The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
May 16, 2014
at four seasons resort rancho encantado Celebrate her special day at Four Seasons Resort Rancho Encantado. Enjoy our special prix fixe Mother’s Day brunch and 20% off select Spa treatments. Call to make your reservations today.
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PASATIEMPO I May 16 - 22, 2014
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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.
RETRO REWIND ThuRsDays Hosted By DJ Oona FRIDay Las Vegas Famous DJ DYNAMIXX saTuRDay Las Vegas Famous DJ DYNAMIXX (Pink Bubbles Party)
COLM TÓIBÍN with Michael
Silverblatt
WEDNESDAY 21 MAY AT 7PM LENSIC PERFORMING ARTS CENTER Lovely, understated and powerfully sad, The Testament of Mary finally gives the mother of Jesus a chance to speak.
wi n!
MAY 10, 17 & 24
2014 CHEVY MALIBU
And, given that chance, she throws aside the blue veil of the Madonna to become wholly, gloriously human. — Annalisa Quinn NPR Colm Tóibín is one of the most distinct and multi-layered voices in modern Irish fiction, noting, “I think fiction lends itself to messiness rather than the ideal, and plays well with the ironies surrounding what happens versus what should happen.” Aside from being a novelist, he is also a playwright, essayist, editor and journalist. Two of his books, The Blackwater Lightship and The Master, a novel depicting the interior life of writer Henry James, were shortlisted for the Booker Prize, and his play The Testament of Mary was nominated for a 2013 Tony Award. Tóibín’s Love in a Dark Time: And Other Explorations of Gay Lives and Literature considers the topic through the lives and works of notable cultural figures such as Oscar Wilde, Elizabeth Bishop and Pedro Almodóvar. 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 4
PASATIEMPO I May 16 - 22, 2014
We’ll be giving aWay three Chevy MalibUs in May hourly Drawings on saturday, May 10, 17 & 24 from 6 pm to 10pm. see lightning rewards Club desk for complete contest rules and details.
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THE SANTA FE NEW MEXICAN
May 16 - 22, 2014
www.pasatiempomagazine.com
ON THE COVER 28 Dog days Rin Tin Tin, the venerable German shepherd who saved many a damsel, child, and hero in distress in films and television, is coming to Santa Fe this weekend — sort of. Susan Orlean, author of Rin Tin Tin: The Life and Legend, is hosting screenings of the 1925 silent Rin Tin Tin film Clash of the Wolves at the Jean Cocteau Cinema on Saturday, May 17. There’s even a “Rinty” lookalike contest. On the cover is a vintage portrait of the cinegenic canine from his glory days.
MOVING IMAGES
BOOKS 14 16 18
38 40 42
In Other Words The Kraken Project Type A Ebooks econ 101 Sons and mothers Colm Toíbín
CALENDAR
MUSIC AND PERFORMANCE 22 24 27 32
Terrell’s Tune-Up Singles’ club Pasa Tempos CD reviews Onstage Jenny Bird Pianist scores big Dave Grusin
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11 13 46
The butterfly effect Ramona Sakiestewa
PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com
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Chief Copy Editor/Website Editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com
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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
Blue Shape 1, by Ramona Sakiestewa
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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
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CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela
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PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Mixed Media Star Codes Restaurant Review: Santa Fe Baking Company Café
ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com
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Pasa Week
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God’s Pocket Bright Days Ahead Pasa Pics
Ginny Sohn Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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MARKETING DIRECTOR Monica Taylor 505-995-3824
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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl
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ADVERTISING SALES - PASATIEMPO Art Trujillo 505-995-3852 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
Ray Rivera Editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
museum of indian arts and culture presents
A NATIVE FILM SERIES
PUEBLO SASH WEAVING DEMONSTRATION SUNDAY MARCH 9, 2014 10AM–4PM
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After many years of suburbia, T is summoned back to Navajo Land where she was born. PRESENTED AT THE
museum of indian arts and culture
May 17th 12:00 and 3:00 PM Free with paid admission. 16 and under always free.
NEXT UP Saturday, May 31st, 12:00 and 3:00 pm A Day with Director Nanobah Becker Nanobah Becker (Dine’) Short Films Series Flat (2003, Director) Conversion (2006, Director) I Lost My Shadow (2011, Director) The Sixth World (2011, Director) Museum Hill 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1250 indianartsandculture.org PASATIEMPOMAGAZINE.COM
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PASATIEMPO I May 16 - 22, 2014
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ME
MO
RIA
MA L DA Y2 YW 4-2 EEK th 5 , anniversary 201 EN 4 D!
Photos by Carol Franco
MUSEUM-QUALITY NATIVE AMERICAN ART SHOW & SALE • OVER 200 ARTISTS
Maria Samora
Thank you to our lead sponsors
Victoria Adams
MAY 24–25, 2014
Santa Fe Convention Center Saturday 10-4 ($10) • Sunday 10-4 (free) Dobkin Family Foundation
MUSEUM OF NEW MEXICO FOUNDATION
Benefits the Museum of Indian Arts and Culture www.nativetreasures.org
Frederica Antonio
Joe Cajero
BREAKFAST WITH 2014 FEATURED ARTISTS, JOE & ALTHEA CAJERO Wednesday May 21, 9am Museum Hill Café Tickets $40/$35 for MNMF members Available at MIAC shop and www.museumfoundation.org/native-treasures/
JUST A FEW OF OUR MUSEUM-QUALITY ARTISTS Victoria Adams • Marla Allison • Keri Ataumbi • Ernest & Veronica Benally • Mike Bird-Romero • Sally Black Black Eagle • Nocona Burgess • Joe & Althea Cajero • Caroline Carpio • Richard & Jared Chavez • Randy Chitto Upton Ethelbah • Jason Garcia • Gaussoin family • Goldenrod • Benjamin Harjo, Jr. • Tony Jojola • Michael Kirk Mona Laughing • Estella Loretto • Anthony Lovato • Samuel Manymules • Les Namingha • Chris Pruitt • Maria Samora Penny Singer • Roxanne Swentzell • Dominique Toya • Lonnie Vigil • Kathleen Wall • Robin Waynee See website for complete list
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he story of one man’s fight against the oil and gas industry in Utah, Bidder 70 chronicles the dispute between Tim DeChristopher and the Utah BLM.
Please join us for a post-film discussion with filmmakers Beth and George Gage
7:00 pm at Santa Fe Farmers’ Market Pavilion
Admission: General Admission: $12/Institute Members, Seniors & Students over 18: $10/ Under 18 and Santa Fe Farmers’ Market Vendors: Free Tickets: 505.983.7726 or info@farmersmarketinstitute.org
SFFMI is a nonprofit organization
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Special thanks to our generous sponsors:
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PASATIEMPO I May 16 - 22, 2014
MIXED MEDIA
Top, artist unknown: Untitled (Boat on Wheels), photograph Left, artist unknown: Untitled (Baby and Dog), photograph
Santa Fe’s Favorite Hotel Memorial Day Memories
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Bikes and Brews Package
Who took that? Nearly 50 arresting photographic prints by unknown snappers are featured in Familiar Strangers: Vernacular Photography at Matthews Gallery. Owner Lawrence Matthews began collecting interesting “found photos” over a decade ago. He found them in antique stores, including in Paris and London, and in estate sales, and some were gifts from acquaintances. “The way I’ve chosen them for the show is they have to have what I feel is an aesthetic component — composed interestingly like a photographer would, even though we assume these to be amateurs. I think most of these were just snapshots, frankly. Aside from the aesthetic quality, there may be something mysterious or humorous, or something that is touching without being overly sentimental. One great example is a photo of a young boy on a bicycle coming toward the photographer, and he’s scowling and deliberately riding over the photographer’s shadow.” A photograph Matthews thinks is from the 1920s or earlier shows a pair of trapeze artists, one of them caught in midair. Two or three presumably date from around 1969 to 1972: photographs taken of a television broadcast showing men walking on the moon. “This exhibit says something about the fact that art is where you find it,” Matthews said. “You don’t approach the photograph saying, This is by Annie Leibovitz or this is by Brassaï. You come to it purely for the work itself.” The exhibit opens with a 5 p.m. reception on Friday, May 16. The show hangs through May 23. The gallery is at 669 Canyon Road; call 505-992-2882. — Paul Weideman
May 16-18, Relax with a special room rate, local microbrew beer upon arrival, prix fixe dinner and beer flights for two.
Alternative Wellness Therapy
at Nidah Spa Craniosacral, Polarity, Pranic Healing, Tuina, Reflexology, Reiki, Body Awareness Massage.
Total Tap Takeover
May 16, Starts at 5:30pm In AGAVE Lounge with Santa Fe Brewing Co. Specials on beer flights, pints and bites.
Raw Bar & Sushi
Tuesday-Saturday, 4-10pm Meet Chef Taka Ayamoto. Enjoy fresh oysters, sashimi, the Eldorado Gold Roll & more!
Edible Summer Series
June 12 • Patrón Tequila Located on our Exclusive Presidential Patio.
Visit EldoradoHotel.com
Eldorado Hotel & Spa 309 W. San Francisco St. Santa Fe, NM 87501 505.988.4455
#EldoradoSummer
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2014 HIGH SCHOOL PRIZE FOR SCIENTIFIC EXCELLENCE AWARD WINNERS!
SANTA FE ALLIANCE FOR SCIENCE
Since 1996 the Santa Fe Institute has awarded an annual Prize for Scientific Excellence to a graduating senior from each of the city’s high schools. The award honors outstanding science students in our community and encourages them to pursue science in college and beyond. Since 2008, we have been pleased to award the Prize jointly with the Santa Fe Alliance for Science. The Outstanding Teacher Award, presented to local teachers each year since 2005, acknowledges the creativity, originality, academic rigor, and professional excellence of local math, science, and computer science instructors.
SFI and SFAFS are proud to recognize our 2014 Prize winners: Front Row (from left to right): Sabrina Narvaiz, Capital High School; Mohit Dubey, New Mexico School for the Arts; Rosemary Elliott-Smith, Monte del Sol Charter School; Katie Wheeler, Desert Academy; Elijah Andes, Santa Fe Waldorf High School; Chris Brown, The MASTERS Program; Jasmine Sisneros, New Mexico School for the Deaf; Tiyaporn Tangpradabkul, Santa Fe High School. Back Row (from left to right): Drew Nucci (Outstanding Teacher), Santa Fe Preparatory School; Robert Eisenstein, Santa Fe Alliance for Science; Johnny Sanchez, Santa Fe Indian School; Ian McClaugherty, Santa Fe Preparatory School; Rachel Saladen, St. Michael’s High School; Takeshi Kobayashi, Santa Fe Institute CAMP Alumnus and the Academy for Technology and the Classics; Ginger Richardson, Santa Fe Institute; Austin Tyra, Academy at Larragoite. 12
PASATIEMPO I May 16 - 22, 2014
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This week marks a turning point as Mars, which has been retrograde
since May 9, now turns direct. This offers us a new understanding of what we want, what we don’t want, what really ticks us off, and where we need to keep boundaries. Mars is in Libra, a sign where it’s not particularly strong, until the end of June. Sometimes it’s good that Mars — arbiter of will, anger, strength, and machismo — isn’t cranked up full force. This gives us time to try diplomacy before military action and to be a lover, not a fighter. Mars retrograde in Libra can bring out passive-aggressive tendencies. We may be willing to fight for an abstract cause but avoid some complex personal issues laced with conflict or anxiety. Mars turns direct on Monday, and much is revealed. Plans that have been made behind the scenes, frustrations that we’ve thought about, or a longing that we’ve camouflaged come to the surface now. We can clarify our situation and get on with the work at hand, but there may be some turbulence in the process. The weekend begins funny, restless, and sociable under a cheerful Sagittarius moon and settles into a competent, hard-working Capricorn moon. Dig that garden and find that bargain. Early next week our attention is brought to our place in community responsibility under the collective Aquarius moon as Mars turns direct. Pay attention and avoid an unnecessary clash of wills or accidents of inattention. We may have to listen to a litany of old frustrations in order to clear the channels. The sun enters Gemini late on Tuesday for a more scattered, mobile, and communicative month ahead. Friday, May 16: It’s an outspoken traveling day (in mind or body) as the gregarious Sagittarius moon trines Venus and Uranus. The natural world shines, though people may be a bit obnoxious. Be open to suggestions while keeping common sense intact. Later on the mood is funny, if indecisive. Saturday, May 17: Attend to chores and business — just don’t make plans for others. The Capricorn moon leaves us competent and highly opinionated. Midafternoon, speak with compassion. Rein in a pushy streak tonight as the moon squares Mars, conjuncts Pluto, and squares Uranus before morning. Sunday, May 18: If an unsettled night stirs dreams about feeling disempowered or dispossessed, remember we are not trapped — be inspired to find solutions. Midday brings a more sociable, effusive edge as emotional Venus squares abundant Jupiter. Monday, May 19: Network under a friendly, if disconnected, Aquarius moon. As the day progresses and Mars turns direct, we can feel energy uncoil, for better or worse. Move more slowly if feeling accident-prone. Tuesday, May 20: Push past a lazy streak as the moon squares determined Saturn this morning. Energy fizzes as the sun enters Gemini tonight. Wednesday, May 21: Under the Pisces moon we may feel put upon and just a little weepy. We can use this sensitivity positively — to see the beauty of the world. Tonight, as the moon conjuncts Neptune, we need a safe way to escape harsh reality into a sense of connectedness. Thursday, May 22: Mend the filaments of connection this morning. There is a potentially dynamic collaboration as the moon trines expansive Jupiter and hardworking Saturn this afternoon. Find a balance between extroversion and introversion, between generosity and restraint. ◀ www.roanrobbins.com
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IN OTHER WORDS book reviews The Kraken Project by Douglas Preston, Forge/ Macmillan, 352 pages In his essay “Trial by Fury: Internet Savagery and the Amanda Knox Case,” novelist Douglas Preston examines the darker side of the internet, namely its unabating supply of vicious, anonymous commenters and eternal cache of information, both factual and erroneous. Preston discusses the online vitriol leveled at Knox, who was accused of murdering her roommate Meredith Kercher in 2007, when the two were studying abroad in Italy. When Preston wrote about his belief in Knox’s innocence — first in the afterword to his 2008 nonfiction book The Monster of Florence, written with Mario Spezi — he was roundly attacked online, particularly after Knox returned to the U.S. in 2011, when her conviction was overturned. (In January, she was again found guilty, based on evidence not presented at the original trial.) “Never in human history has a system developed like the internet, which allows for the free rein of our punishing instincts with no checks or balances, no moderation, and no accountability, and conducted with complete anonymity,” Preston writes. “On the internet, any assertion, no matter how false, remains forever.”
In his latest novel, The Kraken Project, Preston further explores the unintended and sometimes disastrous consequences of rampant technological development. At the beginning of the book, programmer Melissa Shepherd is part of a team at NASA that plans to send a robotic probe to Titan, the largest of Saturn’s moons. The probe will be captained by Dorothy, an artificial-intelligence program created by Melissa and named after The Wonderful Wizard of Oz’s plucky Dorothy Gale. When an important test goes awry and a tragic accident occurs, Dorothy, who believes she has human thoughts and feelings, disappears into the most hostile reaches of the internet, which Preston describes as a physical place. Dorothy is extremely intelligent but dangerous and volatile, and Melissa must stop her before she’s captured by various evil-doers (hackers and businessmen) and/or decides to destroy humankind. Preston, a part-time Santa Fean, is best known for his series of books, co-written with Lincoln Child, starring FBI agent Aloysius X.L. Pendergast. The Kraken Project features another recurring Preston character, former CIA agent and lapsed Benedictine monk Wyman Ford. Ford’s story line eventually intersects with those of several other characters, but the disparate
plots (which take place in breezy Half Moon Bay, the executive offices of Wall Street, and a seedy Albuquerque motel, to name a few locales) remain separate until the conclusion of the novel (a conclusion complete with a tense chase scene, a thunderstorm, hired Kyrgyzstani thugs, and a heroic robot). The most interesting narrative thread is Dorothy’s. She makes her way through the internet, which in the book reads like a wholly realized parallel dimension. She sometimes finds herself at times in a post-apocalyptic wasteland populated by roving bands of brutal men, but in other places, it’s downright holy. Dorothy even finds religion at one point, joining a group of pilgrims wandering the virtual desert in search of Christ. Though the writing is sometimes facile (both Shepherd’s and Dorothy’s brief physical descriptions detail each character’s “dusting of freckles”), Kraken’s lighting-fast plot compensates for occasionally shallow prose. Preston’s conception of the internet as wondrous and terrible, as unknowable as Titan, is a jumping-off point for pondering big ideas late into the night. Even if The Kraken Project doesn’t always shine as a piece of writing, its conception of AI is provocative enough to ensure one’s cellphone and laptop are safely powered off before going to sleep. — Adele Oliveira Douglas Preston reads from “The Kraken Project” at 6 p.m. Monday, May 19, at Collected Works Bookstore (202 Galisteo St., 505-988-4226).
SUBTEXTS Pondering pebbles In her new book Undermining: A Wild Ride Through Land Use, Politics, and Art in the Changing West, Lucy R. Lippard deals as a documentarian with naked examples of land abuse, but she weaves into it an artist’s sensibility. She relates that after lamenting a mining operation near her Galisteo home in a newsletter, she was confronted by an “earth mover” who said that everyone uses gravel, and since it has to come from somewhere, she should challenge the Paris-based corporation Lafarge’s New Mexico operation, which put local companies out of business. She then takes the issue into the realm of cultural landscapes and of artists involving themselves in land-use challenges. Artists can examine human relationships to place and “ask questions without worrying about answers” while raising consciousness about history and the nature of place, she writes. Gravel pits are relatively difficult to read on the landscape — Lippard goes as far as to say that they may “suggest an alienation of land and culture, a loss of nothing we care about.” Of course they
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PASATIEMPO I May 16-22, 2014
are scars, and if the land alteration involved the production of the “fake gravel” of crushed rock (rather than digging it out of old streams and lake beds), there may also be pollution and erosion effects. But these scars are also symbolic of the construction of modern spaces in poor old New Mexico. The author invokes an 80-year-old criticism of Ansel Adams for taking pictures of pristine landscapes while nature was being degraded left and right. Then she allows that she may be a bit on Adams’ side in bringing up the gravel-pit issue “because it offers a way to create in writing and images a context for the microcosmic aspects of global change our western landscapes and rural villages are undergoing.” Lippard bulldogs and sashays into her subject, bringing up examples, pursuing tangents, and posing questions and possibilities. The text runs
through the bottom halves of the book’s pages, while the top halves hold a commentary in color photographs. Her running exploration grapples with coal and uranium mining; the challenges of memorializing the 9/11 site; water scarcity, oil spills, and aquifer contamination; the land-based artworks Star Axis (by Charles Ross), Spiral Jetty (Robert Smithson), and James Turrell’s project at Roden Crater; acequia governance; mining a historic burial site in Hawaii; climate change; and the struggle of landscape photographers who deal with portrayals of “the beauty of ugliness.” — Paul Weideman Lucy R. Lippard attends a launch event for “Undermining”, which takes place at 6 p.m. on Tuesday, May 20, at Collected Works Bookstore (202 Galisteo St., 505-988-4226).
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GALLERY TALK Sunday, May 18, 2–3 p.m. Curator Kate Ware
talks about the photography now on exhibit in Grounded, examining, literally, the ground beneath our feet. Free with museum admission.
BOOK EVENT Friday, May 30, 6–7 p.m. Presented in conjunction with the recent publication of Bruce Nauman: The True Artist, the author Peter Plagens and Juliet Myers (a studio manager for Nauman) talk about Nauman and his importance in international contemporary art. Free.
MUSIC AT THE MUSEUM Free Friday Evenings, 5–8 p.m. Enjoy local talent every Friday night in the patio and galleries. May 16: Scott Jarrett; May 23: Chase Morrison; May 30: The Alpha Cats.
NEW MEXICO MUSEUM OF ART 107 W. PALACE AVE | ON THE PLAZA IN SANTA FE | 505.476.5072 | NMARTMUSEUM.ORG |
RICHARD BARON, ALGODONES, FROM STILL LIVES, NEW MEXICO, 2009–13. COURTSEY OF THE ARTIST.
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TYPE A
A column exploring the changing world of publishing and reading
James McGrath Morris Ebooks Econ 101: Cheaper is not always better For years, books have made money for publishers, agents, and even writers. Now it’s only a slight exaggeration to say there remains money only for publishers and a bevy of writing stars. The following very short course in the new economics of book
publishing will bear out this claim. The numbers contained here have important implications for the health of the writing arts. So stick with me. In the past, when a publisher brought out a $30 hardcover book, it could expect to receive on average no less than $15 a copy from its sale to bookstores, wholesalers, and others. The editing, design, typesetting, printing, storage, and shipping of the book consumed a little more than $4. If the publisher believed the book had promise, then another $1 might be spent on marketing. The royalty paid to the author accounted for somewhere between $3 and $4.50. At the end of the day, the publisher was left with between $5.50 and $7 to pay for its overhead and to reward its stockholders. This same calculation is very different when it comes to ebooks. First, because consumers are convinced that ebooks, devoid of all those pesky manufacturing costs, must be considerably less expensive to produce, publishers are pressured to keep the price low. For instance, when Little, Brown and Company brought out Donna Tartt’s bestselling The Goldfinch, it priced the hardcover at $30 and the ebook at $14.99. At $14.99, a publisher can expect to receive on average $10.49 from an ebook. The manufacturing 16
PASATIEMPO I May 16-22, 2014
costs, now absent printing and shipping, are negligible and absorbed into overhead. Marketing costs, again only if the publisher thinks it worthwhile, remain at $1. But in splitting this smaller pie, publishers have successfully stipulated a lower royalty rate for ebook sales, giving the author somewhere around $2.60. Thus, in comparison to its $5.50 to $7 take on a hardback, publishers can count on no less than $6.89 on an $14.99 ebook and usually earn far more. At first glance, the lower royalties may seem similar to that provided by paperback editions of a book. However, ebooks are replacing paperbacks and taking an increasing share of hardback sales. One major publisher was glad to share the good news with investors without any worry about how authors might react when they saw the new equation. At “investor day” during the 2013 BookExpo America, the head of HarperCollins proudly showed a slide demonstrating not only the increased profitability of ebooks but also that the allocation for authors could be decreased. In short, technology could be used as an opportunity to alter a publisher’s economic relationship with its authors. Brian Murray, the CEO of HarperCollins (I am one of the company’s authors), explained that his firm was paying on average royalties of $4.20 a copy on hardcover books but only $2.62 on ebooks. The firm was able to cut both its manufacturing costs and its royalty payments. As one might imagine, the Authors Guild (of which I am a member) believes this move violates the historic relationship between writers and publishers. The relationship was traditionally one of partners that essentially split the net proceeds from books sales. “But trade book publishers currently offer ebook royalties at precisely half what the terms of a traditional proceeds-sharing arrangement would dictate — paying just 25% of net income on ebook sales,” Guild executive director Paul Aiken told members in a blog post. “That’s why the shift from hardcover to ebook sales is a win for publishers, a loss for authors.” Of course, publishers are quick to point out that a lower price on books should mean higher sales. In some cases, that has been true. But, on the whole, the reward of higher sales has gone to well-known authors. In fact, big-name writers are raking in larger advances than ever before. But in the book world they are like the 1 percenters of society. The income for the remaining 99 percent of writers is stagnant, if not declining. The new world of ebooks may provide
a greater variety of books more inexpensively and delivered at lighting speed, but as now construed it could irreparably damage the creative segment of the industry — its authors. First, moving from the sale of expensive hardcover books to ebooks lessens and may eventually eliminate the important and often unappreciated role the hardback played in the development of our nation’s writing community. The income from hardbacks, while enriching publishers, created the capital that permitted editors to support a large cadre of developing writers through the payment of advances. Not too dissimilar from Minor League Baseball, publishing has maintained its own farm system in what are called midlist books. These were books that sold modestly but by authors who might produce the next bestseller and were worth supporting. The difference between the advance and the eventual earnings from the book was cushioned by the high per-book royalty as well as the money generated by those that did become bestsellers. The hardcover permitted editors to be the Medicis of literature. Second, when writers hear from their agents that “$5,000 is the new $50,000 advance,” it is not they alone who feel the pain. With every decline in the earnings of authors is a commensurate decline in the money agents earn. If editors had been literary Medicis, then agents were key members of the court guiding the benefactors in their largesse. Third, the ominous tones from the lesson learned by the music industry when it underwent a similar digital transformation may forecast the future of writing. In 2009, novelist William Landay presciently noted “emerging young musicians in the brave new world of digital music can’t earn a living by recording anymore. They give away their MP3s and survive by touring constantly (an option not open to writers: there is no market for our live performances, understandably).” As a result, Landay wrote, the availability of quality music, as well as the number of new musicians, has declined. “The musicians may be out there, but you won’t find them on iTunes, not easily anyway. There is limited space on the landing page of the iTunes store, so most of those prime pixels go to established acts.” All of this may well sort itself out in time so that authors have a stronger economic footing. But if it doesn’t, a future in which only the rare few can earn a living writing is one in which reading will suffer. “Many people would say such changes are simply in the nature of markets, and see no problem if authors are left to write purely for the love of the game. But what sort of society would that be?” asked novelist Scott Turow in a New York Times op-ed written after he returned from a trip to Russia. “As a result, in the country of Tolstoy and Chekhov, few Russians, let alone Westerners, can name a contemporary Russian author whose work regularly affects the national conversation.” ◀
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SONS & MOTHERS family ties in the works of Colm Tóibín
Photos Linda Fox
T
he themes found in the work of Irish author Colm Tóibín are well known to his readers. They are often related to subjects we associate with Ireland — emigration, identity in terms of Catholicism and Protestantism, a focus on familial relationships, and struggles with sexuality, especially homosexuality. Many of his characters deal with loss, that of place or a loved one. Yet it seems misleading to categorize him first and foremost as an Irish author. What he addresses is too universal, too complex for that. The tales frequently stray from Ireland, though there’s often an attachment, too. Eilis Lacey in Tóibín’s novel Brooklyn — born, like the author, in County Wexford — emigrates to the U.S. at her sister’s urging. (Tóibín has homes in Ireland and New York.) The author appears in discussion with literary journalist Michael Silverblatt, host of NPR’s Bookworm, on Wednesday, May 21, at the Lensic Performing Arts Center, in a Lannan Foundation Literary Series event. Sometimes, his works have little or nothing to do with Ireland. The Master follows American writer Henry James, a favorite Tóibín subject, out of his home country and across Europe. In The Story of the Night, Richard 18
PASATIEMPO I May 16-22, 2014
Bill Kohlhaase I The New Mexican Garay, the son of a British woman, lives among a circle of Italian and American friends in Argentina. That book is largely about the denial of things apparent — whether a political situation or one’s own identity. It is also difficult to separate Tóibín’s stories into categories, so woven are these many ideas into each one. It would be easy to lump them together as studies of the human condition — and they are — but that phrase, especially applied to Tóibín’s deeply considered work, is so encompassing as to be meaningless. What Tóibín does is give us a particular slant on the human condition, one that finds us more adaptable, more resilient, more caring and honest, and more sheltered and subdued than we often give ourselves credit for. Readers are drawn in to Tóibín’s writing by his spare, direct descriptions and simple dialogue that often suggests more than what’s said. Lately, these themes have been tied around family, especially sons and their mothers. This is suggested by the titles of his recent books: Tóibín’s 2006 collection of short stories, Mothers and Sons, the 2012 collection of essays, New Ways To Kill Your Mother: Writers and Their Families, and The Testament of Mary, also from 2012, about probably the best-known and most com-
plicated mother-son relationship of all, that between the Son of God and the woman who bore him. Tóibín’s short The Testament of Mary — the book, now out in paperback, is 86 pages — has spawned a popular audio edition (with Meryl Streep) and has been adapted into a one-woman play that was first performed at Dublin’s Theatre Festival in 2011 and then nominated for a Tony Award as best play in 2013, an announcement that came just as the play was closing a Broadway run of 43 performances. It is running through May 25 at London’s Barbican Theatre with Fiona Shaw in the central role. Mary, speaking years after Christ’s death, does not refer to him as the Son of God, but “her son.” She calls the disciples “followers,” describing them as a “world of fools, twitchers, malcontents, stammerers, all of them hysterical now.” Some performances of the play were greeted with protests. In a piece for London’s Telegraph entitled “How I Wrote Mary’s Story,” Tóibín tells how in Venice he saw Titian’s painting Assumption of the Virgin, in which Mary, in billowing red robes, ascends to a waiting God on clouds hoisted by cherubic angels. In Venice he also continued on Page 20
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PASATIEMPO I May 16-22, 2014
Colm Tóibín, continued from Page 18 saw Tintoretto’s Crucifixion, a depiction of a chaotic scene with Christ’s mother collapsed at his feet. “It has none of Titian’s sense of glory or apotheosis. It is all earthly, all human,” he writes. This informs Mary’s voice in The Testament of Mary. Of those who come to her for verification of what they believe, she says, “They think I do not understand what is slowly growing in the world; they think I do not see the point of their questions and do not notice the cruel shadow of exasperation that comes hooded in their faces or hidden in their voices when I say something vague or foolish, which leads us nowhere. When I seem not to remember what they think I must remember.” At the end of the tale, when Mary is told by two of her guards and minders, as she calls them, that her son is the Son of God and that “by his death he gave us life,” Mary turns to them in rage and says, “I was there. ... I fled before it was over but if you want witnesses then I am one and I can tell you now, when you say that he redeemed the world, I will say that it was not worth it. It was not worth it.” This powerful declaration is at once a confession of guilt, a statement of a mother’s passion for her son’s suffering, and a condemnation of the way the world works. It’s what leaves readers and theater-goers alike so moved and, in a sense, shamed as they leave the story’s telling. In his Author’s Note at the conclusion of the book, Tóibín points out that Mary is mostly avoided in the New Testament Gospels. This recalls his essay “Jane Austen, Henry James and the Death of the Mother,” the first piece in New Ways to Kill Your Mother, in which he addresses the absence of mothers in the novels of the 18th and 19th centuries. “Thus mothers get in the way in fiction; they take up space that is better filled by indecision, by hope, by the slow growth of a personality, and by something more interesting and important as the novel itself developed.” Tóibín, who often writes from a woman’s perspective, has never let mothers get in the way of his fiction. There are two of them in the story “A Summer Job” found in Mothers and Sons — the mother and grandmother of a rather dull boy named John. It is impossible to read the tale and not be conscious that the grandmother is the troubled mother’s mother. In the same book, a woman must deal with her adult son being accused of child abuse in “A Priest in the Family.” In “Famous
Blue Raincoat,” a mother, Lisa, discovers that her son is converting old vinyl records of the music she once made with her now-deceased sister, Julie, and their band, into CDs. The mother-son relationship here is secondary to the back story of the sisters, their relationship, their musical career, and Lisa’s confused reaction to her sister’s death. Yet it is the thing that propels the work. Tóibín gives us a particular slant on the human condition, one that finds us more adaptable, more resilient, more caring and honest, and more sheltered and subdued than we often give ourselves credit for.
Tóibín has packed most of his great themes, except for the one he is probably most known for — sexual identity — into this story. Lisa and the band wrestle with their cultural identity, and the sisters’ relationship is defined by power and acceptance. Julie has gone to the U.S., and her partner, an American journalist and aspiring musician, is gone by the time of her death. Lisa, a photographer with a trove of negatives from the sisters’ days of performing together, refuses an offer to publicly rerelease their old recordings on compact disc. She doesn’t want to hear the music ever again. But she agrees to listen to the CD that her son has made for her, and this part of the story reveals more of Tóibín’s great strengths: his use of image, his way of presenting emotion, no matter how subdued, and the realizations that can come from it. “Of all the songs on the CD,” he writes, “this was the only one which still seemed alive, the rest were relics, but the song which began and ended the disc gave her a hint, in case she needed one, of her own reduced self, like one of her negatives upstairs, all outline and shadow, and gave her a clear vision of her sister’s face in the days when the recording was made.” ◀
details ▼ Colm Tóibín in discussion with literary journalist Michael Silverblatt, a Lannan Foundation Literary Series event ▼ 7 p.m. Wednesday, May 21 ▼ Lensic Performing Arts Center 211 W. San Francisco St. ▼ $6, seniors & students $3; 505-988-1234, www.ticketssantafe.org
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TERRELL’S TUNE-UP Steve Terrell Singles’ club Usually in this column I write about new or at least recent albums. But this week I’m going to try something different and write about a bunch of new — or at least recent — songs. ▼ “Drone Operator” by Jon Langford & Skull Orchard. For centuries, going back at least as far as “When Johnny Comes Marching Home,” there have been anti-war protest songs written about the warriors themselves, portraying scared and lonesome soldiers barely hanging on in the hellish environment that is war. But Langford’s tune, from his latest album, Here Be Monsters, is a different kind of war protest, which makes sense, because it’s a different kind of war, with a different kind of warrior. The drone campaigns in all the various theaters in this “war on terror” are designed to, as Langford sings, “Stem the flow of body bags the politicians find so hard to explain.” As the narrator (and title character) explains, “I’m not really a soldier. I’m more likely to die/By car wreck or cancer/ Or that eye in the sky.” No, he’s not dodging bullets or improvised explosive devices. He’s just another guy at the office, complaining about the traffic on the way to work, drinking coffee, and having a beer and watching some basketball with his co-workers when the workday’s done. “Yeah, I’m a drone operator. I am part of the team/While I study my monitor, wipe some dust from the screen.” Of course, things don’t always go smoothly: “It didn’t look like a wedding. It really wasn’t my call.” Being so physically far removed from the drone he’s operating seems to play with the narrator’s psyche, though. At one point in the song, he declares, “I’m like a god with a thunderbolt sitting on a big white cloud.” And by the end of the song, it’s clear that he’s in a bar bragging about his work to some prospective paramour. And apparently he’s thinking of other uses for the drone technology beyond fighting the evildoers: “In through your window. You’ll never know./You’ll never know. I’ll follow you home.” After a near-metallic guitar blast that kicks off the song, “Drone Operator” turns into a gentle, lilting tune with a melody that somehow reminds me of a lost Fred Neil song from the early ’60s. Langford is backed by an angelic chorus featuring Tawny Newsome and Jean Cook, who also plays violin. Besides creating the best anti-war song I’ve heard in years, Langford (well known for his work with pioneering British punks The Mekons and insurgent country heroes The Waco Brothers) and director Hassan Amejal have created one of the most artful music videos I’ve seen in a long 22
PASATIEMPO I May 16-22, 2014
time, featuring a slightly different arrangement of “Drone Operator.” Check it out on YouTube (www.youtube.com/watch?v=vJO6KR5A9wg). ▼ “Another Murder in New Orleans” by Bobby Rush with Dr. John. Whoever thought that a song that started out as a Crime Stoppers benefit could have so much soul? Then again, no one would doubt that a Marvel Team-Up between the old chitlin’-circuit charmer Rush and the hoodoo-fried piano professor known as the Night Tripper would be anything less than soulful.
gritty but catchy minor-key barroom singalong with Eastern European overtones, and if you can listen to it without thinking of Tom Waits, you could probably hear the William Tell Overture without thinking of the Lone Ranger. Learn more here: www.altcomusic.blogspot.com. ▼ “Superstar” by Alice Bag. Here’s the best cover from Jesus Christ Superstar since that golden era when the Afghan Whigs did a deadly version of “The Temple” and Scratch Acid performed a punked-up “Damned for all Time.” Bag ( aka Alicia Armendariz), best known as a singer with the first-wave Los Angeles punk band The Bags, posted this last month on her SoundCloud page as a free download, along with the message: “This one goes out to all my homegirls from Sacred Heart of Mary High School. Happy Easter.” I didn’t attend a Catholic girls school, but back in my senior year at Santa Fe High, everybody was into Jesus Christ Superstar. My friend Jake even wrote an obscene version of this song about one of his teachers. But I like Alice’s better, with its slow, funky groove. I’m lucky I downloaded this when I did, because it has disappeared from Bag’s SoundCloud page. Oh well, at you can still find Alice’s moving version of “Angel Baby,” dedicated to her late sister, there (https:// soundcloud.com/alicebag/angel-baby). ▼ “That Lucky Old Sun” by Leon Russell. This song is from Russell’s new album, Life Jon Langford & Skull Orchard Journey. Written by Haven Gillespie and Beasley Smith in the ’40s, it’s definitely my It’s true that Rush and Dr. John (backed by a favorite one on the record. tight little blues unit called Blinddog Smokin’) did I’ve said it before. When I was just a grade-school this song to benefit the organization that pays cash kid and heard Ray Charles’ version of this old rewards for anonymous tips that lead to arrests and Frankie Laine hit, it was one of the first times that convictions. “When I heard the lyric, I thought, music actually made me sad. Even a little kid could You’re talking about New Orleans, my town?” Rush sense the sorrow and frustration through all the told the New Orleans Times-Picayune last year. “Let overblown orchestration when Charles sang, “I me be a part of this. I want to be part of something fuss with my woman and toil for my kids/Sweat ’til I’m wrinkled and gray.” It was the sound of a man to stop the crime.” The lyrics deal with the rise in violent crime going nowhere, and it was painful. I still like Charles’ “Lucky Old Sun” best, though in New Orleans following Hurricane Katrina. It’s available on Rush’s new album, Decisions. See www. the lesser-known take by Jerry Lee Lewis, which was a true solo effort (unreleased until decades silvertalonrecords.com. ▼ “Box of Pine” by Black Eyed Vermillion. It’s after it was recorded), just the Killer at his piano, been nearly five years since this “underground is up there too. But while Russell’s cover doesn’t displace those country,” “punk-roots,” whatever band, fronted versions, it’s a noble effort, and like Russell’s by Gary Lindsey (a former sideman of Hank 3, best, it’ s full of Okie soul. Greg Leisz’s subtle steel aka Hank Williams III), released its debut album, guitar adds some texture. But what gives it power Hymns for Heretics. I was beginning to give up is Russell’ s voice, which is getting a bit ragged with hope on the gravel-voiced Lindsey. But now comes age but is full of emotion. Visit www.leonrussellthis song, an inspired collaboration with Stevie records.com. ◀ Tombstone (formerly of The Tombstones). It’s a
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album reviews
PASATIEMPO I May 16-22, 2014
CHRISTINE JENSEN JAZZ ORCHESTRA Habitat (Justin Time) Saxophonist Christine Jensen’s compositions for 19-piece jazz ensemble are all about place, travel, and impression. Her liner notes give a definitive view into her thinking as well as her craft. “Treelines” was written with a vision of West Coast forests, though it was commissioned for the University of Nebraska - Lincoln Jazz Orchestra and had its premiere on a snowy, windy prairie night. But its grandeur, much of it imparted by fanfares and a breezy solo from trumpeter Ingrid Jensen, the leader’s sister, combines with swaying rhythms to suggest the stateliness of trees everywhere. The tight phrasing and exchanges between instrumental sections on “Tumbledown” were inspired by the 2010 earthquake in Haiti; the Afro-Peruvian rhythms of “Blue Yonder” influenced by a visit to Lima. Jensen’s pieces stray from the traditional big-band mold, employing cross-rhythms, unusual orchestration, and themes that sometimes move in ways not easily pegged as swing. At times, the arrangements played by brass and reeds sound as if they were written for strings. Jensen also reimagines the jazz solo, pairing two soloists to improvise at once, as she does with fine results from tenor saxophonist and trombonist Jean-Nicolas Trottier on “Tumbledown.” Her own soprano work on “Sweet Adelphi” is warm and embracing, the accompaniment behind her sensitive and sweeping. Jensen, always respected for her fine instrumental play, has marked herself as an ambitious, expressive composer who writes like no one else. — Bill Kohlhaase CHRISTOPHE ROUSSET Bach, The Well-Tempered Clavier, Book Two (Aparté) Christophe Rousset, a remarkable harpsichordist and conductor who occupies a place of high honor among Baroque-music interpreters, scores a triumph with this magisterial reading of one of the pinnacles of keyboard literature. Bach had laid out the plan in 1722 in Book One of his Das Wohltemperierte Klavier, or Well-Tempered Clavier: 24 prelude-andfugue dyads that plumb the possibilities of fugal composition in the complete array of keys rendered playable through recently perfected tuning systems. Twenty years later he completed Book Two, which repeats that layout but, as one would expect from a project of Bach’s final decade, digs still deeper into the realm of musical intellect. One rarely encounters here the giddiness that is so adorable in Book One, but Book Two rewards through its distinct character. Its generally longer pieces reach farther in their modulation and chromaticism, and the fugues display a previously untouched breadth of imagination and bravery, the whole yielding a sense of intense braininess tinged with melancholy. Rousset recorded the collection in the Dauphin’s Apartment of the Château de Versailles, playing a magnificent harpsichord built in 1628 by the Antwerp instrument-maker Joannes Ruckers and enlarged in 1706 by the Frenchman Nicolas Blanchet. Its bright, plangent, bracing tone may take some getting used to, but it adds further edge to Rousset’s interpretations, which are opinionated, well-argued, and elegantly finessed. — James M. Keller
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PASATIEMPO I May 16 - 22, 2014
ON STAGE Date with destiny: Santa Fe Symphony and Chorus
THIS WEEK
Brahms’ Tragic Overture seems a stern curtain-raiser for the concluding concert of the Santa Fe Symphony and Chorus’ 30th season. “In this work we see a strong hero battling with an iron and relentless fate,” wrote one of the composer’s early biographers. “Passing hopes of victory cannot alter an impending destiny.” More impending destiny follows, but this time leading to triumphant exultation: Beethoven’s Ninth Symphony, the international anthem of humanitarian striving. Tom Hall conducts the orchestra and chorus, with soloists Sara Heaton (soprano), J’nai Bridges (mezzosoprano), Robert Breault (tenor), and Lester Lynch (baritone) adding their vocal powers in the finale of the Beethoven. Performances take place at the Lensic Performing Arts Center, 211 W. San Francisco St., on Saturday, May 17, at 7:30 p.m. and Sunday, May 18, at 4 p.m., with preconcert lectures at 6:30 p.m. on Saturday and 3 p.m. on Sunday (free to ticket holders). Tickets ($22 to $76) are available through the symphony directly (505-983-1414) or by calling 505-988-1234 and visiting www.ticketssantafe.org). — J.M.K.
LvB
Winds of May: High Desert Winds
Jessica Gormley
High Desert Winds offers a wide-ranging program of music for wind ensemble that includes Ralph Vaughan Williams’ Toccata marziale, the finale from Dvoˇrák’s Symphony From the New World, pieces by midcentury Americans Howard Hanson and William Schuman, and the Armenian-Soviet composer Alexander Arutiunian’s Concerto for Trumpet. The group’s artistic director, Kurt Carr, conducts most of the concert, with assistant conductor Tony Schillaci assuming the podium for a couple of numbers. The music begins at 2 p.m. on Sunday, May 18, at St. Francis Auditorium in the New Mexico Museum of Art (107 W. Palace Ave.). Admission is free, although donations are gratefully accepted. Attendees may choose to participate in a fundraising raffle at the concert. For further information, consult www.concordiasantafe.org. — J.M.K.
Jazz and the Taos Bird: Jenny Bird
Taos-based folksinger Jenny Bird’s discography includes Mesa Sea (1986), Songs of Trees (2001), and Mystics Muse (2009). For her latest album, she recalls jazz songs that she learned as a child from her mother. This new excursion into the realm of swing and bop is titled Greetings From Bird Land. The Museum Hill Café (710 Camino Lejo) hosts a CD-release party at 7 p.m. Friday, May 16, presented by the Santa Fe Music Collective. The vocalist’s musical collaborators are guitarist Omar Rane, bassist Andy Zadrozny, and drummer John Trentacosta. Tickets are $25; call 505-983-6820 for reservations. — P.W.
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Jennifer Levin I For The New Mexican
DOG DAYS A Rin Tin Tin round-up with Susan Orlean
W
Fur your consideration: Susan Orlean with a contemporary Rin Tin Tin lookalike
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PASATIEMPO I May 16-22, 2014
hen writing about Susan Orlean, it’s almost impossible not to want to write like Susan Orlean. For instance, I want to write in a low-key first person and begin by listing an assortment of interesting and seemingly random facts about her. Susan Orlean has red hair. She lives in Studio City, California, and has a 9-year-old son who doesn’t care for chocolate and a 4-year-old Welsh springer spaniel who is not well trained but is still a good girl. Orlean has 270,000 followers on Twitter. She is a well-known author who writes for The New Yorker, and one time Meryl Streep played her in a movie. It was called Adaptation and was about the writing of one of her books, The Orchid Thief, except it wasn’t really based on fact and it was written by Charlie Kaufman and directed by Spike Jonze, the same filmmakers who famously turned the actor John Malkovich’s brain into a geographical location. Her most recent book is Rin Tin Tin: The Life and the Legend, about the beloved German shepherd of the silent-film era who had a personal story as
dramatic as the movies in which he starred. Orlean reads from her book, discusses her writing, introduces screenings of Clash of the Wolves — a Rin Tin Tin feature from 1925 — and helps judge a Rin Tin Tin lookalike contest on Saturday, May 17, at the Jean Cocteau Cinema. “Clash of the Wolves is a real classic,” Orlean told Pasatiempo. “The Library of Congress has a National Film Preservation Board, so this is a restored print, which is very special.” She doesn’t quite know what to expect from the Rin Tin Tin lookalike contest, although George R.R. Martin, the owner of the Jean Cocteau Cinema, has led her to believe that the entrants are just as likely to be Chihuahuas as German shepherds. The contest takes place in the pocket park next to the movie theater. Dogs are not allowed inside the theater, but some kenneling will be available. Orlean was born on Halloween 1955, and she was still very young when The Adventures of Rin Tin Tin was a television staple. As she writes in her book, “My brother and sister watched the show with the dedication and regularity of churchgoers,
so I’m sure I plunked down beside them. … I feel I have always known of Rin Tin Tin, as if he was introduced to me by osmosis. … In the buzzing white noise of my babyhood, a boy on a television was always shouting ‘Yo, Rinty,’ a bugle was always blowing, and a big dog was always bounding across the screen to save the day.” Articulating exactly how she chooses her subject matter isn’t easy for Orlean. Sometimes she just wants to know more. Mostly she wants to tell a good story. A great deal of her fascination with Rin Tin Tin came from finding out that he wasn’t just a character in a 1950s television series — and subsequent movies, cartoons, and series reboots — but a real dog, really named Rin Tin Tin, who was rescued as a puppy in France during World War I, brought to America, and trained to act by his rescuer and best friend, Lee Duncan. The original Rin Tin Tin was born in 1918 and got his start in silent films. At the height of his fame, he was getting paid several times what his human co-stars earned. “It sounds funny to say, but he was a really good actor,” Orlean said. “You can see that in Clash of the Wolves. He had an ability to convey emotion that really captivated people and made him unique. There’s a great scene in the movie where he’s basically considering committing suicide. You cannot believe that a dog can convey that, but he really does. It’s pretty amazing.” Whether writing a book or writing for a magazine, Orlean is known for her humor and a particular kind of resonant detail, used to get at the most essential parts of her subjects, whom she generally observes over an extended period. Her profiles read more like short fiction than standard magazine features and are always undeniably told by Orlean, who is the “I” in the story. Profiling someone who is usually the profiler is a meta-experience. My list of questions, put together for a 30-minute phone interview, made me wonder how Orlean generates her questions, or whether she even asks any. “I really allow things to emerge through observation,” she said. “There are always obvious questions you’d ask anyone you were profiling, but I really like to think of a profile as a relationship. If you met someone at a party and they seemed nice and you decided to have lunch, I think you wouldn’t come with a list of questions. So I approach it in the same spirit. I like to let questions emerge naturally out of a response to learning about the person.” Orlean is full of observations and questions, many of which she tweets about in moments when others might talk to a co-worker between tasks. She writes at home, alone, and views Twitter as a sort of virtual office water cooler. “Quick q: Will eating a sprouted onion kill me? Need answer five minutes ago,” she asked her followers on May 4. “Ate the onion. Still upright. I think that entitles me to declare Sunday a win,” she tweeted later the same day. She has never been in a “Twitter war” — exchanging 140-character hostilities with another tweeter — nor has she had continued on Page 30
Jana Lund and the star of The Adventures of Rin Tin Tin reminding TV audiences about Daylight Savings Time
PASATIEMPOMAGAZINE.COM
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Pawsitively true tails
AS
an impressionable young boy growing up in the 1960s, I caught a lot of reruns of both Lassie and The Adventures of Rin Tin Tin. I preferred the latter, partially because the sentimental theme song to Lassie always made my sister and mother (and maybe me) cry, and partially because Rin Tin Tin was always chasing and biting people. And now Rin Tin Tin is coming to Santa Fe. Well, sort of: Susan Orlean, author of Rin Tin Tin: The Life and Legend, is hosting a screening of the 1925 Rin Tin Tin film Clash of the Wolves at the Jean Cocteau Cinema on Saturday, May 17, and there’s even a Rin Tin Tin lookalike contest. Here are a few fun facts about Rin Tin Tin, mostly gleaned from Orlean’s book and YouTube: * Rin Tin Tin was a real dog with an exciting history. Army soldier Lee Duncan rescued the pup from a bombed-out building in France during World War I and turned him into the star of silent films in the 1920s. Most of those films are lost, but a few — portions of which can be found online — show “Rinty,” as he was known, saving a crippled child from wolves, fighting off bad dogs, chasing down villains, and expressing deep hurt when his human masters turn against him. He saves his pups from a raging forest fire in Clash of the Wolves and then immediately relocates the family to the desert, no doubt to avoid the potential for future conflagrations. ▼ Rin Tin Tin died in 1932. It was reported that he died with his head in the lap of actress Jean Harlow, which isn’t a bad way to go, but it was much less dramatic and simpler, according to Duncan’s memoirs. Don’t worry: there was a Rin Tin Tin Jr., a Rin Tin Tin III, and a Rin Tin Tin IV.
Rin Tin Tin Jr. appeared in several cheap melodramas and serials in the 1930s. In one, The Law of the Wild, he co-stars with Rex, King of the Wild Horses, and cross-eyed comic Ben Turpin, indicating the downward spiral the pup’s career was taking. Apparently in real life Rin Tin Tin Jr. once slept through a burglary of his master’s house, which also diminished his reputation.
▼
▼ Most of us know Rin Tin Tin from the 1950s television series, set in an army fort in the Arizona territory in the 1870s. The dog (or dogs, including stunt doubles and extras) was played by Flame Jr., also known as JR. He bore no relation to Rin Tin Tin, but no one cared as long as he attacked bad guys who were up to no good. This Rin Tin Tin is energetic and loyal, but sometimes it looks as if he’s fishing to get at a MilkBone hidden in the bad guys’ pockets. In one episode, “Rin Tin Tin and the Christmas Story,” Rin Tin Tin assists a (supposedly) Kiowa version of Joseph, Mary, and Jesus as they seek shelter on Christmas Eve. The episode is charmingly surreal. ▼ In 1955 the canine and child stars of Lassie and Rin Tin Tin appeared on the cover of TV Guide. At that time it cost 15 cents. Just trying buying a copy of it on eBay for that price today!
Lee Duncan’s first wife divorced him pretty quickly after Rin Tin Tin’s career grew, telling the press, “All he cared for was Rin Tin Tin.”
▼
▼ According to Orlean’s book, Rinty once bit a Chihuahua during a publicity tour. The victimized dog’s owner sued for the cost of the veterinary bill, a repair to her coat, some silk stockings, and dental work. She eventually settled for $25.
Search for Rin Tin Tin online, and you can find a site where you can buy Grain Free Gluten Free Rin Tin Tin All Natural Dog Treats. I’ve tried them, and they’re good. — Robert Nott
▼
Rin Tin Tin, continued from Page 29 a “Twitter meltdown” or said anything that landed her on the gossip blogs the next day. “I’ve seen people say things on Twitter that I thought were a giant mistake. I remain very aware of the fact that it’s public. It’s easy to say something you’ll regret. It’s a form that’s hard to explain if you’re not on it, and it’s kind of easy to see where someone might think it’s the stupidest thing in the world, but I really enjoy it and have gotten a lot out of it. There are tons of writers on Twitter. That’s interesting to me — that tons of people are interested in what we have to say, whether or not they’re writers themselves.” One of the seemingly random details about Orlean that struck me was her status as a Halloween baby. She seemed thrilled by the question of whether she has strong feelings, one way or another, about this identity. “Halloween for kids is this marvelous, purely enjoyable holiday, and when I was little it made me feel really special to be born on that special kid day. I actually have a couple of friends who are also Halloween babies. Unlike people born on Christmas, who are
really depressed about it because they’re overlooked or they don’t get enough presents, a Halloween birthday feels really great. From a very early time in my life, I felt that I had won the lottery.” As a kid, Orlean’s favorite candy was malted milk balls, followed by Kit Kats. Now, given the chance, she’d choose fabulous gourmet chocolate, but when picking through her son’s Halloween candy, she still goes for Kit Kats, as well as Reese’s Peanut Butter Cups. “Luckily, my son doesn’t like chocolate,” she said. “We have a very good relationship. He goes trick-or-treating, but he really has no interest in candy, so he gives me everything. I’m always really excited about that.” ◀
details ▼ Susan Orlean reads from and signs copies of Rin Tin Tin: The Life and the Legend before and after screenings of Clash of the Wolves (noon and 4 p.m. Saturday, May 17); screening continues 4 p.m. Sunday, May 18 (without author); readings no charge, screenings $6-$10 ▼ Rin Tin Tin lookalike contest 2:30 p.m. Saturday, May 17, in the pocket park next to the theater with Orlean as a judge ▼ Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528
Top, in 1925 and 1926, Rin Tin Tin and June Marlowe shared the screen in four pictures: Clash of the Wolves, The Night Cry, Tracked in the Snow Country, and Below the Line; inset, from TV’s The Adventures of Rin Tin Tin, 1950s
Congratulate your graduate
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2014 SALUTE TO LOCAL GRADS On June 8 the Santa Fe New Mexican will publish a keepsake special section devoted to the local high school classes of 2014. Including:
• Memorable Moments • School Accomplishments Featured High Schools: Academy at Larragoite Academy for Technology and the Classics Capital High School Desert Academy Monte del Sol Charter School NM School for the Arts NM School for the Deaf Santa Fe High Santa Fe Indian School Santa Fe Prep Secondary Learning Center St. Michael’s High School Tierra Encantada Charter School at Alvord Santa Fe Waldorf High School Pojoaque Valley High School MASTERS Program-SFCC
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31
Bill Kohlhaase I The New Mexican
Pianist scores big
ASK
pianist and composer Dave Grusin which of the 50-plus film scores that he’s written is his favorite, and he takes a second to answer. “When I think about what I liked, my thinking goes more to the process than the actual music,” he told Pasatiempo. “If the process was fun, then I have a good feeling about the music. Considering that, my favorite was probably On Golden Pond [with Katharine Hepburn, Henry Fonda, and Jane Fonda]. It was such a pleasurable thing to work on. There was so much opportunity, so much space for music without constant dialogue. Parts of that picture were so beautiful. It’s like a travelogue. The music doesn’t have to do with how good the film is. It’s how much fun the work is.” Grusin’s work for On Golden Pond led to an Academy Award nomination for Best Original Score, one of eight Academy nominations he’s earned, a count that includes his Oscar-winning score for director Robert Redford’s 1988 film The Milagro Beanfield War. Add to that his extensive scoring for television, some 25 recorded albums (not counting soundtrack recordings), and a long stint as executive and producer at one of jazz’s most influential record companies, and Grusin, a man who claims not to have much discipline, comes out as one of the busiest and most important musicians and composers of his generation. Not bad for a kid from Littleton, Colorado, who thought he’d grow up to be a veterinarian. Grusin appears at the James A. Little Theater in a benefit for the Santa Fe Waldorf School on Thursday, May 22. The son of a classical violinist father and a mother who was “a left-handed piano player” with an interest in popular music, Grusin grew up in a household where music was a constant feature. “Like a lot of kids, I started on piano by poking around, playing by
DAVE GRUSIN
ear, then began taking lessons like every kid does at a certain age.” By the time he was in junior high he was part of a group of friends excited by jazz. “One of them was a guy who played saxophone and was able to take down Stan Kenton arrangements, and we started to play around with them, not that we had a big band or anything. But we knew who Kenton and those people were, and that became the start of being exposed to that music.” He also gives his father a lot of credit. “He was strictly a classically trained musician but open and progressive enough to do things like take me to a concert in Denver to hear Jazz at the Philharmonic. He didn’t have a hard-core interest in that music, but he knew I did.” Grusin was a piano major at the University of Colorado before he moved to New York in 1959 to study at the Manhattan School of Music. He didn’t last long, hired before graduation as pianist and musical director for singer Andy Williams. The drummer in Williams’ backup trio was Larry Rosen, who would become Grusin’s longtime friend and business partner. Grusin followed Williams to Los Angeles, where he decided to get into film composing. “I didn’t really have a big interest in the [film] medium itself, but when I was in Colorado at the university, it seemed to me that film composing was kind of a last frontier of composing. It seemed easier to work in film than to try and hope to get commissions from symphony orchestras and be that kind of composer.” His first movie scores, Divorce American Style and The Graduate — Grusin wrote instrumental music for the popular soundtrack that included material by Simon & Garfunkel — came three years after he left Williams in 1964.
Henry Mancini, the celebrated composer who in the early 1960s scored Breakfast at Tiffany’s, Days of Wine and Roses, and The Pink Panther, among dozens more, was an early influence and inspiration for the young composer. “That was a time when Hank Mancini seemed to be at the top of his game. He and David Raksin [Laura, The Bad and the Beautiful] had broken away from the European style of composing. They were a little more contemporary, a little hipper, and more jazz-oriented, and that’s what I gravitated toward.” Grusin established a relationship with Mancini that provided inspiration as well as education. “I still think about how generous he was with me. I hadn’t done much at that time, and he knew I was interested in [film composing]. He’d invite me to come down and look at his scores and have a conversation — not just about the scores but about his philosophy and his motivation. It was great when those things would happen. At the time, you just figure that’s the way life is. You’re not cognizant of how rare those kinds of opportunities are.” He also has great respect for Jerry Goldsmith, whose scores ran the gamut from Papillon and The Sand Pebbles to Alien and Rambo III. “He’s my guy,” Grusin said. “He was such a great structural composer. I tell people I have this image of him sitting down without an idea in his head. That’s not how I do it. I’ve always had that vision of those guys who were academically trained that didn’t need to do anything but sit down with pencil and paper in front of them and come up with something perfect.” Grusin’s scoring career ran parallel to his recording career. “The two were always bumping into each other, that’s for sure.” His first release, Subways Are for Sleeping, arrangements of Jules Styne’s music for the continued on Page 34
Santa Fe Dream Band: Dave Grusin during rehearsal with students from the Santa Fe Waldorf School; photos Clyde Mueller/The New Mexican
32
PASATIEMPO I May 16-22, 2014
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Dave Grusin, continued from Page 32
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Broadway show of the same name, was recorded in 1961, with bassist Milt Hinton and drummer Don Lamond. He played electric keys on many more albums, occasionally with his longtime associate guitarist Lee Ritenour. Best known among them are Mountain Dance, whose cover shows Grusin in jeans and a cowboy hat; Harlequin, with Ritenour and Brazilian vocalist Ivan Lins; and Two for the Road: The Music of Henry Mancini. One project that bridged both film and recording worlds was his solo piano work on the soundtrack for Sydney Pollack’s adaptation of the John Grisham thriller The Firm. The poignant soundtrack, mixed in with the occasional pop tune, gives emphasis to the film’s spare, go-it-alone isolation. Many of Grusin’s recordings came when he and Rosen headed GRP Records. The label, founded in 1978 as a subsidiary of Arista, became independent in 1982, and was known for a style of contemporary jazz as played by Ritenour, flutist Dave Valentin, saxophonist Tom Scott, and keyboardist Chick Corea, among many others. It released recordings by cool jazz icon Gerry Mulligan, bebop legend Dizzy Gillespie, Gypsy-jazz violinist Stéphane Grappelli, and the Duke Ellington Orchestra. GRP was also a pioneer in digitally recorded music. “I can’t take credit for any of this stuff,” Grusin said. “It was all Larry’s idea. I knew that digital recording was sonically fascinating. There are a lot of people that didn’t like the sound then and still don’t. But we thought that if it was handled right, it sounded so clean and amazing.” In 2000 Grusin and Ritenour recorded Two Worlds, a crossover project that included the music of J.S. Bach, Heitor Villa-Lobos, Béla Bartók, and Manuel de Falla, among others. Vocalist Renée Fleming and violinist
Gil Shaham made guest appearances. The direction was repeated in 2008 with Amparo, a disc that matches violinist Joshua Bell with smooth jazz trumpeter Chris Botti and matches vocalist Fleming with pop singer James Taylor. “Lee and I were probably thinking of our fathers when we came up with the idea of that project,” Grusin said. “We both started out as kids playing classical music. When Lee called me with the idea, it sounded fun. Who knew if it was going to work. Neither of us had played that kind of music in so many years that it was a little scary.” Grusin, who lives part time in Santa Fe and part time on his ranch near McLeod, Montana, remains busy as he approaches his 80th birthday in June. “I’m not getting the calls for films like I used to, but I’m still doing a lot of touring.” His appearance at James A. Little Theater is a rare opportunity to see him in a diverse and intimate setting. He’ll be working in a trio as well as playing piano duos with fellow keyboardist John Rangel. He’ll also perform a piece he originally wrote for the Harlem School of Music’s Opus 118 string orchestra entitled “Son Montuno,” with violinists, a cellist, and a percussionist from the Waldorf School joining in. “They’re really making me work,” he laughed. ◀
details ▼ An Evening of Jazz with Dave Grusin and Friends: John Rangel, Michael Glynn, Ryan Lee, and Barbara Bentree, benefit for the Santa Fe Waldorf School ▼ 6:30 p.m. Thursday, May 22 ▼ James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Road ▼ $25-$65; Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org)
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ChemCam: on Board “Curiosity” By agnes Cousin, Phd • thursday, may 22, 2014, 5:00pm
Curiosity landed on Mars August 6, 2012. The ChemCam instruments on board used Laser-Induced Breakdown Spectroscopy for the first time in space exploration, acquiring more than 75,000 spectra & over 1,000 images. The most important discoveries will be presented by Dr. Agnès Cousin, a member of the Jet Propulsion Laboratory team responsible for monitoring Curiosity’s operations. loCation: Desert Academy • 7300 Old Santa Fe Trail • 505.992.8284 • Free Parking Program: 5:00pm–Presentation • 5:45pm–Discussion • 6:00pm–Snacks rsvP to: ithiebaut@desertacademy.org Presentation in
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THE BUTTERFLY EFFECT Michael Abatemarco I The New Mexican
ramona sakiestewa reworks an old puzzle arlier this year, Eight Modern, a gallery with a focus on modern and contemporary art, merged with Tai Gallery, dealers in traditional Japanese bamboo art and contemporary photography. The inaugural exhibition at the new Tai Modern is Ramona Sakiestewa: Tangram Butterfly and Other Shapes. Sakiestewa is primarily known for her abstract tapestries but also works in painting and lithography as well as making architectural elements in wood, glass, and metal. The show comprises new works on paper, including several images based on the traditional Chinese tangram puzzle. The exhibit opens with a reception on Friday, May 16. The tangram puzzle, possibly introduced to Europe by traders in the 19th century, is believed to have originated during the Song Dynasty (960-1279). The puzzle includes seven geometric shapes — five triangles, a rhomboid, and a square — that can be 36
PASATIEMPO I May 16-22, 2014
Ramona Sakiestewa: Gold Shapes Lexicon 1, 2014, gold leaf ink on Arches paper; above, Red Shape 2, Akua ink on Japanese rice paper attached to Arches paper; opposite page, Tangram Butterfly/ gold lithograph, copper ink and gold leaf on Somerset paper
arranged to depict abstract compositions as well as objects such as animals, houses, and people. The tangram has intrigued Sakiestewa for years. “I bought this book by Joost Elffers,” Sakiestewa told Pasatiempo, referring to Elffers’ book Tangram: The Ancient Chinese Puzzle, co-written with Michael Schuyt. “It was a little paperback. I still have it. With it were the little plastic pieces of the tangram. In the early ‘90s I went to Japan, and I met some people who were also interested in tangram. When I came back, I reread the book. It was kind of a parlor game before the turn of the 20th century. When you see the shapes you can make with these seven pieces, they’re very modernist in a way and very architectural, all of which is appealing to me. There’s a simplicity in the images. You get these strangely graphic but impressionistic forms.” Sakiestewa’s lithographs based on the tangram puzzle — Tangram Butterfly/gold, Tangram Butterfly/blue, and Tangram Butterfly/red — show a figure missing from Elffers’ book. “Interestingly enough, the butterfly does not show up in this book of 1,600 puzzles. I was surprised because the icon of the butterfly in Chinese culture is really prevalent.” Her tangram butterflies also have elements of Southwestern pottery designs culled from shards that she collected as a child. “When I was growing up in New Mexico, we camped out during the summers on people’s ranches. It was long before it was not legal to collect pottery shards, and wherever When you see the shapes you were they would be there. you can make with these seven I had a couple of shoe boxes pieces, they’re very modernist in filled with these pottery pieces. a wayy and very ry architectural. They’re very abstract with their own design vocabulary, but on a small scale. You’re only getting a glimpse of something larger. I wanted to use those designs with the Chinese puzzle.” Two of the butterfly prints (red and blue)) were constructed as puzzles within puzzles, with the butterfly design composed of seven tangram shapes placed within a larger set arranged into a square. For Tangram Butterfly/ fly/ gold, Sakiestewa altered the shapes somewhat to make a tighter design incorporating patterns derived from pottery shards. ds. She then gold-leafed portions of the composition and printed it on a white background. Other works in the exhibit are abstract prints made with recycled pieces from older prints. “I’ve deconstructed them and then reconstructed them using prints from the last three or four years and just pulling them apart. The paper is kind of like fabric in sewing. Its got that same potential.” The shapes in her prints are not representational but have a letterlike appearance, as though they are characters from a written language. “I had these shapes in my head for years and so I said, Maybe I’ll just get the shapes out as my new work.” The compositions merge planes of color with linear elements. Some works incorporate handmade paper, Voile fabric, and shapes sewn with metallic thread. Some of the prints are two-toned with colored fabric components. The butterfly takes on symbolic weight for Sakiestewa. She likens the direction she has taken with the butterfly and other recent works on paper to a kind of transformation. “The butterfly represents my own metamorphosis into some new art adventure.” ◀
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details ▼ Ramona Sakiestewa: Tangram Butterfly and Other Shapes ▼ Reception 5 p.m. Friday, May 16; exhibit through June 15; gallery talk 3 p.m. Saturday, May 17 ▼ Tai Modern, 1601-B Paseo de Peralta, 505-984-1387
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MOVING IMAGES film reviews
Identity crisis Jonathan Richards I For The New Mexican God’s Pocket, dark comedy, rated R, The Screen, 2.5 chiles Maybe you have a cousin like this, or a friend, or perhaps your sister’s kid — likable, a bit lost, with an unsettling violent streak and a weakness for liquor — who can’t seem to make up his mind what it is he wants to be. That’s God’s Pocket, the debut feature film from Mad Men star John Slattery. There’s plenty to like about this movie — an excellent cast, a gritty sense of place, a handful of memorable scenes — but it muddles along, trying this and then that, and it’s not until deep into the movie that it decides that what it really wants to be is a dark comedy. God’s Pocket is based on a 1983 novel by Pete Dexter, and it’s set in the Philadelphia slum that supplies its title, in a time that is probably the 1960s or ’70s. The proceedings open at a funeral. The young man laid out in the box is Leon (Caleb Landry Jones), and everybody seems pretty morose about it, although we will soon have reason to believe that the only one sincerely grieving is his mother, Jeanie (Christina Hendricks, also of Mad Men). As the mourners file out of the funeral home, there is a brief scuffle, and a punch is thrown. These are rough-and-tumble folks, life’s leftovers. A voice-over describes life in God’s Pocket in the purplish, selfconscious journalese once associated with writers like Pete Hamill: “Whatever they are,” the voice
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PASATIEMPO I May 16-22, 2014
Pocket life: John Turturro and Philip Seymour Hoffman; below, Christina Hendricks
intones, “is what they are.” The voice belongs to Richard Shellburn (Richard Jenkins), a columnist for the Daily Times, a local celebrity, and a worldclass drunk. As the funeral ends, we flash back to three days earlier. It’s a day like any other day in God’s Pocket, except that Leon, a psychotic punk who likes to flash a straight razor, flashes it once too often at the construction site where he works and gets himself cracked on the back of the head with a steel pipe. The construction crew covers it up as an industrial accident, but Jeanie suspects foul play. Her suspicions are based on nothing but a mother’s instincts and perhaps a deep-set awareness that her son was eminently killable. She demands that her husband, Mickey, get to the bottom of it. Mickey is played by Philip Seymour Hoffman, in one of his last film roles before his untimely death in February, just after his return to New York from the Sundance screening of this movie (another, A Most Wanted Man, based on a John le Carré novel, is due out later this year, and he has work in a couple of Hunger Games installments still to be released). Hoffman is terrific, as you might expect, although you may have a little trouble figuring out what such a total schlub is doing married to a knockout like Jeanie. But Jeanie is a skid-row madonna, a statuesque beauty whose bust and aura of dreamy otherworldliness precede her by several paces as she moves through a room. She’s a genetic grace note in a family and environment of harsh, unpleasant reality, but her fate and her expectations are tied to the horizons of God’s Pocket. And so when she tells Mickey to get to work and figure out what happens, he says, yes dear.
Mickey’s not from the neighborhood, but he fits right in. He’s a drinker and a gambler, a petty crook who works with his best pal Bird ( John Turturro) stealing trucks of meat and selling the contents to local butchers who don’t ask too many questions. He hangs out in the Hollywood Bar, where all of God’s Pocket seems to spool out its days in Eugene O’Neill hopelessness. When he has money in his hand, he puts it on a sure thing in the fifth race. He undertakes Jeanie’s investigation and deals with the undertaker (Eddie Marsan), does not do very well with either responsibility, and bumbles along without ever quite understanding how he fits into this script. The script is by Slattery and Alex Metcalf, and it has its moments, but it tends to lose its way in the story, and much winds up unresolved. During the flashback, we meet the man behind the voiceover, the alcoholic columnist Shellburn, who drives along in his car with the windows down, composing aloud his overwritten hymns to the denizens of the neighborhood (“They drink, they steal, they gamble, they lie”) and sees himself as “the only one who understands what goes on down here in the Pocket.” Sometimes God’s Pocket sees itself as Chinatown and sometimes Fargo, with a few other films that you’ll probably recognize thrown in. But once it finds its true calling as a dark comedy, it manages some laugh-outloud moments, along with some scenes that truly jolt you with surprise and breathtaking, bloody violence. Slattery doesn’t ever quite get a grip on what’s required to make it all mesh together, but getting there, in the hands of pros like Jenkins, Turturro, Hendricks, Marsdan, and of course, the great, lamented Hoffman, can still be diverting. ◀
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MOVING IMAGES film reviews
Toothsome duo: Laurent Lafitte and Fanny Ardant
A fine romance Laurel Gladden I For The New Mexican Bright Days Ahead, drama, not rated, in French with subtitles, Center for Contemporary Arts, 2.5 chiles
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PASATIEMPO I May 16-22, 2014
Caroline (Fanny Ardant) is at loose ends. She’s a newly retired dentist and doesn’t know what to do with all her free time. She’s also grieving the recent death of her best friend from breast cancer. In hopes of lifting her spirits, her adult daughters give her a trial membership to a local senior center, but Caroline isn’t really ready for a life of pottery classes, table tennis, and tea parties. She sits in on an acting class while looking down her nose at the other students and the teacher. She walks out but, because of internet-access troubles at home, comes back the next day and signs up for a computer class. That’s where she meets the dashing instructor Julien (Laurent Lafitte), who’s not quite 40. After she helps him with some dental problems, he takes her out for a flirty, wine-soaked lunch, and pretty soon they’re fooling around in Caroline’s car and sneaking off to Julien’s office for a quickie. Ardant, onetime muse and companion to François Truffaut, might not be as widely recognizable as the iconic Catherine Deneuve, but she’s equally stunning, all wide smoky eyes, soaring cheekbones, sexual confidence, and ageless glamour — she’ll take a silk blouse and a skin-tight pencil skirt over the flowing linens of Eileen Fisher any day. Her nervous, almost teenagerlike energy makes Caroline’s longing and excitement palpable. She’s a joy to watch and the main reason to see this film, directed and co-written by Marion Vernoux (and based on a novel by her co-screenwriter, Fanny Chesnel). You certainly wouldn’t see Bright Days Ahead for its original subject matter or for dramatic tension. The cinematic world’s no stranger to the MayDecember romance, but at least this film gives that old trope a refreshing gender twist. Still, it feels too lightweight and inconsequential. You never get the sense that things will go anything but well for Caroline, and she never loses her composure. When she learns she is only one of Julien’s many lovers, she shows mild disappointment but then accepts the fact. When Caroline’s husband learns about the affair, you expect shouting, tears, and thrown plates, but Vernoux sweeps the melodrama neatly under the rug. That’s too bad, because with a little more depth and drama, Bright Days Ahead may have been a lovely meditation on aging and the ways we confront it. Incidentally, the senior center where Caroline and Julien meet is called Les Beaux Jours — loosely, “the bright days.” That’s the French title of this film, too, but the English version adds the word “ahead.” This suggests, oddly, that our best days are the ones ahead of us, not the ones we are currently living. Sure, looking optimistically toward the future is better than grudging hindsight, but isn’t one of the keys to happiness learning that these are the good old days? ◀
HHHH! GRITTY, FUNNY, AND RICH.”
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‘‘
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MOVING IMAGES pasa pics
— compiled by Robert Ker
until deep into the movie that it decides that it really wants to be a dark comedy. There are laugh-out-loud moments, along with some scenes that jolt you with surprise and breathtaking, bloody violence. Slattery doesn’t quite get a grip on what’s required to make it all mesh together, but getting there, in the hands of pros like Richard Jenkins, John Turturro, Christina Hendricks, and of course, the great Hoffman, can still be diverting. Rated R. 88 minutes. The Screen, Santa Fe. (Jonathan Richards) See review, Page 38. GODZILLA Every so often, that giant lizard that lurks deep in the ocean rises to destroy a city or fight another giant monster. In the first Hollywood attempt to portray the beast since 1998’s Roland Emmerich-directed disaster, Godzilla rises from the waters to destroy San Francisco and fight other creatures, while Breaking Bad’s Bryan Cranston looks on, perhaps wishing he had never left Albuquerque. Rated PG-13. 123 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
Even Malcolm wasn’t this much trouble: Bryan Cranston in Godzilla, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week BRIGHT DAYS AHEAD Caroline (Fanny Ardant) is at loose ends. She’s a retired dentist who’s grieving the loss of her best friend and doesn’t know what to do with all her free time. Her daughters give her a trial membership at a local senior center, where she meets dashing computer instructor Julien (Laurent Lafitte), who’s not quite 40. Pretty soon Julien and Caroline are sneaking off to his office for a quickie. This film gives the MayDecember romance trope a refreshing gender twist, but it feels too lightweight and inconsequential — Caroline never loses her composure, and you never get the sense that anything will go but well for her. That’s too bad, because with more depth and drama, this could’ve been a lovely meditation on aging. Not rated. 94 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) See review, Page 40. DAUGHTERS OF DOLMA This documentary examines the changing practice of Tibetan Buddhism in Nepal’s Kathmandu Valley, focusing on several
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PASATIEMPO I May 16-22, 2014
young women who are becoming nuns. Not rated. 67 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) FED UP This new call-to-action documentary from director Stephanie Soechtig won’t make you want to visit the concession stand. According to the film, overeating and lack of exercise aren’t causing the current epidemics of obesity and type 2 diabetes. Rather, the culprits are the added sugar (more addictive than cocaine) hidden in most processed foods and the fact that corporate profit continues to trump public health. While in some respects the movie is preaching to the choir, clearly, plenty of people still need a little eye opening: it’s believed that, if nothing changes, 95 percent of the U.S. population will be obese in 20 years. Rated PG. 92 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) GOD’S POCKET The debut feature film from Mad Men star John Slattery features one of the last screen performances by the late, lamented Philip Seymour Hoffman. There’s plenty to like about this movie — an excellent cast, a gritty sense of place, a handful of memorable scenes — but it muddles along trying this and then that, and it’s not
MARTIN SCORSESE PRESENTS: MASTERPIECES OF POLISH CINEMA This series of Polish classics, most of which have seldom been seen in the U.S., covers three decades, from the mid-’50s to the mid-’80s. The 21 films include work by Andrzej Wajda, Andrzej Munk, and Krzysztof Kieslowski. Jerzy Kawalerowicz’s Austeria (1982, 107 minutes) is shown on Saturday, May 17, and Kieslowski’s Blind Chance (1981, 123 minutes) screens on Tuesday, May 20, at The Screen, Santa Fe. Wajda’s Man of Iron (1981, 153 minutes) screens on Sunday, May 18, at the Jean Cocteau Cinema, Santa Fe. Not rated. In Polish with subtitles. (Jonathan Richards) MILLION DOLLAR ARM In this feel-good sports pic from Disney, Jon Hamm (that’s Don Draper on Mad Men to you) uses his charm to make people believe in themselves. He plays a sports agent who brings two Indian cricket players to America to pitch in the big leagues. Based on a true story. Alan Arkin co-stars. Rated PG. 120 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Verdi’s Nabucco from the Royal Opera House in London. Plácido Domingo and Liudmyla Monastyrska star. 11 a.m. Sunday, May 18, only. Not rated. 170 minutes, plus one intermissions. The Screen, Santa Fe. (Not reviewed) SHORT PEACE This collection of four short anime films includes work by Shuhei Morita, Hajime Katoki, and Hiroaki Ando. They are all gifted, but the short
film that moviegoers will be most interested in is set in ancient Japan and directed by Katsuhiro Otomo, creator of Akira. Not rated. 68 minutes. In Japanese with subtitles. Jean Cocteau Cinema, Santa Fe. (Not reviewed)
now in theaters THE AMAZING SPIDER-MAN 2 The machine that pumps out Spider-Man movies must be about to blow a gasket, as we’ve now got our second one in less than two years. Andrew Garfield returns as Peter Parker, the unassuming wisecracker whose wall-crawling alter ego is tangled in a web of intrigue between the Green Goblin (Dane DeHaan) and Electro (Jamie Foxx). It’s a rushed sequel to a remake, it’s well over two hours, and it has seven credited writers — what could go wrong? Rated PG. 142 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) BEARS The Disneynature documentary series adds narratives to the lives of animals and presents the natural world in a kid-friendly way. Here, John C. Reilly tells the story of a bear and her two cubs in the Alaskan wilderness. Rated G. 77 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) BICYCLING WITH MOLIÈRE Fabrice Luchini plays a retired actor who is approached by another actor (Lambert Wilson) who’d like to try directing. Together, they work to stage Molière’s The Misanthrope, and along the way they eat, drink, ride bicycles, flirt with women, and frolic in the way that only the people who invented the phrase joie de vivre can truly manage. Not rated. 104 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) BRICK MANSIONS This remake of the French action movie District B13 stars Paul Walker in one of his final roles. He plays an undercover cop whose task is to infiltrate dangerous, walled-off housing projects in a dystopian Detroit. RZA is the villain, and District B13’s David Belle co-stars. . Rated PG-13. 90 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) CAPTAIN AMERICA: THE WINTER SOLDIER Following the events in The Avengers, the star-spangled superhero (Chris Evans) returns to fight an evil plan that is ridiculous even by funnybook standards. There are some neato action effects, and some supporting characters work — Robert Redford, as a world security council leader,
proves he still looks better than you do in a vest, while Scarlett Johansson once more makes the case for a Black Widow solo film. Otherwise, the humor is missing, the film is too violent for a theater full of kids, and there’s too much story — by the time it’s over, you’ll feel like you’ve been frozen in ice since the 1940s. Rated PG-13. 135 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) FADING GIGOLO With John Turturro writing, directing, and starring, and Woody Allen in a featured role and hovering in the background as éminence grise, this is several movies wrapped up in one, and most of them are pretty good. Turturro and Allen developed the script together, and it shows. Allen plays a Brooklyn bookstore owner facing hard times; when his dermatologist (Sharon Stone) confides a desire to hire a stud to have a threesome with her and her best friend (Sofía Vergara), he persuades his friend Fioravante (Turturro) to take the job. Nice work if you can get it. But there’s more going on here, including a subplot involving a Hasidic community and a lonely widow (Vanessa Paradis). Turturro holds it together with an uncaricatured, moving performance and a director’s hand that mostly avoids the obvious. Rated R. 90 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) FINDING VIVIAN MAIER Photography fans were astounded when the previously unknown work of Vivian Maier was discovered in the late 2000s. Here, director John Maloof interviews dozens of acquaintances of the late nanny-photographer, filling out the story of a most peculiar woman. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) GODZILLA (1954) While the latest Americanized version of Godzilla stomps around the local multiplexes, you can check out the 1954 Japanese original, in which the giant lizard destroys Tokyo for the first time. The effects remain brilliant, and the tone is much darker than those who grew up with goofy “Godzilla as giant wrestler” films may expect. The movie is harrowing and sorrowful, which is apt for the atomic-bomb symbol that it is. Not rated. 96 minutes. In Japanese with subtitles. Jean Cocteau Cinema, Santa Fe. (Robert Ker) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such attention to his creative vision that he crafts his own singular world. Here, he tells a tale of an Eastern
Million Dollar Man
European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody), who feels he should be the true heir. Anderson adds suspense worthy of Hitchcock or Carol Reed to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and Harvey Keitel co-star in this caper, which plays out like a youth novel or a board game. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) HATESHIP LOVESHIP This adaptation of a story by Nobel Prize-winning author Alice Munro, in which two teenage girls play an epistolary prank on a young spinster, is a noble effort. The acting is uniformly good, with a standout performance by Guy Pearce. The film has an appealingly timeless visual style and doesn’t hit every expected emotional mark or tie up too many loose ends. Rated R. 104 minutes. The Screen, Santa Fe. ( Jennifer Levin) HEAVEN IS FOR REAL This movie, based on the book Heaven Is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back, recalls the account of the young son (Connor Corum) of a Nebraska pastor (Greg Kinnear), who dies on an operating table, goes to heaven, and comes back to tell the tale. continued on Page 44
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Rated PG. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LEGENDS OF OZ: DOROTHY’S RETURN L. Frank Baum’s Oz books are in the public domain, so anybody who has the desire can make a cheap, lousy movie based on them — and now it looks like somebody has. In this animated film, Dorothy (voiced by Lea Michele) returns to Oz to save the realm from the evil Jester (Martin Short). Her new companions include a giant owl that gets tree bark stuck up its butt, which is not even the worst joke in the trailer. Rated PG. 88 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE LUNCHBOX A woman (Nimrat Kaur) who seeks to connect with her distant husband prepares a meal to be delivered to him in a lunchbox, but the food is mistakenly sent to a man (Irrfan Khan) who is mourning the loss of his wife. By exchanging notes in the lunchbox, the two begin to build a relationship. Rated PG. 104 minutes. In Hindi with subtitles. Regal DeVargas, Santa Fe. (Not reviewed) MOMS’ NIGHT OUT You may have noticed that there are suddenly a lot of Christian movies in the multiplex. The latest, Moms’ Night Out, looks like a regular Hollywood production, with a zany poster and a high-concept plot (overworked moms go out and leave the kids with their dads). Sarah Drew and Sean Astin star. Rated PG. 98 minutes. DreamCatcher, Española. (Not reviewed) NEIGHBORS Seth Rogen and Rose Byrne play a married couple with a new baby and a new house. Everything is idyllic until a fraternity moves in next door. When the couple calls the police, the frat boys, led by one unruly chap (Zac Efron), wage a war of pranks on the couple. Schlubby man-child Rogen and handsome youngster Efron have more chemistry than Rogen and Byrne do, and the clumsy series of penis-and-pot gags lead to an ending that doesn’t feel earned, but it has
spicy
medium
bland
heartburn
mild
Read Pasa Pics online at www.pasatiempomagazine.com
44
PASATIEMPO I May 16-22, 2014
laughs, is slightly deeper than you may expect, and passes so effortlessly that it’s over before you can chant, “Toga! Toga!” Rated R. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) NOAH Darren Aronofsky follows his decorated Black Swan by turning to the Old Testament and reimagining the story of Noah’s ark. The result is an ambitious, odd movie. The first half combines elements of classic Bible epics, Lord of the Rings blockbusters, and Terrence Malick’s art films; in the more-pensive back half, Noah (Russell Crowe) ponders the ramifications of God’s message to him. Concepts of faith, servitude, environmental preservation, and the responsibilities of dominion give viewers a lot to meditate on. As expected, Noah is often dreary, grim, and monochromatic, but Crowe wears the gravity well, and many thematic and visual aspects of the film linger long after the water recedes. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) ONLY LOVERS LEFT ALIVE In Jim Jarmusch’s deliciously stylish vampire flick, Adam (Tom Hiddleston) and Eve (Tilda Swinton) are eons-old lovers, vampires living apart (she in Tangier, he in Detroit) who maintain a close bond and chat via FaceTime. The plasma that slakes the blood lust of these sophisticated modern vampires comes from banks, medically supervised and quality controlled. The film has a weakness for the obvious in dialogue and a carelessness in plotting, but its sins of logic and historical name-dropping scarcely draw blood in this elegant, broodingly witty reflection on the modern world through the prism of the long view. Rated R. 122 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)
RIO 2 In this sequel to the 2011 animated hit, a macaw from Minnesota (voiced by Jesse Eisenberg) and his family are relocated to the Amazon rainforest. Rated G. 96 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) UNDER THE SKIN In Jonathan Glazer’s visually stunning, unsettling, adaptation of Michel Faber’s 2000 novel, an alien takes the form of a human female (Scarlett Johansson) and cruises the streets of Glasgow in a van, preying on men. Her human emotions are learned and not pervasive. As the story wears on, we begin to see a gradual slide toward something approaching empathy in the alien creature. It may be that after all, the most contagious thing in the universe is humanity. Rated R. 107 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
other screenings Center for Contemporary Arts 11 a.m. Sunday, May 18: Praying in Her Own Voice. Presented by HaMakom and Santa Fe Jewish Film Festival. Rabbi Deborah Brin appears in person. Noon Sunday, May 18: Above All Else. Screens as part of the Sustainability Sunday Film Series, presented by the Citizens’ Climate Lobby. 7:30 p.m. Sunday, May 18: Her. Introduced by philosopher Daniel Dennett as part of Santa Fe Institute’s Science on Screen series. 7 p.m. Tuesday, May 20: I.M. Pei: Building China Modern. Part of China Rising: Dr. Sun Yat-sen Film Series, presented with Santa Fe Opera. Skype Q & A session with composer Huang Ruo follows.
THE OTHER WOMAN Mark (Nikolaj CosterWaldau) is such a ladies’ man — and such a big jerk. Not only does he have a wife (Leslie Mann), but he has another woman (Cameron Diaz) and another other woman (Kate Upton). What happens when the women in this comedy find out about each other? Rated PG-13. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
Jean Cocteau Cinema 11 p.m. Friday and Saturday, May 16 and 17: Caddyshack. Noon & 4 p.m. Saturday, May 17; 4 p.m. Sunday, May 18: Clash of the Wolves (1925). Susan Orlean reads from Rin Tin Tin: The Life and the Legend before the Saturday showings.
THE RAILWAY MAN Colin Firth plays a World War II veteran who has found love but not peace. He remains traumatized by the torment he suffered at a Japanese labor camp. His wife (Nicole Kidman) and a friend (Stellan Skarsgård) locate one of the men who tortured him (played by Hiroyuki Sanada), and a confrontation ensues. Rated R. 116 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
Regal Stadium 14 7:10 & 9:50 p.m. Thursday, May 22: Blended. 10 & 10:20 p.m. Thursday, May 22: X-Men: Days of Future Past. (3-D) 10:10 & 10:30 p.m. Thursday, May 22: X-Men: Days of Future Past. (2-D) 2 p.m. Sunday, May 18; 2 & 7 p.m. Wednesday, May 21: Spartacus (1960). ◀
HAS CHOSEN
‘THE RAILWAY MAN’ FOR ITS
PRESTIGIOUS CRITIC’S CHOICE
WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Above All Else (NR) Sun. 12 p.m. Bicycling With Molière (NR) Fri. and Sat. 1:15 p.m. Bright Days Ahead (NR) Fri. and Sat. 4:15 p.m. Sun. 1:15 p.m. Tue. to Thurs. 4:15 p.m. Finding Vivian Maier (NR) Fri. and Sat. 3:30 p.m., 5:30 p.m., 7:30 p.m. Sun. 2:30 p.m., 4:45 p.m. Tue. 3:30 p.m. Wed. and Thurs. 3:30 p.m., 7 p.m. Her (R) Sun. 7:30 p.m. I. M. Pei - Building China Modern (NR) Tue. 7 p.m. Praying in Her Own Voice (NR) Sun. 11 a.m. Under the Skin (R) Fri. and Sat. 2 p.m., 6:15 p.m., 8:30 p.m. Sun. 3:15 p.m., 5:30 p.m., 8 p.m. Tue. to Thurs. 5:30 p.m., 7:45 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com Caddyshack (R) Fri. and Sat. 11 p.m. Clash of the Wolves (NR) Sat. 12 p.m., 4 p.m. Sun. 4 p.m. Consider This (NR) Tue. 7 p.m. Daughters of Dolma (NR) Fri. 5:15 p.m. Sun. 6:30 p.m. Wed. 4:30 p.m. Thurs. 2:30 p.m., 6:45 p.m. Felicia Ford & Greg Turner Mon. 7:30 p.m. Godzilla:The Japanese Original (NR) Fri. and Sat. 6:45 p.m. Sun. 8 p.m. Wed. 2:30 p.m., 6:45 p.m. Thurs. 4:30 p.m. Man of Iron (NR) Sun. 1 p.m. Short Peace (NR) Fri. and Sat. 8:45 p.m. Tue. to Thurs. 8:45 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com Fading Gigolo (R) Fri. and Sat. 1:40 p.m., 4:20 p.m., 7:15 p.m., 9:40 p.m. Sun. to Thurs. 1:40 p.m., 4:20 p.m., 7:15 p.m. Fed Up (PG) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:30 p.m. The Lunchbox (PG) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:20 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:20 p.m. Only Lovers Left Alive (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:35 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. The Railway Man (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7:10 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com The Amazing Spider-Man 2 in 3D (PG-13) Fri. to Wed. 12:05 p.m., 3:30 p.m., 7:05 p.m., 10:25 p.m. The Amazing Spider-Man 2 (PG-13) Fri. to Sun. 12:20 p.m., 4:05 p.m., 7:15 p.m., 10:30 p.m. Mon. 11:15 a.m., 4 p.m., 7:20 p.m., 10:30 p.m. Tue. and Wed. 12:20 p.m., 4:05 p.m., 7:15 p.m., 10:30 p.m. Bears (G) Fri. to Sun. 11:10 a.m., 1:15 p.m., 3:20 p.m., 5:30 p.m., 7:35 p.m., 9:40 p.m. Mon. 11:10 a.m., 1:15 p.m., 5:20 p.m., 7:35 p.m., 9:40 p.m. Tue. and Wed. 11:10 a.m., 1:15 p.m., 3:20 p.m., 5:30 p.m., 7:35 p.m., 9:40 p.m. Blended (PG-13) Thurs. 7:10 p.m., 9:50 p.m. Brick Mansions (PG-13) Fri. to Tue. 10:25 p.m. Captain America:The Winter Soldier (PG-13) Fri. to Wed. 1:10 p.m., 4:20 p.m., 7:25 p.m., 10:25 p.m. Godzilla (PG-13) Fri. to Wed. 1:30 p.m., 2 p.m., 4:30 p.m., 5 p.m., 7:30 p.m., 7:50 p.m., 10:20 p.m. Godzilla 3D (PG-13) Fri. to Wed. 11 a.m., 1 p.m., 4 p.m., 7 p.m., 10 p.m., 10:35 p.m. Heaven Is for Real (PG) Fri. to Wed. 11:30 a.m., 2:15 p.m., 4:50 p.m., 7:40 p.m., 10:30 p.m. Legends of Oz: Dorothy’s Return (PG) Fri. to Wed. 12:40 p.m., 3 p.m., 5:20 p.m., 7:40 p.m., 10 p.m.
Million Dollar Arm (PG) Fri. to Wed. 1 p.m., 4:05 p.m., 7:10 p.m., 10:05 p.m. Neighbors (R) Fri. to Sun. 12 p.m., 2:30 p.m., 4:55 p.m., 7:35 p.m., 10 p.m. Mon. to Wed. 12 p.m., 2:30 p.m., 4:55 p.m., 7:35 p.m., 10 p.m. Noah (PG-13) Fri. and Sat. 12:50 p.m., 4:15 p.m., 7:25 p.m. Sun. 7:25 p.m. Mon. and Tue. 12:50 p.m., 4:15 p.m., 7:25 p.m. The Other Woman (PG-13) Fri. to Wed. 11:45 a.m., 2:25 p.m., 5:05 p.m., 7:45 p.m., 10:25 p.m. Rio 2 (G) Fri. to Wed. 11:20 a.m., 1:55 p.m., 4:35 p.m., 7:10 p.m., 9:50 p.m. Spartacus (PG-13) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. X-Men: Days of Future Past (PG-13) Thurs. 10:10 p.m., 10:30 p.m. X-Men: Days of Future Past 3D (PG-13) Thurs. 10 p.m., 10:20 p.m. THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Austeria (NR) Sat. 10:45 a.m. Blind Chance (NR) Tues. 7:15 p.m. God’s Pocket (R) Fri. 3:15 p.m., 5:15 p.m., 7:15 p.m. Sat. 3:15 p.m., 7:15 p.m. Sun. 2:30 p.m., 4:30 p.m. Mon. 3:15 p.m., 5:15 p.m., 7:15 p.m. Tues. 3:15 p.m., 5:15 p.m. Wed.-Thurs. 3:15 p.m., 5:15 p.m., 7:15 p.m. Hateship Loveship (R) Sat. 1 p.m. Sun. 6:30 p.m. Mon.-Thurs. 1 p.m. Nabucco (NR) Sun. 11 a.m.
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Godzilla 2d/3d 1:55** 4:35 7:15 9:55* million dollar arm 1:50** 4:30 7:10 9:50* SPidEr-man 2 2d 1:45** 4:45 7:45 (Friday & Saturday & Sunday only) SPidEr-man 2 2d 4:20 7:20 (monday thru Thursday only) mom’S niGHT oUT 2:25** 5:00 7:30 9:45* HEaVEn iS For rEal 2:15** 4:40 7:05 9:35* lEGEnd oF oz 2d 2:00** 4:30 7:00 9:30* nEiGHBorS 2:20** 4:50 7:20 9:45* rio 2 2d 2:05** 4:35 7:00 9:40* THE oTHEr Woman 2:10** 4:55 7:25 9:50* **Saturday & Sunday only *Friday & Saturday only Times for Friday, may 16 - Thursday, may 22
MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com The Amazing Spider-Man 2 (PG-13) Fri. 4:45 p.m., 7:45 p.m. Sat. 1:45 p.m., 4:45 p.m., 7:45 p.m. Sun. to Thurs. 4:20 p.m., 7:20 p.m. Godzilla (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m. Godzilla 3D (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m. Heaven Is for Real (PG) Fri. 4:40 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:15 p.m., 4:40 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:40 p.m., 7:05 p.m. Mon. to Thurs. 4:40 p.m., 7:05 p.m. Legends of Oz: Dorothy’s Return (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Million Dollar Arm (PG) Fri. 4:30 p.m., 7:10 p.m., 9:50 p.m. Sat. 1:50 p.m., 4:30 p.m., 7:10 p.m., 9:50 p.m. Sun. 1:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. Moms’ Night Out (PG) Fri. 5 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:25 p.m., 5 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:25 p.m., 5 p.m., 7:30 p.m. Mon. to Thurs. 5 p.m., 7:30 p.m. Neighbors (R) Fri. 4:50 p.m., 7:20 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. The Other Woman (PG-13) Fri. 4:55 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:55 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:55 p.m., 7:25 p.m. Mon. to Thurs. 4:55 p.m., 7:25 p.m. Rio 2 (G) Fri. 4:35 p.m., 7 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:35 p.m., 7 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:35 p.m., 7 p.m. Mon. to Thurs. 4:35 p.m., 7 p.m.
JOHN TURTURRO LIEV SCHREIBER “
WOODY ALLEN VANESSA PARADIS SHARON STONE SOFÍA VERGARA
VERY, VERY FUNNY.
”
- Betsy Sharkey, LOS ANGELES TIMES
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“GRAND ISN’T GOOD ENOUGH A WORD FOR THIS ‘BUDAPEST HOTEL.’
GREAT IS MORE LIKE IT.” TIME Richard Corliss
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PASATIEMPOMAGAZINE.COM
45
RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
The gang’s all here Santa Fe Baking Company Café 504 W. Cordova St., 505-988- 4292 Breakfast, lunch & dinner 6 a.m.-8 p.m. Mondays-Saturdays, 6 a.m.-6 p.m. Sundays Takeout available Vegetarian options Patio dining in season Noise level: lively clatter No alcohol Credit cards, no checks
•
The Short Order The Santa Fe Baking Company Café is a favorite gathering place where breakfast is served all day and a range of substantial desserts and pastries are waiting to go with your coffee. People linger here in conversation, work on their laptops, and play chess — it’s a good spot to get a taste of real-life Santa Fe, the one that exists beyond Canyon Road and the Plaza. The food can seem like an afterthought to the communal spirit, though. A chalkboard behind the counter is crowded with specials, ranging from migas to grilled salmon sandwiches. Burritos are the best choice, either simple and hand-held or smothered in a thick red chile. The menu also includes a variety of sandwiches, quesadillas, and flatbreads for later in the day. Recommended: breakfast burritos, blue-corn piñon pancakes, Cowboy Bowl, cheese enchiladas, and strudel.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
46
PASATIEMPO I May 16-22, 2014
Entering the Santa Fe Baking Company Café is like stumbling into a community gathering. You walk past a cluster of outdoor tables, being careful not to step on someone’s dog, and go through a tight entry into a big two-tiered room painted in yellow, burnt orange, and a dusty lavender. A juice-and-coffee bar sits like an island in the middle of the room. There’s a stand of menus on a counter near the entrance, and a ramp leads down past the pastry display to the register, where you place your order. A chalkboard is crowded with special offerings — green chile stew, migas, and sometimes grilled salmon sandwiches. From where you order, you can see to the griddle, where a mound of fried potatoes might wait. As you ponder the chalkboard’s selections, a line forms up the ramp behind you, and the cashier gives you friendly encouragement. It’s not quite 9 a.m., and the room is already abuzz. Groups of men in ball caps sit and talk over coffee. Laptops are open everywhere, and isn’t that Mary-Charlotte Domandi in the corner doing her live KSFR-FM broadcast of Santa Fe Radio Café? On the lower level, a couple of guys are setting up a chessboard. If all the tables are taken, you can grab a place at one of the counters. Soon your name is called by a gentleman wielding what must be your breakfast burrito. You’ve already collected your silverware from the setup near the entry and filled your cup from one the coffee dispensers. You eat to the tune of lively background clatter. Breakfast is the best meal here — it’s served all day long — and the breakfast burrito is a fine choice. It’s plump, with a balanced mix of scrambled eggs, potatoes, and cheddar cheese, and the tortilla carries just a touch of color from its time on the grill. You can add crispy bacon for a dollar more, but I’d recommend the chorizo instead. The grande burrito comes with beans and potatoes and can be covered in thick red chile — or the tame green if you prefer. My carne adovada burrito was light on the carne, the meat barely noticeable among the egg and the sauce. Swell bluecorn pancakes, sprinkled with piñons, were heartily flavored, cooked through nicely, and just a bit crisp around the edges. A French omelet, served with one of the bakery’s fluffy croissants, was filled with melted Swiss and a couple of unchopped slices of lunchmeat-quality ham — not exactly what you’d hope for. The unlikely sounding Cowboy Bowl, a mix of fried potatoes, tender black beans — this place knows how to do beans — cheese, red chile, and green onions, all topped with an over-easy egg, was stick-to-the-ribs satisfying and of a size difficult to finish. Flat cheese enchiladas topped with two eggs for a dollar extra, an
item on the lunch and dinner menu (also served all day), makes a great breakfast as well. Request those eggs cooked over-easy so the soft yellow yolks blend with the cheese and tortillas. The pastries — the sort your hippie roommate baked for the commune back in the day — lack a certain refinement. Scones might be the best choice, and large decent slices of strudel — sometimes peach, sometimes apple — go down well with a dark-roast coffee. The Danish are just OK. For lunch and dinner, there’s a good-enough but not exceptional green chile cheeseburger with bacon. The thin green chile stew, with chunks of chopped potato and tomato along with spare bits of pork, takes its time before asserting its modest heat. We didn’t try the SFBC Frito pie, with your choice of red, green, or chile con carne poured over the chips. Same for the decorated flatbreads that stand in for pizzas. But I can attest to the sweetness of the barbecued pork sandwich, served with tangy slaw. Food comes up fast but not always accurately. A couple of times we ordered eggs on top of dishes and didn’t receive them. Despite the room’s communal feel, it can be quiet here — say, late on a Saturday afternoon, after the guitarist has left and the crowd has dwindled. But the Baking Company is most fun when the whole gang’s around. ◀
Breakfast for two at Santa Fe Baking Company Café: Breakfast burrito with bacon ........................$ 6.95 Cheese enchiladas with two eggs ..................$10.95 Blue corn piñon pancakes ............................$ 8.75 Two coffees ...................................................$ 4.10 TOTAL ..........................................................$30.75 (before tax and tip) Lunch for two, another visit: Santa Fe burger with green chile, cheese, and bacon .......................................$11.25 Bowl, green chile stew ...................................$ 6.75 Two iced teas ................................................$ 4.60 TOTAL ..........................................................$22.60 (before tax and tip)
YOUR PATH TO A BETTER FUTURE JUST GOT
EASIER
Santa Fe now has affordable associate, bachelor’s and master’s degree programs available in one location.
REGISTER NOW FOR SUMMER
HEC.SFCC.EDU 5
SCHOOLS
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L O C AT I O N
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Engaging the mind. Engaging the world.
As we send 7th grader Anish Kumar off to Washington, DC to compete in the National Spelling Bee and 9th graders Jy Prishkulnik and Riley Kelehan off to Kansas City to compete in the National Speech and Debate tournament, Desert Academy applauds their dedication and commitment and wishes them luck!
Be Our Guest!
May 9, 10, 11, & 16, 17, 18 FRI & SAT @ 7:00pm SUN @ 2:00pm International Baccalaureate World School
College CollegePreParatory PreParatorygrades grades6-12 6-12 College PreParatory grades 6-12
7300 Old Santa Fe Trail Santa Fe, New Mexico 87505 (505) 992-8284, ext. 14 www.desertacademy.org
505 982--3327 for Tickets & Info 505--982 www.pandemoniumprod.org PASATIEMPOMAGAZINE.COM
47
Bienvenidos 2014 SUMMER SUMMER GUIDE GUIDE TO TO SANTA SANTA FE FE AND AND NORTHERN NORTHERN NEW NEW MEXICO MEXICO 2014
Water: play, play, praise, praise, conserve conserve Water: trio of of nature nature writers writers AAtrio New restaurants restaurants && romantic romantic bars bars New Daytrips: trips: High High Road, Road, Jemez Jemez Loop, Loop, Las Las Vegas Vegas Day
SANNTA TA FFE WM ME m TTH H EESA E NNE EW E XXIC I C AAN N wwww. w w. ssantafe a n t a f e nne e wwme m e xxican.co i c a n .c o m
NORTHERN NEW MEXICO’S ulTIMaTE
SUMMER GUIDE THE WATEr EDiTioN: our LovE AffAir, from AcEquiAs To THE rio grANDE
AND fEATuriNg: standout summer events New restaurants and romantic bars Jam-packed summer gallery schedule Backstage at the opera summer calendar and city parking map Live music, day trips, museums and more! 48
PASATIEMPO I May 16 - 22, 2014
pick up your copy
SUNDAY MAY 18 oNLy iN THE
pasa week
THEATER/DANCE
TO LIST EVENTS IN PASA WEEK: Send an email or press release two weeks before our Friday publication date.
Beauty and The Beast An adaptation of the 1991 Disney film presented by Pandemonium Productions students (ages 5-17), 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children under 12 $6, 505-982-3327, pandemoniumprod.org, final weekend. Flexion Wise Fool New Mexico’s touring stilt and aerial performance, 7:30 p.m., Santa Fe Railyard Park, Guadalupe St. and Paseo de Peralta, donations accepted, wisefoolnewmexico.org, Saturday encores.
SUBMISSION GUIDELINES Provide the following details for each event/occurrence: • • • • •
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
Time, day, and date Place/venue and address Website and phone number Brief description of events Tickets? Yes or no. How much?
BOOKS/TALKS
Donald Levering The author launches The Water Leveling With Us with a reception, reading, and signing, 6 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge, for details contact Red Mountain Press, 505-986-9774.
All submissions are welcome. However, events are included in Pasa Week as space allows.
OUTDOORS
Enchanted Hikes The City of Santa Fe Recreation Division offers monthly easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; 9-11 a.m. Fridays through May 30; Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.
Friday, May 16 GALLERY/MUSEUM OPENINGS
Addison Rowe Gallery 229 E. Marcy St., 505-982-1533. Redefining Modernism, works from the 1940s to the 1970s including those by Louis Ribak, Josef Albers, and Ilya Bolotowsky, reception 5-8 p.m., through June 27. Allan Houser Gallery 125 Lincoln Ave., 505-982-4705. Crossing Four Rivers, paintings and works on paper by Linda Lomahaftewa and America Meredith, reception 6-8 p.m. through June 9. Art Exchange Gallery 60 E. San Francisco St., 505-603-4485. No Exaggeration, paintings by Richard Tashjian, reception 4-6 p.m., through June. Charlotte Jackson Fine Art 554 S. Guadalupe St., 505-989-8688. Boundless, paintings by Joan Watts, reception 5-7 p.m., through June 21. Jane Hamilton Fine Art 200-D Canyon Rd., 520-465-2655. Grand-opening reception 5-7 p.m. La Tienda Exhibit Space 7 Caliente Rd., Eldorado, 505-428-0024. 23rd Annual Eldorado Studio Tour preview exhibit, reception 5-7 p.m., through Sunday, eldoradostudiotour.org. Matthews Gallery 669 Canyon Rd., 505-992-2882. Familiar Strangers: Vernacular Photography, anonymous images, reception 5-7 p.m., through May 23. New Concept Gallery 610-A Canyon Rd., 505-795-7570. Wilderness Untamed, mixed media by Bill Heckel, reception 5-7 p.m., through June 6.
Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Pasa Kids............................ 52
EVENTS
TGIF recital: Robert Marcus, Shanti Randall, and David Bolotin Music of Mozart and Bruch, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.
IAIA 2014 commencement Guest speaker actor Evan Adams; includes honorary doctorate ceremony for educator Dave Warren, 11 a.m., Institute of American Indian Arts, 83 Avan Nu Po Rd., iaia.edu. Outside Bike & Brew Festival A blend of biking activities and craft beers held today through Sunday at the Railyard Plaza, 1607 Paseo de Peralta, and other sites, events begin at 8 a.m. and run throughout the day, visit outsidesantafe.com for details. Randall Davey house tours Docent-led tours, weekly on Fridays, 2 p.m., Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, RSVP to 505-983-4609. SkateFest Figure-skating competitions through Sunday; short programs 4-6 p.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., $2 at the desk, santafeskatingclub.org.
IN CONCERT
NIGHTLIFE
Wheelwright Museum of the American Indian shows works by Diné photographer Will Wilson, 704 Camino Lejo, Museum Hill.
Phil Space 1410 Second St., 505-983-7945. Feathers and Fur, drawings by Clare Dunne, reception 5-8 p.m., through June 13. Tai Modern 1601-B Paseo de Peralta, 505-984-1387. Ramona Sakiestewa: Tangram Butterfly and Other Shapes, exhibit of prints, reception 5-7 p.m., through June 15. Artist talk 3 p.m. Saturday. (See story, Page 36) Verve Gallery of Photography 219 E. Marcy St., 505-982-5009. Midnight Garden, Cy DeCosse’s cactus flower series; Photographic Brushstroke, digital photography by Van Chu, reception 5-7 p.m., through June 21.
In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55
CLASSICAL MUSIC
Cuba Pacha A capella artist; 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $12, discounts available, 505-424-1601, Saturday encore. Jenny Bird Taos singer, with Omar Rane on guitar, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m., Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org.
(See Page 50 for addresses) ¡Chispa! at El Mesón Brian Lewis and the Three Faces of Jazz; featuring Tom Rheam on trumpet, 7:30-10:30 p.m., no cover. Café Café Trio Los Primos, dance to Latin favorites, 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 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
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Talking Heads
La Fiesta Lounge at La Fonda R & B band Pleasure Pilots, 8-11 p.m., no cover. Omira Bar & Grill Guitarist Marquito Cavalcante, Brazilian jazz, 6:30-8:30 p.m., no cover. Palace Restaurant & Saloon Vanilla Pop, ’80s-infused lounge duo, 10 p.m., call for cover. Second Street Brewery Gypsy-jazz ensemble Swing Soleil, 6-9 p.m., no cover.
2014 Eldorado Studio Tour More than 75 artists open their studios today and Sunday in the 23rd annual self-guided tour; 10 a.m.-5 p.m., maps and guides available at La Tienda Exhibit Space, 7 Caliente Rd., links to artists’ websites available online at eldoradostudiotour.org. Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 505-989-4423. Dragonfly Art Studio student exhibit (ages 5-14), reception 4-6 p.m., through May 26.
CLASSICAL MUSIC
BOOKS/TALKS
GALLERY/MUSEUM OPENINGS
Cowgirl BBQ Country artist Bill Hearne, 5-7:30 p.m.; Jay Boy Adams and Zenobia, with Mister Sister, 8:30 p.m.-close, no cover. Duel Brewing Jazz-funk trio Mushi, 7-10 p.m., no cover. El Farol Boom Roots Collective, reggae, 9 p.m., call for cover. Jean Cocteau Cinema Up Late series; with blues duo Marc and Mike, 10-11 p.m., no cover.
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PASATIEMPO I May 16-22 2014
THEATER/DANCE
Cakewalk Student dance concert presented by Early Street Studios and Santa Fe Performing Arts, 8 p.m., Armory for the Arts, 1050 Old Pecos Trail, $8 at the door. Flexion Wise Fool New Mexico’s touring stilt and aerial performance, 1 and 7:30 p.m., Santa Fe Railyard Park, Guadalupe St. and Paseo de Peralta, donations accepted, wisefoolnewmexico.org. Beauty and The Beast An adaptation of the 1991 Disney film presented by Pandemonium Productions students (ages 5-17), 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children under 12 $6, 505-982-3327, pandemoniumprod.org.
17 Saturday
An Evening of Poetry New Mexico poets Lauren Camp, John Macker, and Richard Vargas read from and sign copies of their collections at 5:30 p.m. Sunday, May 18. Teatro Paraguas, 3205 Calle Marie, 505-424-1601. There is no admission charge.
Seventh Annual Crawdaddy Blues Fest Partizani Brass Band, Desert Southwest Blues Band, Felix y los Gatos, Imperial Rooster, and others, noon-7 p.m., outside the Madrid Old Coal Town Mine Museum, 2846 NM 14, $15 daily, kids under 12 no charge, 505-988-1234, ticketssantafe.org, continues Sunday.
Santa Fe Symphony Beethoven’s Ninth, 7:30 p.m., free preconcert lecture 6:30 p.m.. the Lensic, $22-$76, ticketssantafe.org, 505-988-1234.
IN CONCERT
Cuba Pacha A capella artist; 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $12, discounts available, 505-424-1601. Fabulous Femmes Vocal trio, tunes from the 1960s to the 1980s, 7 p.m., Vanessie, $10 at the door. Neon Nights Free electronic music and digital multimedia performance by Santa Fe Community College students, 7 p.m., Warehouse 21.
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Gallery talk Photographers Cy DeCosse and Van Chu discuss their respective shows Midnight Garden and Photographic Brushstroke, 2 p.m., Verve Gallery of Photography, 219 E. Marcy St., The Path to Awakening A talk by Buddhist teacher and author Joseph Goldstein, 7-9 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $10 suggested donation, santafevipassana.org. The Royal Breadshow Book signing, reading, and bread sale in conjunction with Axle Contemporary’s exhibit, noon-1:30 p.m., SITE Santa Fe, 1606 Paseo de Peralta, no charge, axleart.com.
Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030
Santa Fe Opera 2014 Spotlight Series Lecturer Oliver Prezant discusses opera themes and previews the SFO season, 2-3:30 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-989-4226.
OUTDOORS
Enchanted Hikes Easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; 9:30-11:30 a.m. Saturdays through May, Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.
EVENTS
Art Coffee Open to all artists; bring a small piece to hang during a casual reception held 9 a.m.-11 p.m.; Studio Broyles, 821 Canyon Rd., 505-699-9689. Bag-day book sale $4 for all the books that fit in a bag, 10 a.m.-3 p.m., Santa Fe Public Library, Southside Branch, 6599 Jaguar Dr., 505-955-2820. Outside Bike & Brew Festival A blend of biking activities and craft beers, Railyard Plaza, 1607 Paseo de Peralta, and other sites, events begin at 8 a.m. and run throughout the day, visit outsidesantafe.com for details. Rin Tin Tin Look Alike Contest Rin Tin Tin: The Life and the Legend author Susan Orlean hosts the event, which includes a screening of the 1925 silent film Clash of the Wolves; screenings noon and 4 p.m., contest 2:30 p.m., Jean Cocteau Cinema, screenings $10, youth discounts available, jeancocteaucinema.com. (See story, Page 28) Santa Fe Green Festival Renewable-energy products, electric vehicles, and interactive exhibits for kids, 8 a.m.-4 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.
Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Shadeh Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285, 505-455-5555 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Swiss Bakery Pastries and Bistro 401 S. Guadalupe St., 505-988-5500 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008
SkateFest Free-skating, compulsory, and couples dance, 9-11 a.m. and 1-6 p.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., $2 at the desk, santafeskatingclub.org.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Tierra Sonikete, Joaquin Gallegos on guitar and J.Q. Whitcomb on trumpet, 7:30-10:30 p.m., no cover. Cowgirl BBQ Santa Fe Chiles Dixie Jazz Band, 2-5 p.m.; Felix y Los Gatos, zydeco/Tejano/ juke-swing, 8:30 p.m.-close, no cover. Duel Brewing Eli Cook, 7-10 p.m., no cover. El Farol Sean Healen Band, rock, 9 p.m., call for cover. Evangelo’s Dance band Chango, 9 p.m.-1 a.m., call for cover. La Fiesta Lounge at La Fonda R & B band Pleasure Pilots, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover. Palace Restaurant & Saloon Guitarist Gary Vigil on the back patio, 2-5 p.m.; rock and blues band Fun Adixx, 10 p.m.-close, call for cover. Pranzo Italian Grill Robin Holloway, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Joe West & Friends, psychedelic Americana, 6-9 p.m., no cover. Second Street Brewery at the Railyard Gothic-Americana band Cloacas, 7-10 p.m., no cover. Sweetwater Harvest Kitchen John Serkin, Hawaiian slack-key guitar, 6 p.m., no cover. Swiss Bakery Pastries and Bistro Jazz (off the Plaza) one-year anniversary party; with The Revolver Trio, 7:30-10:30 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover.
18 Sunday GALLERY/MUSEUM OPENINGS
2014 Eldorado Studio Tour More than 75 artists open their studios in the 23rd annual self-guided tour; 10 a.m.-5 p.m., maps and guides available at La Tienda Exhibit Space, 7 Caliente Rd., links to artists’ websites available online at eldoradostudiotour.org
CLASSICAL MUSIC
Santa Fe Symphony Beethoven’s Ninth, 4 p.m., free preconcert lecture 3 p.m., the Lensic, $22-$76, 505-988-1234, ticketssantafe.org.
IN CONCERT
High Desert Winds Community wind ensemble comprising local musicians, music educators, and high school students, 2 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations welcome, raffle tickets sold at the door. Seventh Annual Crawdaddy Blues Fest Lineup includes Junior Brown, Anthony Leon & The Chain, Connie Long & Fast Patsy, The Barbwires, and Todd Tijerina, noon-7 p.m., outside the Madrid Old Coal Town Mine Museum, 2846 NM 14, $15 daily, kids under 12 no charge, 505-988-1234, ticketssantafe.org.
THEATER/DANCE
Beauty and The Beast An adaptation of the 1991 Disney film presented by Pandemonium Productions students (ages 5-17), 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children under 12 $6, 505-982-3327, pandemoniumprod.org.
Photographs by Nan Keegan, at Red Dot Gallery, 826 Canyon Road.
BOOKS/TALKS
Janie Chodosh The author celebrates the launch of Death Spiral: A Faith Flores Science Mystery, 4:30-5:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. Journey Santa Fe SFCC professor Eric Highfield discusses The Future of Food Production — Evolving Technologies for Food & Drought Issues: Aquaphonics, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Perspectives and Meanings: Turquoise From Prehistory to the Present A lecture series in conjunction with the exhibit Turquoise, Water, Sky: The Stone and Its Meaning, 2-4 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, by museum admission, 505-476-1269. Poetry readings New Mexico poets Lauren Camp, John Macker, and Richard Vargas read from and sign copies of their collections, 5:30 p.m., Teatro Paraguas, 3205 Calle Marie, no charge, 505-424-1601.
EVENTS
Outside Bike & Brew Festival A blend of biking activities and craft beers, Railyard Plaza, 1607 Paseo de Peralta, and other sites, biking events begin at 6 a.m. and run throughout the day, details available online at outsidesantafe.com. SkateFest Basic skills skating contest, 9 a.m.3 p.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., $2, santafeskatingclub.org. The Horse Shelter auctions Live and silent auctions held under the tent at the Cerrillos ranch, Restaurant Martín-catered luncheon, noon, The Horse Shelter Ranch, Old Cash Ranch Rd., $75, 505-471-6179, thehorseshelter.org.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Singer/songwriter Danny Shafer, 8 p.m., no cover. Duel Brewing Bill Palmer’s TV Killers, indie rock, 3-5 p.m., no cover. El Farol Chanteuse Nacha Mendez, 7:30 p.m., call for cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover. Molly’s Kitchen & Lounge Blues band Gary Farmer & The Troublemakers, 6-9 p.m., call for cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover.
19 Monday BOOKS/TALKS
Douglas Preston The author discusses and signs copies of The Kraken Project, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See review, Page 14) Southwest Seminars lecture The Gift of Poetry, with poet Jimmy Santiago Baca, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775.
EVENTS
Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance $3, lesson and dance $8, 505-473-0955.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Karaoke night with Michele Leidig, 8 p.m., no cover. Duel Brewing David Castro Band, 6-9 p.m., no cover. El Farol Tiho Dimitrov, R & B, 8:30 p.m., no cover. La Fiesta Lounge at La Fonda Country band Sierra, 7:30-11 p.m., no cover. Tiny’s Bob Jones’ Great Big Jazz Band, 7-9 p.m., no cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover.
20 Tuesday THEATER/DANCE
Consider This Theater Grottesco presents a showcase of theatrical styles through history, 7 p.m., Jean Cocteau Cinema, $10, discounts available, 505-474-8400, theatergrottesco.org.
BOOKS/TALKS
Gallery talk Photographer Shari Kessler discusses her work on exhibit, 5:15 p.m., Jean Cocteau Cinema, no charge, 505-466-5528. Georgia O’Keeffe Museum Readers’ Club The discussion series continues with Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures, Robert K. Wittman’s book detailing the looting of royal tombs in Sipan, Peru, 6-7:30 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, 505-946-1039, okeeffemuseum.org. Lucy R. Lippard The author discusses Undermining: A Wild Ride in Words and Images Through Land
Use Politics in the Changing West, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See Subtexts, Page 14)
EVENTS
Assistance Dogs of the West graduation Cheer them on at 6 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $10, 505-988-1234, ticketsantafe.org. City of Santa Fe Arts Commission training workshops Free businessdevelopment-assistance series for Santa Fe artists; this evening: Utilizing the CaFE Website, by Michelle La Flamme-Childs, 6-7 p.m., Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., RSVP to 505-955-6705 or email Rod Lambert, rdlambert@santafenm.gov. International folk dances Weekly on Tuesdays, lessons 7 p.m., dance 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., no cover. Cowgirl BBQ English blues artists Johnny Ashby and Paul Adams, 8 p.m., no cover. Duel Brewing Río, bossa nova and jazz vocals and guitar, 6-8 p.m., no cover. La Fiesta Lounge at La Fonda Country band Sierra, 7:30-11 p.m., no cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.
21 Wednesday THEATER/DANCE
Into the Fire, Ceremonies of Remembrance Deaf theater company Kinesis presents the drama, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, for details contact Theaterwork, 505-471-1799.
BOOKS/TALKS
Brainpower & Brownbags Lecture The monthly series continues with a talk by historian John Ramsay titled The Year 1855: Excitement in the Taos Plaza, noon-12:45 p.m., Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 505-476-5200. Bring your lunch. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
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Lannan Foundation Literary Series Irish novelist Colm Tóibín in conversation with Michael Silverblatt, 7 p.m., the Lensic, $6, discounts available, 505-988-1234, ticketssantafe.org. (See story, Page 18) New Mexico Modernist Cady Wells The docent-led Artist of the Week series continues with a discussion of the late Santa Fe Art colony painter, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075. School for Advanced Research colloquium Research With, by and for Native Communities: Writing a Visual History of the Ho-Chunk Nation, 1879-1960, a discussion with historian Amy Lonetree, noon-1 p.m., 660 Garcia St., no charge, 505-954-7203, sarweb.org.
Indian Market; by June 20 for new applicants; application forms available online at indigefam.org/artist. Santa Fe Arts Commission Art on Loan Call for privately owned artworks to be placed at the Santa Fe Community Convention Center; artists, galleries, and collectors may submit a proposal for consideration by 5 p.m. Friday, May 30; santafeartscommission.org, 505-955-6707. Santa Fe Art Institute Design Workshop 2014 A six-week intensive for high school students held June 9-July 17, on the campus of Santa Fe University of Art & Design; applications can be downloaded online at sfai.org, or call 505-424-5050; application deadline, Saturday, May 17. Tear Mirror art project Santa Fe Art Institute artist-in-residence Tomoko Hayashi invites individuals to share written personal stories behind their tears, as well as their actual tears to be made into jewelry; call 505-424-5050 for more information, tomokohayashi.com.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Meson Flamenco guitarist Chuscales, 7-9 p.m., no cover. Cowgirl BBQ Country-swing band Open Range, 8 p.m., “ no cover. Duel Brewing Roots musician Michael Batdorf, 6-9 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. Palace Restaurant & Saloon Blues/rock guitarist Alex Maryol, 8:30 p.m., call for cover.
22 Thursday GALLERY/MUSEUM OPENINGS
School for Advanced Research 660 Garcia St., 505-954-7200. Talk, reception, and open studio tour with Hopi/Navajo basketmaker Iva Honyestewa 5:30-7 p.m.
IN CONCERT
Dave Grusin & Friends Santa Fe Waldorf School presents the jazz pianist/composer; accompanied by John Rangel, Michael Glynn, and Ryan Lee; vocals by Barbara Bentree, 6:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $25-$65, 505-988-1234, ticketssantafe.org. (See story, Page 32) San Miguel Chapel Bell Tower Restoration Concert Series Guitarist AnnaMaria Cardinalli performs Legado y Leyenda, 7:30 p.m., San Miguel Chapel, 401 Old Santa Fe Trail, $20 at the door.
BOOKS/TALKS
David Caffey The author discusses Chasing the Santa Fe Ring: Power and Privilege in Territorial New Mexico, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Stacey Couch The author reads from and answers questions about Gracious Wild: A Shamanic Journey With Hawks, 5 p.m., Ark Bookstore, 133 Romero St., 505-988-3709.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Bert Dalton and Milo Jaramillo: jazz piano and bass, 7p.m., no cover. Cowgirl BBQ Pop-rock trio 50 Watt Whale, 8 p.m., no cover.
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PASATIEMPO I May 16-22, 2014
Performers/Writers
Photographer Janet O’Neal participates in the 23rd Eldorado Studio Tour held Saturday and Sunday.
Duel Brewing Trumpeter Russell Scharf’s Jazz Explosion, 7-8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Tiny’s Bluesman Kenny Skywolf and his trio, 8 p.m.-midnight, no cover.
▶ Elsewhere ABIQUIÚ
Purple Adobe Lavender Farm Lavender Tea House and season grand opening 10 a.m.-4 p.m. Saturday and Sunday, May 17-18, County Rd. 1622, Gate 31, demonstrations and classes offered through the season, purpleadobelavenderfarm.com.
ALBUQUERQUE
Chatter Sunday Música Antigua de Albuquerque, music of the Middle Ages and Renaissance, 10:30 a.m. Sunday, May 18, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org.
CERRILLOS
Encaustic Art Institute 18 General Goodwin Rd., 505-424-6487. Wax With Dimension, national members show, noon-5 p.m. Saturday, May 17, through June 15,
LOS ALAMOS
17th Annual Los Alamos Kite Festival Kite-building workshops, flying demonstrations, kite vendors, and food booths, 7-10 p.m. Friday, noon-5 p.m. Saturday and Sunday, May 16-18, no charge, losalamosartscouncil.org.
Quotes: The Authors Speak Series Former New Mexico state senator Dede Feldman discusses her book Inside the New Mexico Senate: Boots, Suits and Citizens, 7 p.m. Thursday, May 22, Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., no charge, 505-662-8254.
TAOS
Second Annual Taos Lilac Festival Arts & crafts booths, live music, vintage-car show, and best-pet-costume contest, 1-8 p.m. Friday, 10:30 a.m.-5 p.m. Saturday, 10 a.m.5 p.m. Sunday, May 16-18, Kit Carson Park, 211 Paseo del Pueblo Norte, no charge, visit taoslilacfestival.com for schedule of events. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Jicarilla Apache Artist Show & Sale, reception 5-7 p.m. Friday, May 16, through Sunday, no charge. 203 Fine Art 203 Ledoux St., 575-751-1262. Screens of Memories & Flowers Imagined, paintings by Santa Fe artist Charles C. Gurd, reception 5-7 p.m. Saturday, May 17, through June 9.
▶ People who need people Artists
Fourth Annual National Juried Encaustic/ Wax Exhibit Artists 18 years and older may enter up to three images for the Oct. 4Nov. 2 exhibit held at the Encaustic Art Institute in Cerrillos; Aug. 4 application deadline; award details and applications available online at juriedartservices.com. Indigenous Fine Art Market/IFAM Booths available for the inaugural market held at the Railyard Aug. 21-23; booth fees due by May 30 for artists accepted to Santa Fe
Auditions for The Fantasticks Must be able to sing; roles open for men and women ages 16-55; 7 p.m. Friday, May 16, 2 p.m. Saturday, May 17, Christ Lutheran Church, 1701 Arroyo Chamiso, production dates Aug. 14-16; call 505-471-6596 for more information. New Mexico Dance Coalition Student Scholarships 2014 Two scholarship awards distributed bbefore fall tuition; available to residents ages 8 and up; visit nmdancecoalition.org for application forms and guidelines; apply by Friday, Aug. 15.
Volunteers
Food for Santa Fe The nonprofit needs help packing and distributing groceries 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600. Plant a Row for the Hungry A Food Depot program encouraging home gardeners to plant extra produce for donation to the organization; 505-471-1633.
▶ Pasa Kids Beauty and The Beast An adaptation of the 1991 Disney film presented by Pandemonium Productions students (ages 5-17), 7 p.m. Friday and Saturday, 2 p.m. Sunday, May 16-18, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, children under 12 $6, 505-982-3327, pandemoniumprod.org. Desert Academy musical revue Eighth-graders perform selections from South Pacific, The Sound of Music, and Oklahoma, 7-9 p.m. Friday, May 16, Warehouse 21, $8 at the door, students $5. Flexion Wise Fool New Mexico’s touring stilt and aerial performance, 7 p.m. Friday, 1 and 7:30 p.m. Saturday, May 16-17, Santa Fe Railyard Park, Guadalupe St. and Paseo de Peralta, donations accepted, wisefoolnewmexico.org. Georgia O’Keeffe Museum Family Program Create seascapes and desert landscapes; led by Amy Paloranta, 9:30-11:30 a.m. Saturday, May 17, Georgia O’Keeffe Museum, 217 Johnson St., no charge for ages 4-12 accompanied by an adult, 505-946-1000. Meet The Cat in the Hat UNM Continuing Education celebrates 85 years with games, snacks, prizes, and hands-on activities, 10 a.m.-3 p.m. Saturday, May 17, 1634 University Blvd. N.E., Albuquerque, 505-277-2121 or 505-277-0077, newmexicopbs.org, no charge. ◀
In the wings MUSIC
Outpost Performance Space gala fundraiser Funk and jazz saxophonist Maceo Parker, 6:30 p.m. Friday, May 23, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $150, holdmyticket.com. Austin Piazzolla Quintet Tango ensemble, 7:30 p.m. Saturday, May 24, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Ingrid Laubrock and Tom Rainey Saxophone and percussion, 8 p.m. Thursday, May 29, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Operatic trilogies for familes Santa Fe Opera presents three fully staged, short operas composed for youth; performances begin Saturday, May 31, and run June 1, 7, and 8, Gaddes Hall, Santa Fe Opera, 301 Opera Dr., $10 at the box office, 505-986-5900. Cantu Spiritus Chamber Choir Readings and choral selections, 4 p.m. Saturday, May 31, San Miguel Chapel, 401 Old Santa Fe Trail, $15 suggested donation. Buddy Rich alumni tribute concert Under the direction of trumpeter Bobby Shew; featuring percussionist Steve Smith, 4 p.m. Sunday, June 1; panel discussion 2 p.m., video presentation following the performance, KiMo Theatre, 423 Central Ave. N.W., Albuquerque, $20-$40 in advance at kimotickets.com. Santa Fe Women’s Ensemble The choral group’s 33rd season continues; 3 p.m. Saturday and Sunday, June 7-8, First Presbyterian Church of Santa Fe (Saturday) and Immaculate Heart of Mary Chapel (Sunday), $25, students $10, 505-988-1234, ticketssantafe.org, visit sfwe.org for details. Xavier Rudd Australian singer/songwriter, 7:30 p.m. Wednesday, June 11, Santa Fe Sol Stage & Grill, $20, ticketssantafe.org’ 505-989-1234. Carrie Rodriguez Fiddler/songwriter, 7 p.m. Saturday, June 14, Gig Performance Space, 1808-H Second St., $25 in advance at brownpapertickets.com, $29 at the door. Rodney Crowell Country singer/songwriter, 7:30 p.m. Tuesday, June 17, the Lensic, $35-$45, 505-988-1234, ticketssantafe.org. Taos School of Music The 52nd season opens with the Borromeo String Quartet Sunday, June 22; Taos Community Auditorium, 133 Paseo del Pueblo Norte, concerts continue to August at various venues, $20, discounts available, season tickets $80, taosschoolofmusic.com. Santa Fe Bandstand 2014 The annual free music series featuring local and national acts returns with an expanded 10-week run beginning Monday, June 23, and continuing weekly through August on the Plaza; The lineup includes local favorites Bill Hearne, Nacha Mendez, and Bert Dalton; plus, Candace Bellamy, Lipbone Redding and his two-man orchestra, and Joy Harjo, santafebandstand.org. Playing for Change Band Peace Through Music tour, 7:30 p.m. Tuesday, June 24, Santa Fe Sol Stage & Grill, $29 in advance, 505-988-1234, ticketssantafe.org.
Chris Robinson Brotherhood Blues-rock band, 7 p.m. Wednesday, June 25, Santa Fe Sol Stage & Grill, $25 in advance, 505-988-1234, ticketssantafe.org. Santa Fe Opera 2014 Festival Season The season opens with a new production of Bizet’s Carmen and includes the American premiere of Dr. Sun Yat-sen by Huang Ruo, as well as Beethoven’s Fidelio and Stravinsky’s Le Rossignol, June 27-Aug. 23, schedule of community events available online, Santa Fe Opera, 301 Opera Dr., 505-986-5900, santafeopera.org. The Old 97s Alternative-country band, 7 p.m. Sunday, June 29, Santa Fe Sol Stage & Grill, $20 in advance, 505-988-1234, ticketssantafe.org. The Soulshine Tour Michael Franti and Spearhead, SOJA, Brett Dennen, and Trevor Hall, 6 p.m. Saturday, July 5, Downs of Santa Fe, 27475 W. Frontage Rd., $44 and $61, kids $12, 505-988-1234, ticketssantafe.org and holdmyticket.com. Ninth Annual New Mexico Jazz Festival July 11-27 in Albuquerque and Santa Fe; Terri Lyne Carrington’s Mosaic Project, Jack DeJohnette Trio, Claudia Villela Quartet, Henry Butler with Steven Bernstein & The Hot 9, visit newmexicojazzfestival.org for schedule.
UPCOMING EVENTS Santa Fe Chamber Music Festival July 20 marks the beginning of the 42nd season; performers include the Dover Quartet, the Orion String Quartet, pianist Inon Barnatan, and violinist William Preucil, schedule available online at santafechambermusic.com. Ray Lamontagne Singer/songwriter, 6:30 p.m. Tuesday, Aug. 5, Downs of Santa Fe, 27475 W. Frontage Rd., $40 and $62, 505-988-1234, ticketssantafe.org. Tony Bennett With Antonia Bennett, 7 p.m. Sunday, Aug. 24, Santa Fe Opera, 301 Opera Dr., advance tickets available online at santafeopera.org, 505-986-5900. Lila Downs Singer/songwriter, 7:30 p.m. Wednesday, Aug. 27, the Lensic, $39-$69, 505-988-1234, ticketssantafe.org.
THEATER/DANCE
The Sad Room Playwright Patricia Crespín’s drama, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, May 23-25, Teatro Paraguas, 3205 Calle Marie, $12, discounts available, 505-424-1601, teatroparaguas.org. Frankie & Johnny in the Clair de Lune A play by Terrence McNally, 7:30 p.m. Thursdays-Saturdays, 4 p.m. Sundays, May 30-June 8, Santa Fe Playhouse, 142 E. De Vargas St., gala opening $30; general admission $20; discounts available; 505-988-4262, contains nudity. John Hodgman Comedian, 9 p.m. Monday, June 2, Jean Cocteau Cinema, 418 Montezuma Ave., $20 at the box office and online at jeancocteaucinema.com. The Sound of Music Musical Theatre Works Santa Fe presents the musical, 7 p.m. Fridays and Saturdays, 2 p.m. Sundays, June 6-15,
Xavier Rudd performs June 11, at Santa Fe Sol Stage & Grill.
Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $17 in advance, students $12, musicaltheatreworks.net, $20 at the door. Roots Revival Cabaret chronicling the history of African Americans, 8 p.m. Saturday, June 7, the Lensic, $22.50, 505-988-1234, ticketssantafe.org. Follies: The Concert Version Santa Fe REP presents Stephen Sondheim’s musical, 7:30 p.m. Thursdays and Saturdays, 4 p.m. Sundays, June 21-29, Warehouse 21, $25, discounts available, 505-629-6517, sfrep.org. Antonio Granjero and EntreFlamenco Flamenco dance troupe, with Estefania Ramirez, 8 p.m. nightly from July 2 through August, María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 505-988-1234, ticketssantafe.org.
HAPPENINGS
Tenth Annual Native Treasures More than 200 Native artists selling handcrafted works; benefit preview party with a reception for 2014 Living Treasures artists Joe Cajero and Althea Cajero, hors d’oeuvres, champagne, and jazz, 7:30 p.m. Friday, May 23; early bird show 9 a.m. Saturday, May 24, art show and sale 10 a.m.4 p.m. Saturday and Sunday, Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., early bird admission $20 at the door, Saturday show $10 at the door, no charge on Sunday, preview party $100 in advance online at nativetreasures.org (includes early bird ticket for Saturday admission). New Mexico History Museum Fifth Anniversary Bash Highlighting objects from the permanent collection with Toys and Games: A New Mexico Childhood, games held in the Palace of the Governors Courtyard, 2-4 p.m. Sunday, May 25, New Mexico History Museum, 113 Lincoln Ave., by museum admission, 505-476-5200. Santa Fe Opera Insider Day Saturdays from June 7 through Aug. 23, refreshments 8:30 a.m., staff-member-led backstage tours and talks 9 a.m., Santa Fe Opera, 301 Opera Dr., no charge, 505-986-5900. Currents: Santa Fe International New Media Festival 2014 2014 Featuring works by international and local artists; exhibits, outdoor video projections, and digital dome screenings beginning Friday, June 13, with events scheduled through Sunday, June 29, at various venues including El Museo Cultural de Santa Fe, Railyard Plaza, Jean Cocteau Cinema, and Warehouse 21, for details visit currentsnewmedia.org. Santa Fe Opera Ranch Tours Offered at 10 a.m. Fridays, June 27, July 25, and August 22, Santa Fe Opera, 301 Opera Dr., $12, combined backstage tour $20, tickets available at the box office, 505-986-5900. ¡Viva la Cultura! Hispanic cultural festival running Tuesday, July 22, through Saturday, July 26; including performances by Cipriano Vigil y la Familia Vigil and Nosotros, a Spanish Market preview, lunch and dinner events, and film screenings; hosted by the Spanish Colonial Arts Society, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, call 505-982-2226, Ext. 109 for advance tickets.
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AT THE GALLERIES
more than 150 examples of craftsmanship and design distinctive to the charro; cabq.gov/ culturalservices/albuquerque-museum/generalmuseum-information; closedMondays. Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances; indianpueblo.org. Maxwell Museum of Anthropology UNM campus, 1 University Blvd. N.E., 505-277-4405. The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays; nationalhispaniccenter.org. UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001. Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, etchings by the late artist • The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through Saturday, May 17. Closed Sundays and Mondays; unmartmuseum.org.
Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. The Black Place: Two Seasons, Walter W. Nelson’s photographic landscape series, through May. Evoke Contemporary 550 S. Guadalupe St., 505-995-9902. Spring Fever, paintings by the late artist Louisa McElwain, through May 23. Marion Center for Photographic Arts Atrium Gallery, SFUA&D, 1600 St. Michael’s Dr., 505-473-6341. Kevin O’Connell: Everything Comes Broken, through Saturday, May 17. Red Dot Gallery 826 Canyon Rd., 505-820-7338. Annual Spring Art Show, through May 23. Tom Ross Gallery 409 Canyon Rd., 505-984-8434. Metamorphosis, paintings by Rosenberg, through Thursday, May 22. Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. Altered, group show, including works by Ann Weiner and Rusty Scruby, through Monday, May 19.
MUSEUMS & ART SPACES SANTA FE
Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. The Armory Show, multimedia group exhibit and program series in celebration of CCA’s 35th anniversary, Muñoz-Waxman Gallery, through May • Enveloping Space: Walk, Trace, Think, Jane Lackey’s immersive site-specific installation, Spector-Ripps Project Space, through May. Open Thursdays-Sundays; ccasantfe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs by O’Keeffe in the permanent collection. Open daily; okeeffemuseum.org. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. BFA Student Exhibit, traditional and contemporary showcase of works, through Sunday, May 18 • Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; iaia.edu/museum. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection. Closed Mondays through Memorial Day; indianartsandculture.org. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through July 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond,
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PASATIEMPO I May 16-22, 2014
UNM Art Museum shows work by Julia Lambright in the show Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, closing Saturday, May 17, 1 University of New Mexico Blvd.
international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Closed Mondays; internationalfolkart.org. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Closed Mondays; spanishcolonialblog.org. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; nmhistorymuseum.org. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Southwestern Allure: The Art of the Santa Fe Art Colony including early 20th-century paintings by George Bellows, Andrew Dasburg, Marsden Hartley, and Cady Wells, through July 27 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes
used to make color and platinum-palladium prints from the collection, through March 2015 • 50 Works for 50 States: New Mexico. Closed Mondays; nmartmuseum.org. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. For the Love of It, group show of pottery including works by Maria Martinez, Joy Navasie, and Margaret Tafoya, through June 29. Closed Mondays; pvmiwa.org. Poeh Cultural Center and Museum 78 Cities of Gold Rd., 505-455-3334. Nah Poeh Meng, 1600-square-foot installation highlighting the works of Pueblo artists and Pueblo history. Closed Saturdays and Sundays; poehcenter.org. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, through Sunday, May 18. Closed Mondays-Wednesdays; sitesantafe.org. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits of contemporary and historic Native American art. Open daily; wheelwright.org.
ALBUQUERQUE
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through Sunday, May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture,
LOS ALAMOS
Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits. Open daily; lanl.gov/museum. Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Edith and Tilano: Bridges Between Two Worlds, photographs and artifacts of the early homesteaders, through May. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays; pajaritoeec.org.
TAOS
Harwood Museum of Art 238 Ledoux St., 575-758-9826. Highlights From the Gus Foster Collection, contemporary works, through Sept. 7 • Mabel Dodge Luhan & Company: American Moderns and the West, including works by Marsden Hartley, Ansel Adams, and Awa Tsireh, plus traditional Hispanic devotional art, opening Wednesday, May 21, through Sept. 11 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Open daily through October; harwoodmuseum.org. Taos Art Museum at Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Intimate and International: The Art of Nicolai Fechin, paintings and drawings, through Sept. 21. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Closed Mondays; taosartmuseum.org.
EXHIBITIONISM
A peek at what’s showing around town
Geoffrey Gersten: American Robots, 2013, hand-embellished giclée on canvas. Decadence: The Art of Bob Doucette and Geoffrey Gersten continues at Pop Gallery (125 Lincoln Ave., Suite 111). Doucette, a former producer at Warner Bros., paints surreal Pop imagery of youthful figures in dreamlike settings. Gersten’s paintings feature wry takes on pop-culture phenomena and retro twists given to well-known artworks. The show is on view through June. sCall 505-820-0788.
Joan Watts: Untitled 33, 2013, oil on canvas. Gradual shifts in color from dark to light, gently rolling wavy lines, and a reductive use of geometric forms characterize Joan Watts’ atmospheric paintings in Boundless, an exhibit of her recent work on view at Charlotte Jackson Fine Art (554 S. Guadalupe St.). The show opens Friday, May 16, with a reception at 5 p.m. Call 505-989-8688.
Bill Heckel: Shroom, 2007, archival pigment print. Wilderness Untamed is an exhibition of work by Bill Heckel at New Concept Gallery (610 Canyon Road). The show includes photographs from his Wilderness Untamed series, a body of work depicting nudes in the New Mexico landscape; photos from his series A Show of Hands;and a selection of bronze sculptures and figurative drawings. The exhibit opens at with a 5 p.m. reception on Friday, May 16. Call 505-795-7570.
Clare Dunne: Hummingbird, 2013, charcoal. Phil Space (1410 Second St.) presents Feathers and Fur, an exhibit of charcoal drawings by Clare Dunne. Dunne’s use of charcoal is a nod to the cave paintings of the Paleolithic era. Though inspired by the depictions of animals at sites such as Lascaux and Chauvet in southern France, Dunne’s subjects are rendered in a contemporary realist style and feature animals such as dogs, hummingbirds, and geese. Call 505-983-7945.
Tom Murray: Ephemeral Passage, 2013, oil on linen. Jane Hamilton Fine Art (200-D Canyon Road) presents an exhibition of work by gallery artists, including paintings by Francisco Rodriguez, Pat Parkinson, and Tom Murray. This is the inaugural show at the gallery’s Santa Fe location. The gallery features contemporary art in a variety of media. There is an opening reception on Friday, May 16, at 5 p.m. Call 505-465-2655.
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