 5 p.m. Wednesday, Sept. 25. Recycle Santa Fe Art Festival 2013 Visit recyclesantafe.org for application and details on participating in the 15th annual show held
▶ under 21 Santa Fe Art Institute graffiti workshops Geared to ages 11-19; 11 a.m.-1 p.m. Saturdays, continuing into the fall, call 424-5050 to register.
▶ pasa Kids Bee Hive Books Story Times All ages, 11-11:45 a.m. Saturday, Sept. 14; ages 3 to 5, 10:30-11:15 a.m. Wednesday, Sept. 18; 328 Montezuma Ave., no charge, 780-8051. Santa Fe Children’s Museum Fall Festival and Ice Cream Social Noon-5 p.m. Sunday, Sept. 15, papermaking and recycled-art projects, foods from the Earthworks gardens, and educational discussions with local farmers and artisans, 1050 Old Pecos Trail, $5, 989-8359. MusicalTheaterWorks Studio open house School of performance arts formerly known as C-A-M-P; 2-5 p.m. Sunday, Sept. 15, 4001 Office Park Rd., Building 200, 946-2468. Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 988-4226. ◀
16th annual pilar studio tour
Saturday and Sunday, Sept. 14-15, from 10 a.m. to 5 p.m., village artists open their homes and studios to the public during the 16th Annual Pilar Studio Tour. Visitors will find fiber arts, jewelry, pottery, and paintings offered at the compact tour set along the banks of the scenic Río Grande approximately 54 miles north of Santa Fe. Find directions, a map, and links to artists’ websites online at pilarstudiotour.org.
Photograph by Meredith Mason Garcia
PASATIEMPOMAGAZINE.COM
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