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The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture

June 7, 2013

Fresh Stock


Arriving Daily

Payne’s South 715 St. Michael’s 988-9626

Celebrate Father’s Day Serving Dinner from 5:00 at

Payne’s North 304 Camino Alire 988-8011 Spring/Summer Hours

Mon - Sat 8 to 6 Sun 10 to 4

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Payne’s Discount Coupon

30% OFF Miracle-Gro

All Purpose Plant Food • All Sizes

Good at either St. Michael’s Dr. or Camino Alire location. Coupon must be presented at time of purchase. Applies to cash, check or credit card sales only. Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 6/14/13.

$4 LUNCH RistRa GiFt CERtiFiCatE

Present certificate Tues. - Sat., 11:30 - 2:30 through June • One certificate per person

LobSter SanDwiCh iS baCk onthe LunCh menu Happy Hour 5-7, Monday through Friday, $7 Martinis 548 Agua Fria, Santa Fe • 982-8608 •

Home Sweet

Re claimed wood and iron furniture. Large slab dining tables. Sectionals. Great beds. Coffee tables. Organic mattress. Nature art.





PASATIEMPO I June 7 - 13, 2013


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5th Annual Judy Chicago

June 7 | Friday 5 – 8 pm

music in the patio

Enjoy the cascading sounds of Linda Larkin and Julie Hawley on Celtic harp, with Charly Drobeck on flute. Free.

June 9 | Sunday 2 – 4 pm

public talk and book signing

Artist Judy Chicago and author Jane Gerhard in conversation about The Dinner Party: Judy Chicago and the Power of Popular Feminism, 1970–2007. St. Francis Auditorium. Free.

A Bishop’s Lodge SUMMER EVENT

Father’s Day Weekend • Sunday, June 16

Grilled Steaks and Chicken, Braised Ribs, Ranch Burgers and All the Fixin’s • FREE Pony Rides • Cash Bar only on the Mesa Live Country and Western Music & Dancing with The Steve Rose Band

June 15 | Saturday 9 am – 4 pm

annual book sale

New and gently used books on art, photography, architecture and the Southwest. Free.

June 28 | Friday 5:30 – 6:30 pm

public lecture

Gourmet BBQ Dinner from 6 pm

Video artist Peter Sarkisian talks about his current exhibition. St. Francis Auditorium. Free.

$39.95 per person • $34.95 seniors $19.95 for buckaroos under 18, under 5 free


RESERVATIONS 505.819.4035 or A free and family friendly summer concert series at St. John’s College. Enjoy great music in the open air. Wednesday evenings 6 - 8 p.m. on the athletic field.




Marcia Crawford Back in Santa Fe Trunk Show

Friday June 7th


Faith Amour

JAZZ VOCALS Parking for the event is limited. There is a free shuttle between Museum Hill and St. John’s College. Concertgoers may picnic on the field. No seating is available. Food and drink can be purchased from Walter Burke Catering and Sprouts Farmers Market. For safety purposes, no pets allowed on the field, bicycles must be parked along the tennis court fences, and parents need to monitor their children. Please drink responsibly.For more information and parking directions, or in case of rain, see our website at

2-6pm Opening Reception

Saturday, June 8th 11am - 6pm

Sunday, June 9th noon - 4pm Clothing & textiles, Treasure & ornament

T r av e l e r ’s M a r k e t

4 5 De a l e r s of T r i ba l & F ol k A r t, A n t iqu e s , B o oks & J e w e l ry

at t h e D e Va r g a s C e n t e r 1 5 3 B Pa s e o d e P e r a l ta , S a n ta F e , N M 87501 505-989-7667 Hours: T u e - S at 1 1 - 6 p m s u n 1 2 p m - 5 p m w w w. t r av e l e r s m a r k e t. n e t


PASATIEMPO I June 7 - 13, 2013

5:00pm - Gates Open

for shopping & dining

Join QUAIL RUN today and experience the Club’s premier fitness and aquatic facilities, PGA-rated par 32 golf course, ProBounce tennis courts, professional staff and full service restaurant. CALL TODAY to schedule a tour and learn more about our different membership opportunities. Purchase a club membership* before June 28, 2013 and receive one month FREE dues.

3101 Old Pecos Trail 505.986.2200 *This is a limited time offer with certain restrictions

Celebrate Father’s Day With A Timeless Gift Of Love From

6:30pm - muttOn Bustin’ 7:00pm - Grand entry Wednesday, June 19th

Admiral Beverage Blake’s Lotaburger Boot Barn Buffalo Thunder Café Fina Cameron Veterinary Century Bank Chaparral Materials City of Santa Fe Clint Mortenson Silver & Saddles Coca-Cola of SF Comcast Cable Cowboy Church Diamond Vogel Paints Feed Bin/Ranchway Feeds

1st National Bank of Santa Fe Gibraltar Construction Graphic Sky Printing High Desert Landscaping Hyatt Place Hutton Broadcasting Inn at Santa Fe Joe’s Diner Justin Boots Lithia Santa Fe Los Alamos Medical Center Los Alamos National Bank Maloy Mobile Storage Mr. & Mrs. John N. McConnell McDonald’s Motel 6

Buffalo thunder night Free t-shirt to first 500 at Buffalo thunder booth

NMGRA NM History Museum NM Sports & Physical Therapy O’Farrell Hats Pendleton Whisky Pueblo Bonito B&B Quality Inn Ram Rodeo The Ranch House SF New Mexican Santa Fe Sage Inn San Marcos Feed State Employees Credit Union State Farm/Melissa Pessara Wild Life West Park Wilson Storage

thursday, June 20th honor Our serviceman

Friday, June 21st

1:00pm chicks n chaps Breast cancer Fundraiser (920-8444 for tix) pink night for breast cancer awareness

saturday, June 22nd

tickets at the Lensic Or caLL: 988-1234

Lithia night Gifts to first 500 visitors to the Lithia Booth

Rodeo Parade, Sat. June 15, 3pm, NEW ROUTE,

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories

Featuring Attractive Handcrafted Furniture Southwestern Style • Great one-of-a-kind Pieces

SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr.

Monday - Saturday


Closed Sundays





June 7-13, 2013

On the cOver 28 high flyers It’s Tako Kichi: Kite Crazy in Japan at the Museum of International Folk Art. The exhibition, opening Sunday, June 9, includes hundreds of colorfully painted kites ranging in size from a half-inch to 12 feet as well as beautiful 19th-century ukiyo-e prints and a section focusing on the traditional kite fights between the towns of Shirone and Ajikata. On the cover is a 1960s Nanbu kite depicting Kintaro — a figure from Japanese folklore — with a rabbit, made by Hiroaki Uyama; from the collection of David M. Kahn.

mOving images

bOOks 12 in Other Words Jimmy Sturr, polka king

40 42 44 46 48 50

mUsic and PerfOrmance 14 16 19 20

terrell’s tune-Up Revenge of the Oblivians Pasa tempos CD Reviews Onstage this Week Paper Bird flies John serkin The path to aloha


art 24 light brigade James Turrell’s cosmic observatories 32 ellsworth gallery New venue on the block

56 Pasa Week

and 8 mixed media 10 star codes 54 restaurant review: Jinja

three minUtes Of fame 36 Quick flicks Return of the 3-Minute Film Festival

advertising: 505-995-3819 ad deadline 5 p.m. monday

Pasatiempo is an arts, entertainment & culture magazine published every friday by The New Mexican. Our offices are at 202 e. marcy st. santa fe, nm 87501. editorial: 505-986-3019. fax: 505-820-0803. e-mail: PasatiemPO editOr — kristina melcher 986-3044, ■

art director — marcella sandoval 986-3025,

assistant editor — madeleine nicklin 986-3096,

chief copy editor/Website editor — Jeff acker 986-3014,

associate art director — lori Johnson 986-3046,

calendar editor — Pamela beach 986-3019,

staff Writers michael abatemarco 986-3048, James m. keller 986-3079, Paul Weideman 986-3043,

cOntribUtOrs loren bienvenu, taura costidis, laurel gladden, Peg goldstein, robert ker, bill kohlhaase, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, steve terrell, khristaan d. villela

PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

Robin Martin Owner

Stories We Tell Tiger Eyes The Iran Job Love Is All You Need Becoming Traviata Pasa Pics

Ginny Sohn Publisher

advertising directOr Tamara Hand 986-3007

marketing directOr Monica Taylor 995-3824

art dePartment directOr Scott Fowler 995-3836

graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

advertising sales mike flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Rob Dean editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet



MUSIC: IBERIKA FUSION. CHUSCALES, GUITARS, ALEX PEREZ, PERCUSSION, MARCO TOPO, BASS. DONATION: $5-10 FRIDAY, JUNE 7, 5:30 - 8:30 PM 505.989.9806 • Floor hrs.: tues-sat 10-5 1226 Flagman Way (behind Recollections) Santa Fe, NM 87505 PASATIEMPOMAGAZINE.COM



Lensic Presents




“Wonderfully funny and genuinely moving” —Daily Telegraph

“Helen Mirren is superb.” —Evening Standard

June 13, 7 pm

$22/$15 Lensic members & students

  Daily Telegraph, Evening Standard, The Times





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

A female ruby-throated hummingbird feeding

The Santa Fe Playhouse presents

Chapter Two

by Neil Simon

In association with Thirstybunch Productions Directed by Kent Kirkpatrick

Robert Nott Barbara Hatch Charles Gamble Erin O’Shaughnessy

June 13-30, 2103 Tickets: 988-4262 or Produced by Special Arrangement with Samuel French, Inc. 8

PASATIEMPO I June 7-13, 2013

The Santa Fe hum

A few springs ago, a broad-tailed hummingbird made a lame nest on the very end of a box elder branch in our yard. There were three eggs, then three babies, but when I checked it one day, the branch was wildly blowing in the wind, the nest had come partially apart, and there was just one chick left, hanging on. I made a little burlap cup to reinforce the nest and tied it onto the branch. The baby bird made it to flight stage and — I swear I’m not making this up — the next morning either the mother or the youngster came to the window by our bed and hovered, looking in as if to say thanks. At least parts of this story might be considered important in Hummingbirds at Home, a new National Audubon Society program that relies on reports by “citizen scientists” all over the United States. The mission is to understand how climate change, changing flowering patterns, and feeding by people are affecting the tiny birds and to help in conservation efforts. The program is enhanced in Santa Fe with a free screening of the 2010 film Hummingbirds: Magic in the Air at 7 p.m. Friday, June 7, at the Lensic Performing Arts Center (211 W. San Francisco St., 988-1234). Afterward, there will be a panel discussion with ornithologist Geoff LeBaron, who has directed the National Audubon Society’s Christmas Bird Count program for 25 years, and Ann Johnson Prum, producer and principal cinematographer of the film. Focusing on hummers from Canada to Chile, Prum used a high-definition, high-speed Phantom camera to “slow down the hummingbirds’ world” and to get glimpses of things that happen way too fast for traditional photography — the birds’ “other life that we didn’t know anything about,” as she puts it in a PBS behind-the-scenes short. For more information, see or call the Randall Davey Audubon Center & Sanctuary, 983-4609. — Paul Weideman


OPENING 6/10/13


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Variety of Japanese Tapas and $2 Draft Beer all day, everyday

Friday, June 7: Low-level discouragement nibbles away at us unless we exercise Venus through compassionate or creative acts — or a good hug. Don’t ask others to fill an existential void that calls for spiritual food. In the afternoon seek sanity and long talks with trusted people to process multilayered feelings as Mercury opposes Pluto under a verbal new moon in Gemini. Saturday, June 8: Things may not go as planned. Make the best of it. Use the day to consider possibilities. Allow new beginnings as thoughtful Mercury squares change-inducing Uranus. Enjoy a disjointed, stimulating, mindchanging evening. Sunday, June 9: It’s time to go home and nest as the moon enters domestic, introverted Cancer and conjuncts Jupiter. Give and receive nurturing in a healthy way. Monday, June 10: Fix ourselves and the world this morning as Mercury trines Chiron. Speak simply and directly as the moon conjuncts Mercury in self-protective Cancer. Nurture goodness. Tonight, watch for mishandled control issues.

The Echo2 Plus Oxygen System at Seventh Ray since 1994

Tuesday, June 11: Feelings roil as Venus opposes Pluto. We can project strong emotional waves onto our lives and become possessive or poke around for reactions that tell us we’re alive — but the true story is deeper. We’re feeling for the whole planet. Act on compassion rather than exacerbating the melodrama.

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Wednesday, June 12: Social restlessness and a witty streak are ways of dealing with unspoken tender feelings under a Leo moon. It’s tempting to ditch people or situations that are too much work as Venus squares Uranus, but let’s make more specific changes. Creative experimentation takes us further. Honey works better than force.

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Thursday, June 13: The mood is sentimental, sociable, and self-conscious as Venus and Mercury conjunct in Cancer. Interpersonal or aesthetic accomplishments accumulate. People blossom with surprising talents when we believe in them. ◀

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Savor the fleeting moments of perfect weather and the generalized nervy busyness of the Gemini season. The stars offer such a mix this week — it is really important to bring our minds to the world’s often heartbreaking beauty and let our souls reside there. The weather may say summertime, but the living might not be easy. This is a moody week but one in which we can really make a difference. Several major planetary configurations give us a lot to work with. This weekend, we may feel the weight of the world as mental Mercury opposes transformative Pluto and squares change-inducing Uranus. If we lose perspective, we can read this global, environmental heaviness into our personal situation and imagine things are worse than they are. As always, we can notice take personal responsibility and make different, even revolutionary, choices. Compassion and a creative out-of-the-box approach can lead the change as Venus forms a grand trine with structural restrictive Saturn and intuitive Neptune. Spirituality and intuition may be hard to attain unless we use traditional or familiar ways to achieve them. The weekend begins alive, spontaneous, and glitch-filled; forget schedules and be alert to sudden changes. Be open to wonder. As the week begins we need to come back to ourselves and take care of our home front. Midweek can bring success as long as we don’t take any moral short cuts as Saturn perfects a trine to Neptune. Add discipline to vision, listen to old wisdom mingling with a fresh approach, and get things done. Feel the social buzz; although we all have complex feelings, we appreciate company.

PASATIEMPO I June 7-13, 2013

tONiGht, FriDay, juNe 7, 5:00-7:30 PM

s r breNNeN Galleries serge Marshennikov, Morning Sunlight

First Friday Art Walk

jOiN us FOr aN eveNiNG OF FiNe & cONteMPOrary art iN the heart OF DOWNtOWN saNta Fe

MaNitOu Galleries roger hayden johnson & hib sabin

Upcoming Events and Specials Monthly events - perfect for your next night on the town.

Give Him What He Really Wants

Peace Quiet Relaxation Entire Month of June 2013 Give Dad a 50-minute Deep Tissue Massage and a 25-minute Gentlemens Refining Facial $185.00 He’ll also enjoy the Steam Room, Relaxation Lounge, Fitness Center with Sauna, Rooftop Hot Tub and Pool. Gift Cards Available. Cannot be combined with any other offer Nidah Spa 505.995.4535

Chicken Sunday

at the Old House Restaurant Every Sunday Evening With the imminent approach of the summer season, many of us reminisce about our summers past. For many people, particularly those with southern roots, fried chicken can be equally evocative and mouth-watering!

WaDle Galleries Featuring Walt Wooten

leWalleN Galleries sammy Peters, Internal Narrative

West Palace Arts District

The West Palace arts District is a diverse group of museums and galleries located in the area bounded by the New Mexico Museum of art, the santa Fe community convention center, and the Georgia O’Keeffe Museum. Free aDMissiON ON First FriDays, 5:00 – 7:00 PM FOr NeW MexicO resiDeNts at the GeOrGia O’KeeFFe MuseuM aND the NeW MexicO MuseuM OF art

It's a great time to revisit fried chicken. Come revel in summer memories. For reservations 505.995.4502

4th Friday of the Month at The Gallery at Eldorado June 28, 2013 5pm

On the 4th Friday of each month, The Gallery at Eldorado celebrates our local entertainers. This month’s entertainment duo is Kari Simmons & Todd Lowry. Kick back, enjoy drinks featured from AGAVE, and celebrate Santa Fe talent.

Located at Eldorado Hotel & Spa 309 W. San Francisco Street




In Other wOrds

book reviews

Polka King: The Life and Times of Polka Music’s Living Legend by Jimmy Sturr, BenBella Books, 236 pages It’s hard to believe that in the early 1950s, polka label Dana Records was the third best-selling record company in the country, ahead of Decca, Capitol, and Mercury. I say this not with any contempt for the genre but rather as someone whose exposure to polka music has been limited. Polka King, Jimmy Sturr’s autobiography, provides enough background on the music and its history as well as on the woodwind player’s own place in the pantheon, to bring even novices like me into the fold. As a winner of 18 Grammy Awards (placing him somewhere between Jay-Z and Bruce Springsteen on the all-time leader board), Sturr should already have a legacy firmly cemented in mainstream popularity. But being the king of polka is a bit like being the king of Liechtenstein — impressive; vaguely exotic in a dusty, Old World way; yet largely unknown to most Americans. It’s fitting, then, that much of Sturr’s appeal lies in his humility. The book is prefaced by a humorous recounting of a performance in 1985 in communist Poland. Although shadowed by a KGB officer and subjected to constant surveillance, Sturr ignored an official mandate to omit American-centric music from his set and closed with “The StarSpangled Banner.” This was not an act of bravado by a culture-deaf capitalist but rather an attempt to bridge the gap between the Polish and American factions of the audience. In fact, the song came as a counterpart to Sturr’s rendition of the Polish national anthem, and following the show, the communist official who delivered the edict of banned songs embraced Sturr with tears in his eyes. So begins the sometimes meandering but always entertaining account of Sturr’s long and unwavering partnership with polka, a musical form that, above all else in his opinion, brings people together. We find out about his precocious youth: Sturr graduated from high school at 16, a year after cutting his first professional album for Vee-Jay Records. We also find out about his incredibly long-running syndicated Sunday radio show. “I’m proud to say that in those four-plus decades [since beginning the program], I’ve never missed a single show,” Sturr writes. “I guess you could say I’m the Cal Ripken Jr. of polka-radio-show hosts.” More than anything else, we find out about his love for the music, evidenced by his many decades spent touring and recording (at times with the likes of Willie Nelson, Alison Krauss, and Béla Fleck), and his obsessive record collecting: “As of this writing, I have more than twelve thousand polka LPs, and close to thirty-five hundred polka CDs down in my basement.” The only thing that threatens to eclipse Sturr’s love for polka is his love for his hometown: Florida, New York, where he still resides in the house where he was born. Here Sturr’s prose occasionally wanders. We don’t need to know that “Founded in 1760 ... Florida, New York, is the undisputed ‘Onion Capital of the World,’ despite what those big talkers in Vidalia, Georgia, or Oneida Lake, New York, have to say about it.” (Sturr’s claim is followed by a prolonged discussion of the agricultural properties of the region’s “black dirt.”) Other digressions from Sturr’s main narrative include the tale of Babe Ruth accidentally shooting Sturr’s father in an attempt to protect him from a vengeful pheasant as well as the intricacies of Sturr’s tennis schedule: “Today I’m in a local Florida tennis league and play two, three, or sometimes four days a week.” But it’s important to remember that the work is autobiography, meaning that Sturr, not polka, is the real star of the show. After all, the man shot by Babe Ruth is the man who raised Sturr and encouraged his musical pursuits, just as the black dirt responsible for making Florida’s soil so onion-friendly is the dirt that nourished his passions. Die-hard fans will probably soak in these bits of trivia with as much interest as neophytes will in following Sturr’s trajectory from the time he picks up a saxophone to the moment he places his 18th Grammy on the mantel. Unfortunately, the growth of this Grammy collection is — at least temporarily — on hold. The National Academy of Recording Arts and Sciences retired the Best Polka Album category in 2009 as part of its ongoing campaign to streamline the ceremony. Sturr concedes that when asked whether he wants to win more Grammys, “the answer is, of course, yes,” but he concludes that ultimately “all I’m concerned about is putting together good records, and if NARAS sees fit to honor me, that’s wonderful.” Future polka albums, he writes, would ideally incorporate guest appearances from some artists on his admittedly improbable short list: Bob Dylan, k.d. lang, Elton John, and Lady Gaga. Such a diverse lineup proves that while the contemporary world might be forgetting about polka, the polka king is not forgetting about the contemporary world. In fact, in the autumnal years of his reign, Sturr is striving as much as ever to keep his kingdom on the map. — Loren Bienvenu


PASATIEMPO I June 7-13, 2013

SubtextS Summer entitlement School’s out for summer — and it’s time to get reading, Santa Fe! We have bookstores that specialize in comics, history, spirituality, books for kids, and even old maps. We’ve got bestsellers, self-published titles by local authors, poetry galore, and that out-of-print paperback you’ve been trying to find for years. What are you waiting for? Here are a few of Santa Fe’s recent top-selling titles from our local merchants: Big Adventure Comics (801-B Cerrillos Road, 992-8783) 1. Saga, Vol. 1 by Brian K. Vaughan, illustrated by Fiona Staples 2. The Manhattan Projects, Vol. 1 by Jonathan Hickman, illustrated by Nick Pitarra 3. Avatar: The Last Airbender, Vol. 4 by Gene Luen Yang, illustrated by Gurihiru 4. The Walking Dead, Vol. 1: Days Gone Bye by Robert Kirkman, illustrated by Tony Moore 5. The Sixth Gun, Vol. 1: Cold Dead Fingers by Cullen Bunn, illustrated by Brian Hurtt Garcia Street Books (376-B Garcia St., 986-0151) 1. Let’s Explore Diabetes With Owls by David Sedaris 2. A Man Without Breath by Philip Kerr 3. The Woman Upstairs by Claire Messud 4. The Flamethrowers by Rachel Kushner 5. Cooked: A Natural History of Transformation by Michael Pollan Bee Hive Kids Books (328 Montezuma Ave., 780-8051) 1. Beautiful Ruins by Jess Walter 2. Fancy Nancy: Nancy Clancy Super Sleuth by Jane O’Connor, illustrated by Robin Preiss Glasser 3. The Dark by Lemony Snicket, illustrated by Jon Klassen 4. Sticker Dolly Dressing: Popstars by Lucy Beckett-Bowman, illustrated by Stella Baggott 5. If You Give a Dog a Donut by Laura Numeroff, illustrated by Felicia Bond — compiled by Jennifer Levin

Heather Roan Robbins Mariposa’s Song by Peter LaSalle, Texas Tech University Press, 148 pages

Your chart is a map, a brilliant navigational tool. It’s an honor for me to walk with you into your inner workings, offer you a perspective to help understand the past, open up the future, and make dynamic choices.

© Jennifer Esperanza

Every day Mariposa wears a leather belt with her name stamped across the back, painted in turquoise and yellow, and tooled with white butterflies and flowers on either side. The belt and a pair of dressy sandals were among the few things she brought in a simple handbag, first on a bus from Honduras to Nuevo Laredo, and then on her shoulder when she walked across the border between the United States and Mexico on a hot summer night, carrying a flowerpot and a Mexican rug to augment her tourist cover. Now 20, she’s an indocumentada, and her job as a B-girl in an Austin nightclub requires that on weekends she wear a lime green halter top, one of the only other articles of clothing she owns. The setting of this novella is the hip capital Texas city, but not the part where college kids drink flaming cocktails during annual music festivals. It’s a Little Mexico in a glossy U.S. metropolis, constantly smelling of fried corn and populated by a mix of immigrants from all over Latin America. It’s a shadowy place. LaSalle writes, “what went on in East Austin was East Austin’s own concern.” Peter LaSalle’s story is foreboding from the start. How can something that begins with a beautiful young woman working in a broken-down nightclub end in a better place? What is it about the man called the Anglo that makes us so uneasy? Part of what makes this chilling, specific tale profound is its homogeneity with the stories of so many others. Like the two viejos who show up at Club El Pájaro Verde, many who make the journey to follow this American dream find themselves at a dead-end. Trapped and miserable. Abused and sad. And still poor. “The question of who had documentation papers or who didn’t wasn’t even a dimly recalled issue to them,” LaSalle writes in a passage in which the sweating, bloodied men have jumped onto the club’s shabby linoleum dance floor because the DJ is playing an old song. “They were beyond that, outside of it, somehow they were at least free the way that everybody who came across the border always longed to be.” Mariposa is not there yet. Maybe she’s different. Maybe she can be one of the ones who learns better English, gets a job cleaning houses in a good neighborhood, begins to send money back home, and saves for a place of her own instead of living in an apartment with a family of five plus three other indocumentados who share a bed in shifts. Perhaps she can start taking classes at the community college like Fat Tommy the bouncer and she’ll never have to work in another fast-food restaurant again. Maybe the scars on her arms will fade with time. The book is a quick read, its literary style a stream of consciousness, jumping from topic to topic and through time the way a young person’s brain sometimes does. LaSalle can’t be bothered with periods or paragraphs, a presentation that also contributes to the book’s impermanent feeling — like a poem or a long short story. Told in third person, it hovers on the fringes of Mariposa’s memory, throbbing there like a wound that can’t heal. And she wonders, “Was there the maybe admitted absolute futility of all those fluttering money telegrams, yellow and black from Western Union, still beating their way like butterflies southward over the mountains and deserts and jungles in the moonlight, going there but never getting there, because did anything really ever go anywhere, get anywhere at all, well, did it?” — Julie Ann Grimm

Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.” Readings by phone and Skype. 30-plus years experience in NM, MN, NYC.

Seeing new patients in our Santa Fe office! Appointments scheduled through Los Alamos office: 662-4351 Most insurance accepted! (not contracted with Tricare)


Les Misérables School Edition

6/7/2013 7:00 pm • 6/8/13 7:00 pm • 6/9/13 2:00 pm

At SFUAD, Greer Garson Theater

$15 in advance • $20 at door • $10 student • tickets available online SUMMER CAMP DATES • JULY 1-13, 2013 Call for info 505-946-0488 or to register

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From here to Oblivians

They’re back. It’s been 16 years or so since their previous studio album, but Memphis’ finest-trash rockers, The Oblivians, have unleashed an album of new songs. It’s called Desperation. And it’s a kick and a half. Perhaps they are not quite as hyper-energetic as they were back in the ’90s. And perhaps some of their longtime fans might be disappointed that none of the new songs contain any profanity in their titles, and that unlike some of their old albums, the pretty woman on the cover of Desperation has all of her clothes on. But make no mistake about it, this is an Oblivians album, one they can be proud of — full of humor, passion, and lo-fi crazy slop, with echoes of soul, blues, rockabilly, and of course, wild, unfettered garage rock. And there are even a few somewhat melodious tunes that almost suggest a certain tenderness. For those unfamiliar with the joys of Oblivia — and that number is shockingly high, because even in the band’s prime, their following didn’t grow much beyond cult-level — the group was a trio. Greg Cartwright, Jack Yarber, and Eric Friedl took turns on lead vocals, guitar, and drums. When the band split up after the excellent … Play Nine Songs With Mr. Quintron — a wild gospel-influenced romp featuring Mr. Q, a New Orleans organ wizard — the three stayed involved in the music biz. Cartwright formed the highly respected Reigning Sound; Yarber has recorded under the name Jack Oblivian (his 2011 album Rat City was lots of fun) and with a band called the Tennessee Tearjerkers; and Friedl has played in bands like Bad Times and


PASATIEMPO I June 7-13, 2013

The Dutch Masters, though he’s best known as founder and owner of Goner Records, a Memphisbased label and record shop. The three have been playing “reunion” shows for several years (including a tour with The Gories, another band that broke up in the ’90s but rose from the dead a few years back). But it wasn’t until last year that Cartwright, Yarber, and Friedl started writing new songs together and recording. The whole shebang was recorded last year in less than a week at the Black Keys’ Dan Auerbach’s studio in Nashville.

Make no mistake about it, ‘Desperation’ is an Oblivians album, one they can be proud of — full of humor, passion, and lo-fi crazy slop, with echoes of soul, blues, rockabilly, and of course, wild, unfettered garage rock.

Desperation starts off with “I’ll Be Gone,” a harddriving tune that reminds me of the late Jay Reatard’s sound. It’s a good statement of purpose for the album. “There ain’t no way to know/How life will change you so/Let’s rock & roll as we get old.” This is followed by the frantic new song “Loving Cup.” Those who say the 2013 Oblivians couldn’t keep up with their younger selves surely haven’t heard this track. A couple of songs invoke law enforcement. One is a less-than-two-minute quickie called “Woke Up in a Police Car,” which wouldn’t have sounded out of place on a Ramones record. But even better is the next song, “Call the Police.” With Mr. Quintron on the organ, the lyrics sound like a mad mash-up of Hank Williams’ “Jambalaya” and Louis Jordan’s “Saturday Night Fish Fry.” It’s actually a cover of a contemporary zydeco song by singer Stephanie McDee. Another standout is “Little War Child.” Don’t worry, it’s not a rehashed Jethro Tull song. Starting out with the line “I met her at the battle of the bands … backstage I became her number one fan,” this is an ode to an unnamed female rocker. The melody is a

nod to the old “girl-group” sound. And even though it’s Yarber singing, it should remind Cartwright fans that he produced, played on, and wrote songs for former Shangri-La Mary Weiss’ 2007 comeback album. I wouldn’t be surprised if Joan Jett covers it in the near future. I’m not sure that The Oblivians will be a going concern. For one thing, I understand that Cartwright is working on a new Reigning Sound album. But judging by Desperation, I get the idea that these three guys enjoy playing with each other. I certainly wouldn’t mind if they stuck around for awhile. Also recommended: Re-Mit by The Fall. It’s too late to turn back now. The Fall is an institution or maybe a natural phenomenon. They’ll probably never get popular, but for those of us who have heard the Call of The Fall, the world wouldn’t be the same without them. To the truly initiated, The Fall is everywhere. Every time you hear a car crash, a distant explosion, thunder cracking, a radio blaring static, a wino screaming profanities at nobody in particular — you hear the voice of Mark E. Smith ranting, grumbling, making rude noises in your head. It doesn’t matter what he’s saying. Even when you’re able to make out the lyrics, good luck trying to decipher any meaning from the words. Here’s a random sampling of lyrics from Re-Mit: “Spider! Why have I got spiders? Dear spider. Hello spider. Help me spider” (from “Kinder of Spine”). “Shoes for the loadstones, shoes, shoes for the dead” (from “Loadstones”). “The Italians certainly like their Sundays” (from “Jetplane”). “James Murphy is their chief. They show their bollocks when they eat” (from “Irish”). No, it doesn’t matter what he says or even what he means. What matters is that Mark E. Smith is there. For years The Fall shuffled members more often than Smith changed his socks. So it’s remarkable that the band has kept the same lineup for the past three or four albums: keyboardist and singer Elena Poulou (Smith’s wife and band member for more than a decade); Pete Greenway, guitar; Dave Spurr, bass; and drummer Keiron Melling. These guys and gal have become very proficient in their roles, cranking out tasty garage riffs (Hey! I recognize The Yardbirds’ “Heart Full of Soul” in “Irish”) while Smith does his shaman/crank bit. Poulou seems to be leaning more into electronic poots and squiggles than she has on previous efforts. But nobody’s going to mistake this for some throwaway electronica record. This, by some counts, is The Fall’s 30th studio album. Here’s to 30 more. ◀

Leopold Bloom: Sensual Cuckold, Crucified Jew, Heroic Pacifist A Lecture in Celebration of Bloomsday Presented by James Heffernan

Sunday 16 June from 3-5pm New Mexico History Museum Auditorium

FREE (first-come, first-served) 113 Lincoln Avenue (use washington avenue entrance) Santa Fe, NM 505-476-5200

Bloomsday is a commemoration and celebration of the life of the Irish writer James Joyce during which the events of his novel Ulysses (which is set on 16 June 1904) are relived. It is observed annually on 16 June in Dublin and many cities around the world. Professor Heffernan will give an in-depth talk on Leopold Bloom, the hero of James Joyce’s celebrated novel Ulysses, to commemorate Bloomsday in Santa Fe. James Heffernan, Professor Emeritus from Dartmouth College, has written extensively on James Joyce, particularly his Ulysses. For the Teaching Company he has taped 24 lectures on Ulysses and another 24 on great authors from Wordsworth to Camus. His addiction to political news periodically drives him to blog for The Huffington Post where he advocated Stephen Colbert for Pope in January and again in February 2013. PASATIEMPOMAGAZINE.COM



album reviews

BILL FRISELL DaFT PuNK Silent Comedy (Tzadik) Random Access Memories You won’t confuse this solo (Columbia) Currently perched recording with guitarist Bill Frisell’s atop the mountain of global cool are 1995 explorations of soundtracks for the Thomas Bangalter and Guy-Manuel de Buster Keaton films Go West, One Week, Homem-Christo, better known as Daft and The High Sign. The horse-and-buggy Punk. For the duo’s firmament-shaking rhythms and psychedelic Americana of fourth studio album, they have enlisted a those recordings are replaced here by band of collaborators, guided by the shining nostalgia of another sort, for the early electronic music of the disco-ball light of Nile Rodgers, the guitarist for Chic (“Le 1950s and ’60s from Karlheinz Stockhausen, Morton Subotnick, Freak,” “Good Times”) and producer of hits by Bowie and and others. Differences? Frisell has a larger palette of sound at his Madonna. Rodgers plays the butt-movin’ guitar riff on the album’s disposal. His guitar functions as a synthesizer (all the music here was first big single — “Get Lucky,” with vocals by honey-tongued recorded without overdubbing), and he combines harmonic and atonal Pharrell Williams — and the rhythmic chords on the funky-tight sounds to arrive at something more immediately coherent. Structure “Lose Yourself to Dance” (also featuring Williams) sound like Rodgers’ comes from repeated tones and rhythmic patterns. Whirring, oscillating work as well. The album was recorded in the style of late-’70s, early-’80s backgrounds give way to semimelodic themes. He creates tension with FM rock, in a studio with multiple takes of real instruments, rather than tonal quality and volume, and resolves it by just dialing down the noise. on a computer, though it’s doubtful the results were archived on reel-to-reel Interspersed throughout the 11 numbers are bits and pieces of harmonically tape. Nevertheless, the smooth sound of “Fragments of Time” would fit pleasant, lyrically sane phrasing, often coming as collages of short lines comfortably in a playlist of “classic” hits from Dire Straits, Steely familiar from rock and jazz guitar. Different pieces seem appropriate Dan, and Fleetwood Mac — even with the synthesizer solo. for soundtracks to horror movies or quirky love affairs, and Breaking up the flow are oddities like a Tangerine DreamFrisell pays homage to Louis and Bebe Barron’s electronic esque instrumental journey featuring (and introduced ‘Dabke: Sounds score to the 1956 science-fiction film Forbidden Planet. Fans by) Giorgio Moroder and a skippably bloated track with of Frisell’s country-fried jazz might not recognize their Paul Williams that’s meandering and maudlin. Attention of the Syrian Houran’ hero here. Those who’ve followed his career since the first audiophiles: a 24-bit download of the album is available ECM recordings of the ’80s always knew he had this in from Wow, even smoother. — Jeff Acker offers ecstatic celebration him. It’s twisted, but in a wonderful way. — Bill Kohlhaase VaRIOuS aRTISTS Dabke: Sounds of the Syrian Houran music from one of the CamERa OBSCuRa Desire Lines (4aD) Camera Obscura (Sham Palace) For hundreds of years, dabke, a frenetic has come a long way since they debuted in 2001 with line-dancing music, has remained a staple of weddings and more troubled regions Biggest Bluest Hi Fi and drew immediate comparisons to celebrations in the Levantine Middle East. In the 1990s, fellow Glasgow band Belle & Sebastian. That correlation was the genre’s musicians discovered samplers and synthesizers, on Earth. warranted, to a degree: Belle & Sebastian’s Stuart Murdoch transforming the captivating buzz of the mijwiz, a doubleproduced their debut, which was so preciously twee that it reed flute, into hypnotic electronic wobbles that would be the was practically wrapped in a cardigan. Over the years, however, envy of any dubstep producer. Syrian Omar Souleyman became the music’s breakout artist, and his 2011 collaboration with Björk Camera Obscura inched closer and closer to the northern soul band they really were from the start. They broke out with 2009’s My Maudlin introduced the sound to American and European ears. However, most of Career, an album with a girl-group feel, which sounded like it borrowed bricks this electro-dabke has humble origins, recorded live at parties, burned onto CD-Rs, and circulated in street markets. This supremely well-edited comfrom Phil Spector’s wall of sound. Desire Lines finds them moving further pilation is culled from mixes cooked up in the Houran, a region spanning away from their origins, recording in Portland, Oregon, with indie-rocker southern Syria and northwestern Jordan, where dabke has always Tucker Martine (R.E.M., Spoon) and featuring Yankee guests such as predominated. Blending ancestral folk and pulsing house beats, these Neko Case and My Morning Jacket’s Jim James. The results aren’t dance cuts are powered by chanted male-bravado lyrics of love, lust, quite as vibrant as on Maudlin Career, but what the band loses in and loss. Mohamed Al Ali’s “Mili Alay” is the stunner of the bunch, audaciousness it gains in texture. Desire Lines’ first half includes a mixing hand percussion with sped-up vocal chants and bass-heavy string of songs that slips muted horns and slick rock riffs in among the band’s “Earth Angel” sway, heavy reverb, striking guitar polyrhythms that wouldn’t be out of place in Afrobeat. “Love Is chords, and the richness of Tracyanne Not a Joke” by Ahmad Al Kosem keeps things Campbell’s vocals. They unwind for acoustic until the syncopated drum-machine the lengthy, shimmering “New Year’s loops drop halfway through the song. This Resolution,” and then spring to life is ecstatic celebration music from one of the again for the uptempo pop of “Do It more troubled regions on Earth. Proceeds Again.” The strings occasionally get too from album sales go to the Syrian Arab Red syrupy, but the band’s strengths come Crescent, supporting humanitarian across as stronger than ever. aid work during wartime. — Robert Ker — Casey Sanchez


PASATIEMPO I June 7-13, 2013

Yamaha Sale event

It’s Dad’s Turn To Relax...

Enjoy Father’s Day Brunch With Him At Rio Chama Featuring Prime Rib, wild alaskan Salmon, Chicken and waffles, bacon bloody Marys and Grilled Tomato beer!



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Our entire in-stock inventory of Yamaha pianos are on sale at substantially discounted prices. There will never be a better time for you to acquire a world-famous Yamaha piano.

Sunday, June 16, 2013 from 11:00am – 3:00pm Make your reservation now. Please call 505-955-0765


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Tuesday - saturday 11am to 5:30pm

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W o r r e l l G a l l e ry Worrell Gallery invites you to see what’s new at the corner of Palace & Washington Avenues!

williaM a. SuyS

“Works in oil in the classical realist style” Included in Fine Art Connoisseur magazine’s list of “Today’s Masters, 2013”

robert S. brown

“Stunning architectural landforms illustrating the rugged American West” Strong shapes and brilliant color executed with palette knife

DaviD Dunlop

“As if illuminated from within, ethereal landscapes in oil” David Dunlop is an Emmy Award winning artist for his PBS series “Landscapes Through Time with David Dunlop”

nanCy buSh

“Proudly painting in the tradition of Tonalism” Capturing the light and beauty of the Hill Country

Claire MCarDle

“Evoking an ancient and timeless aesthetic” Sculpture in terra cotta, marble and bronze

Jay heSter

“Capturing the rustic beauty and depth of the American West” Classic images in oil of the Native American and Western Culture

Anniversary Celebration & Group Show Saturday, June 8th 5 -8 pm Featuring Live Music by Jay Boy Adams & Guest Performers 103 Washington Avenue, Santa Fe, New Mexico 87501 • Corner of Palace & Washington • • 505.989.4900 18

PASATIEMPO I June 7 - 13, 2013

ON STAGE Gotta have Faith: Music on the Hill

Fresh from a recent triumph at the New Mexico Music Awards — Best Vocal Performance for “Ou es-tu? (Where are you?)” — local jazz vocalist Faith Amour kicks off the 2013 season of Music on the Hill at 6 p.m. on Wednesday, June 12. Amour’s appearance is the first in a jazz-heavy lineup of six free outdoor concerts at St. John’s College (1160 Camino de Cruz Blanca) running through July 24. The Sarah Vaughan-like singer told Pasatiempo that concertgoers “can expect some awesome music coming from some different genres ... bossa nova, some blues, really feel-good music that’s in the jazz vein.” Her backing band includes a number of the best rhythm section players in town: John Rangel (piano), John Trentacosta (drums), Fred Simpson (percussion), and Justin Bransford (bass). For anyone wondering, “Yes,” she said, “I will be singing the awardwinning song.” Check out or call 984-6000. — LB


Successor to The Queen from National Theatre Live

The Bird is back: Paper Bird at the Railyard

If Paper Bird sounds familiar, that’s probably because the band swooped through town in February for a date at Sol Santa Fe. But its appearance at the Railyard Plaza (near the Water Tower) on Sunday, June 9, promises to be more exciting, not only because the group has new material but also because the concert is all-ages and free. The Denver-based folk septet is touring to support its fourth album, Rooms. On the surface, the music is fairly standard roots-folk fare, but Paper Bird stands out from the crowd by employing more interesting time signatures and occasional three-part harmonies. Paper Bird is riding the current craze of nostalgia, in which vintage sound dovetails with contemporary hipness (the band also has a guy named Caleb who plays the banjo). The music starts at 6 p.m.. — LB

Helen Mirren qualified as theatrical royalty long before she starred in the 2006 film The Queen, but her portrayal of Elizabeth II in that movie earned her more best-actress awards than you can shake a scepter at: Oscar, BAFTA, Golden Globe, Screen Actors Guild, and so on. Also much honored for that film was its screenwriter, Peter Morgan. He has now written a play in which Mirren again portrays said monarch: The Audience, which the National Theatre Live beams out to the world this week from the Gielgud Theatre in London. The crux of the matter is that through the 60 years of her reign, Elizabeth II has received the British prime minister at a private weekly audience at Buckingham Palace, the agreement being that neither party will ever breathe a word about their conversations to anyone — not even spouses. In The Audience, Morgan imagines what might have passed their lips. Twelve prime ministers have participated in these meetings since the queen’s coronation, and it falls to Mirren to depict the ruler’s maturation through six decades — quite a tour de force. The nearsimulcast begins at 7 p.m. on Thursday, June 13, at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets ($22, discounts available) may be purchased by calling 988-1234 and from — JMK

17th-century road trip, with puppets: Lady Blue’s Dreams Puppet’s Revenge is a two-person performance group that has worked in New Mexico for more than a decade. The duo’s introductory piece, offered in Santa Fe some years back, was a retelling of the Eros and Psyche story featuring Barbie and Elvis Presley dolls. The puppeteers — Ron Dans and Laia Obregon-Dans — present their newest work, Lady Blue’s Dreams, at 7:30 p.m. Friday and Saturday, June 7 and 8, at Teatro Paraguas Studio, 3205 Calle Marie. The piece, described as full of magic and humor, is based on the life of the Spanish nun Sor María de Jesús de Ágreda, known as the Lady in Blue, who escaped the Spanish Inquisition in the 17th century and ended up in New Mexico. There is a suggested donation of $15, $12 for seniors and students. Call 424-1601 for information and reservations. — RN



The path to aloha JoHn Serkin on Slack-key guitar James M. Keller I The New Mexican

Alan Pearlman


awaiian slack-key guitar brooks little competition when it comes to musical mellowness. Anybody who assumes otherwise will most likely be won over after listening to John Serkin, who performs every Saturday evening at Sweetwater Harvest Kitchen. The restaurant cultivates a placid vibe to begin with, but adding Hawaiian slack-key guitar to the mix raises the likelihood that even patrons who arrive encumbered by stress and tension will leave tranquil and relaxed. For Serkin, this music represents the hard-won destination of a career that has not always been happy. He was born into a family of musical aristocracy on both sides. His father was Rudolf Serkin, one of the most venerated pianists of the 20th century, a “thinking man’s interpreter” who specialized in the most lionized composers of the Germanic mainstream — Mozart, Beethoven, Brahms, and so on — and served as a longtime piano professor at the Curtis Institute of Music in Philadelphia, which he led as director for eight years. John’s mother, Irene Busch Serkin, was the daughter of Adolf Busch, a violinist revered as a soloist and chamber music player. Both Adolf Busch and Rudolf Serkin fled Europe as Hitler rose to power, and together they founded the Marlboro Music School and Festival, where chamber music rules. John Serkin grew up in the vicinity of Marlboro, a bucolic village in Vermont, attending a one-room schoolhouse that had electricity but no running water. Coming of age in the Serkin household was “intense, in a lot of ways. ... It was a climate of perfectionism. My father worked eight to 12 hours every day, practicing, never stopping. I don’t think he felt himself a natural player, so he had to practice. But the elusiveness of the masterpieces ... he was never satisfied.” The obsessive quest for musical perfection extended beyond the Serkin home. “His colleagues had a big influence on me: [cellist] Pablo Casals, [flutist] Marcel Moyse. In my family, it was assumed everyone would play piano; it was something you simply did, like eating breakfast.”


PASATIEMPO I June 7-13, 2013

Serkin did achieve proficiency as a pianist — though not rivaling his younger brother, Peter, a noted concert pianist — but he decided to focus on a different instrument, the French horn. He studied with Myron Bloom, the solo hornist of the Cleveland Orchestra, and he played chamber music with top-drawer Marlboro musicians. “The difficulty of the horn is its precariousness,” Serkin observed. “No matter how well you think you know a piece, you’re never sure what’s going to come out. You’ve got to be really thick-skinned to play the horn. It was too much for me. I think I had the heart for it, but I didn’t have the nerves for it. I did it for about 10 years professionally, but every time I went onstage, you wouldn’t believe the convolutions I went through. Tranquilizers, self-hypnosis, meditation, psychotherapy — I tried everything to calm my nerves. I was playing principal horn in the Fort Wayne Philharmonic, a responsible position, and I got to the point where I could quit the horn without feeling defeated. “My biggest obstacle was imaging how I could possibly break this news to my father, who had been so supportive and really wanted to see me be a musician. He was playing a concert in Chicago and I went up to see him, and after the concert I told him I was really not happy playing the horn. He looked at me and he said, ‘Well, if you’re not happy you shouldn’t do it. I want you to be happy.’ Whoo! The weight lifted. I left and burst into tears. It was so moving to me.” He headed back to Vermont, where he ran a crafts store and learned to play the double bass, performing as a jazz musician. “The thought of improvising was so difficult, just letting myself go and playing by ear. All my life, my training was that you have to study the score, know what it’s telling you, and bring that out exactly — that and nothing more.” He learned the ropes as a piano technician, a trade he plied for years in New York (“mostly Steinways, mostly professionals”) and still practices today (“I do it for pianos I like and people I like”).

And then Hawaii. He first went 26 years ago, on his honeymoon. (He is married to Catherine Kurland, a gallerist turned historian of the American West.) “Even at the airport, you hear this beautiful music,” he said. They returned a year later. “We were on the beach at Hanalei on Kauai, one of the most beautiful beaches in the world. Sunset was approaching, and this couple came with their gear: Doug and Sandy McMaster. He plays slackkey guitar. She accompanies on ukulele. They did this every evening for whoever wanted to hear, and they always played their last chord just as the sun disappeared behind the mountain. It was such an act of aloha on their part. It seemed so healthy.” He spent $125 on a cheap guitar with a plastic top, and in a month he was hooked. “I was practicing six hours every day, having a blast.” Since then he has visited Hawaii six more times and has upgraded to considerably better instruments. Normally he plays a nylon-stringed Yamaha acoustic-electric instrument that, when softly channeled through an amplifier, provides the timbre he wants. “I turn my tone control all the way to the left to try to take all the treble out. To my ears, it can’t be mellow enough.” For many people, the mention of Hawaiian guitar summons up the slide guitar, for which a piece of metal is slid along the strings to create a continuous glissando. Slack-key guitar is something else entirely: the guitar is plucked and strummed in “normal” fashion, but the name betokens that its six strings are tuned differently from those of a standard Spanish guitar, yielding a quite different effect. Serkin recounted the most widely accepted explanation of how the style took root: “At the end of the 18th century, the British captain George Vancouver presented a gift of cattle to King Kamehameha I, and they did tremendous damage in Hawaii. By 1832 there was serious overpopulation of cattle, so that year King Kamehameha III gave a contract to Mexican cowboys to come teach Hawaiians how to manage the cattle. In Hawaiian the cowboys were called paniolo, derived from español. When they returned to Mexico, they left some instruments behind, and the Hawaiians, not knowing the normal tuning, tuned them the way that sounded best to them, which was in open chords. They developed the slack-key style based on that.” Variant tuning systems gradually evolved, often developed and guarded as family secrets. (Serkin plays in four of the many available modes of tuning.) The whole style neared extinction, but in the 1930s and ’40s guitarist Gabby Pahinui put slack-key back on the map. “He released a record, Hi’ilawe, that sparked a feeling of Hawaiian pride and a resurgence of culture. It was played on the radio so much that it became practically an anthem. This led to a flourishing of slack-key music with figures like Sonny Chillingworth, Ray Kane, Leonard Kwan — great musicians, none of whom could read music. I like the traditional tunes — simple and oldtimey. They have the aloha feeling. That’s what slack-key is really about.” The aloha feeling — just what does that connote? “The simple translation is love, but it’s more than that: happiness, being where you are, appreciation for your surroundings, goodwill toward others. When I go to Hawaii, that’s what I take back.” For several years Serkin performed with the late Michael Morrow (“probably New Mexico’s only other slack-key guitar player”) at Café Paris, and until last July he had a gig at Epazote. “The whole idea of playing background music,” he began, and then he sat silently for a while. “My parents felt that the lowest form of human being was a musician who played in hotel lobbies and restaurants, but it’s what I love doing. I don’t think they would be disturbed by what I’m doing, because it’s really about love for music, isn’t it? As long as you don’t play without involvement, or inexpressively, or mechanically, or cynically; as long as you really love the music you play and the sounds you’re making, I don’t think anyone is going to argue. After all those years of being in the spotlight with a really exposed instrument like the horn, it’s such a relief to me to play when nobody is listening, and I can just concentrate without worrying about screwing up. Some nights an audience will sit and listen, really engaged, and I love that. Other times nobody’s listening, and I love that. As long as it contributes something to the atmosphere of the place, I’m content with that.” You can listen or not listen to John Serkin playing slack-key guitar from 6 to 8 p.m. on Saturdays during dinner at Sweetwater Harvest Kitchen, 1512 Pacheco St., Building B, 795-7383. ◀

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PASATIEMPO I June 7 - 13, 2013

Matthew Broderick

A celebration of creativity on the campus of Santa Fe University of Art and Design. High school workshops are open to rising juniors and seniors; community workshops are open to anyone 18+.

co m m u I Am Trying to Break Your Heart: Flash Fiction with Jon Davis, IAIA Creative Writing Faculty; July 8 - 12


Ferris Bueller’s Day Off June 14 7 pm, $5

Writing Your Life: Mapping a Memoir with Emily Rapp, SFUAD Creative Writing Faculty; July 8-12

Lensic Presents Big Screen Classics


Southwest Photography Survey with Mary Anne Redding, SFUAD Photography Chair; July 15-19 African Drumming with Fred Simpson, SFUAD Contemporary Music Contributing Faculty; July 22 - 26 all community workshops are $350

Michael J. Fox & Christopher Lloyd

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Serious Fun: Fiction and Poetry with Dana Levin, SFUAD Creative Writing Co-Chair; July 13; Free

to the

ARTLAB with David Leigh, SFUAD Studio Arts Contributing Faculty; July 15 - 19; $285

future June 15

Film IIntensive with Peter Grendle, SFUAD Film School Contributing Faculty; July 15 - 19; $285

to register for an ArtFest workshop, please visit or call 505-473-6551 *all costs are workshop fees only; housing and meal plans are available at additional cost

Tickets: 505-988-1234

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V I S I T FF I 2 6 . O R G O R C A L L 5 0 5 . 2 4 2 . 7 6 0 0 F O R W O R K S H O P S, T I C K E T PA C K A G E S & M O R E I N F O R M AT I O N






Michael Abatemarco I The New Mexican

LIGHT BRIGADE JamesTurrell’s cosmic observatories

ith three James Turrell exhibitions opening at major U.S. institutions this summer, no one could doubt the importance of this American artist. Exhibits at the Museum of Fine Arts, Houston, and at the Guggenheim in New York, both opening in June, show in conjunction with James Turrell: A Retrospective, which opened at the Los Angeles County Museum of Art in May and runs through April 6, 2014. A champion of the Light and Space movement, which had its beginnings in southern California in the 1960s, Turrell is widely known for transforming an extinct volcanic cinder cone near Arizona’s Painted Desert into a monumental work — a sky observatory inspired by the observatories of ancient cultures. Roden Crater, as the site is known, was purchased by Turrell in 1977 and has spent the last three decades as a work in progress. The concept behind much of Turrell’s work, including Roden Crater, is the effect of a sort of sensory deprivation on human sight. Walk outside and you see the whole of the sky, but inside a structure built by Turrell you see only a sliver, a mediated experience of natural phenomena. The effect can make one aware of things normally taken for granted, such as the movement of Earth in relation to the cosmos. “While it is one thing to know that Earth moves relative to the stars, it is quite another to feel it in your stomach,” writes Michael Govan, LACMA’s CEO and Wallis Annenberg director, in his essay “Inner Light: The Radical Reality of James Turrell,” which appears in James Turrell: A Retrospective, the LACMA exhibition’s accompanying monograph. The book is edited by Govan and Christine Y. Kim, associate curator of contemporary art at LACMA, with contributions by Alison de Lima Greene, curator of contemporary art at the MFA, Houston, and E.C. Krupp, astronomer and director of the Griffith Observatory in Los Angeles. Govan’s treatment of Roden Crater serves as an introduction to the artist. An experienced pilot, Turrell shot aerial views of the crater. He airlifted monks out of Tibet in the 1960s, part of a peace mission he undertook as a conscientious objector to U.S. military service. According to Govan, Turrell’s search for a location to house his observatory took seven months in a survey across the western states conducted by small aircraft. “Aviation is not incidental to Turrell’s art,” Govan writes. “The artist has often remarked that his airplane has served as his studio.” Kim writes that by 2008, Turrell had logged about six and a half years of flight as a pilot. Her brief summary of his life is enhanced by an extensive interview with the artist, detailing his childhood in a Quaker family and his education in the early 1960s at Pomona College, where he studied perceptual psychology, geology, astronomy, and other subjects that influenced his art. In the late 1960s Turrell partnered with artist Robert Irwin and psychologist Ed Wortz for Art and Technology, an exhibition at LACMA. It was the beginning of his experimentation with sensory deprivation. He also began a series called Projection Pieces, inspired by Plato’s cave allegory (which describes prisoners who mistake shadows cast on the back of a cave for real objects). Turrell’s light projections into the corners of darkened spaces, such as his Afrum (White), have the appearance of solid objects yet have no substantial reality beyond the light energy of which they’re composed. continued on Page 26 Above, James Turrell in front of Roden Crater at sunset, October 2001; right, James Turrell: Twilight Epiphany, 2012, Skyspace at the Suzanne Deal Booth Centennial Pavilion, Rice University, Houston; opposite page, top, Raemar Pink White, 1969, Shallow Space, Collection of Art & Research, Las Vegas; all © James Turrell; photos © Florian Holzherr 24

PASATIEMPO I June 7-13, 2013

I’ve always wanted to make a light that looks like the light you see in your dream. Because the way that light infuses the dream, the way the atmosphere is colored, the way light rains off people with auras and things. ...We don’t normally see light like that. But we all know it. - - James Turrell



James Turrell, continued from Page 24

While it is one thing to know that Earth moves relative to the stars, it is quite another to feel it in your stomach. - - from Michael Govan’s essay “Inner Light:The Radical Reality of James Turrell”

Below, from left, Twilight Epiphany, 2012; Afrum (White), 1966, cross-corner projection, Los Angeles County Museum of Art; both © James Turrell; photos © Florian Holzherr


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

Turrell has continued his exploration of light and how it affects perceptual space in an interior setting. Among his well-known works are Skyspaces, permanent installations at various locations in the United States and around the world, including his 2012 Twilight Epiphany at the Suzanne Deal Booth Centennial Pavilion at Rice University in Houston. Skyspaces allow exterior light, including artificial light in urban settings, to penetrate a structure through geometric skylights and openings cut into walls. The circular and rectangular openings direct attention to the changes of light as time passes, and the openings themselves take on the appearance of minimalist, monochromatic sculptures. Many Santa Feans may be unaware that a Skyspace is located on the campus of the Center for Contemporary Arts. Blue Blood, as the Santa Fe Skyspace is called, was built in 1988 and is described in James Turrell: A Retrospective as no longer extant, which is not entirely true. The piece is still in existence, but it is not currently open for public viewing and is in need of conservation. “It’s one of the very early Turrell Skyspaces,” Craig Anderson, a former director of CCA, told Pasatiempo. “His pieces are a lot about location. They’re about light and time of day.” In the 1990s, Blue Blood was accessible on Fridays 45 minutes prior to sunrise or sunset, but reservations were required. “Sunrise and sunset are the two most apropos times to be in a Turrell Skyspace,” Anderson said. “The one at CCA is almost like a kiva in a sense. There’s an approach. You walk in, and there are bancos along the walls and straight sides. The roof is flat, and inside there’s a geometric hole cut in it. It has a very sharp knife edge.” A planned restoration of the Skyspace in 2007 never happened. In a 2010 letter to The New Mexican, then interim CCA director John S. Gordon called Blue Blood “one of James Turrell’s most important outdoor works.” “It would be great if it was renovated and made available to the public, because it would be an asset to the community,” Anderson said. “As the sun rises or sets, it’s like a meditation space. It has lights you can adjust, but I was always interested in the purely natural experience of it. The color of the sky changes dramatically and you get this feeling almost like a bellows. That reference is really apropos to the Skyspace because you get in there and everything becomes palpable. You’re there sitting. If someone’s in there checking their iPhone, it just ruins the whole thing. You’ve just got to sit and watch and be aware of that geometric piece of sky. It’s gorgeous and it shuts everything else out.” From the outside, Turrell’s Skyspaces have a temple-like appearance, instilling reverence in viewers before they’ve even entered. On the inside, it feels as though one has come into a sacred place. This is readily apparent at Within without, an earth-covered concrete and basalt pyramid structure Turrell built at the National Gallery of Australia, Canberra. Inside, a dome-shaped sculpture in the center is given symbolic power by the architectural design framing it. “I am involved in the architecture of space,” Turrell writes. “To some degree, to control light I have to have a way to form it, so I use form almost like the stretcher bar of a canvas.” Turrell’s use of geometrically framed negative space, open to the sky, makes for a striking illusion. The color and quality of light cast a magic, otherworldy spell. “I’ve always wanted to make a light that looks like the light you see in your dream,” he writes. “Because the way that light infuses the dream, the way the atmosphere is colored, the way light rains off people with auras and things like that. ...We don’t normally see light like that. But we all know it.” ◀ “James Turrell: A Retrospective,” edited by Michael Govan and Christine Y. Kim, with contributions by Alison de Lima Greene and E.C. Krupp, was published by Los Angeles County Museum of Art and DelMonico Books/Prestel in 2013.

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Paul Weideman I The New Mexican



PASATIEMPO I June 7-13, 2013

Fuji Hanjiro: Edo-style kite painting depicting Kintaro (a figure in Japanese folklore) and the warrior Watanabe no Tsuna, 1960s; right, neputa (festival float) kite painting depicting a samurai with a spear, artist and date unknown; opposite page, from left, Hashimoto Teizo: Edo-style kite painting depicting Watanabe no Tsuna and the demon Ibaraki, 1960s; Miwa Yoshihito: Iki Oniyocho kite, circa 1975; Hashimoto Satoshi: Nagoya Koryu kite in the form an abu (horsefly), early 1990s; all from the collection of David M. Kahn

olorful Japanese kites — ranging from minuscule to enormous and painted with fish, birds, dragons, kabuki actors, the Buddha, and heroes from folklore — hang in a new exhibition at the Museum of International Folk Art. On an afternoon 12 days before the opening, exhibit designer Antoine Leriche was busy arranging kite-hanging cables while Jamie Hascall, chief preparator for the Museum of New Mexico, was anchoring tiny kites to a panel. What would he do with the smallest one in the exhibition, a half-inch kite encased in a miniature bottle? Look for it in Tako Kichi: Kite Crazy in Japan. The show opens Sunday, June 9, in the museum’s Bartlett Wing. The vast majority of the kites in the show were made in the past 50 years; antique kites are rarities. “Kites end up in trees,” said New York collector David Kahn. “Some of the older ones in this exhibit have lots of patches. “In Japan there’s a phenomenon where wealthier families have a fireproof kura, a storehouse, and my guess is that some of the older kites were protected in a kura, and periodically all these great things will show up on the antique market because someone opened up the family kura.” More than 300 kites, woodblock prints, and books from Kahn’s collection make up the bulk of the exhibition. There are also items from MOIFA’s collection. In addition, Felicia Katz-Harris, MOIFA’s curator of Asian and Middle Eastern art, borrowed a half dozen 19th-century woodblock prints depicting kite-flying from Colorado kite expert Scott Skinner; miniature kites from the family of a Kyoto kite maker who recently died; and an 1857 print by Utagawa Hiroshige I, which shows carp windsocks flying over a Surugadai landscape, from the New Mexico Museum of Art. Kahn said that Japanese kites are traditionally made of handmade mulberry paper (washi) on frames of bamboo, although cypress wood is used in the far north of

the country. Most kites are rectangular, square, hexagonal, or round. The MOIFA show also has Japanese “centipede kites” hanging overhead. The Japanese have nothing like the American box kite, although a variant of the well-known diamond kite is found in Nagasaki. This type of kite, called hata, was probably first brought to the port by Portuguese and Spanish merchants coming from India, Pakistan, and Afghanistan, where the style was common. Some Japanese kites incorporate a sound element — a thin piece of bamboo or wisteria or tape from a cassette — that vibrates when the kite is flown. Another interesting variant is a kite modeled after the yakko. “He was a servant of the samurai and people remember him as a bully,” Katz-Harris said. “Some of the yakko kites have two legs hanging, and they can make the kite glide, but they also make it look like he’s doing a ridiculous dance.” “[The yakko] were the low guys in the samurai household,” Kahn said. “The big lords had to spend every other year in Tokyo, and the yakko footmen, since they were closer to them in class, sort of lorded it over the commoners.” Kahn bought his first Japanese kite when he was 9 years old. He still has four that date from his childhood years, but his focus on collecting started much later, in the mid-1980s. Kite culture in Japan is a far cry from the $15 polyester items typically available in the U.S. “In Japan a new hexagonal rokkaku [fighting kite] goes for from 3,000 to 15,000 yen, so $30 to $150. But one of the things about collecting is that it’s very hard to find this material now. The old-time kite makers have been disappearing and have not been succeeded by younger people carrying on the craft. “Twenty-five years ago you could go into a craft shop such as Bingoya in Tokyo in December and there would be hundreds of hand-painted Japanese kites hanging from the ceiling from all over Japan. This last December I was there, and there were five kites for sale. I couldn’t believe it. continued on Page 30



Japanese kites, continued from Page 29

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“The new generation can’t see much of a future in being a professional kite maker, although now people are taking it up as a hobby, the way they take up flower arranging or tea ceremony. In some cases there are very gifted people. One is Sakuraba in northern Japan. It is a hobby, and he is a great artist, but you can’t buy these things.” Katz-Harris obtained a lot of information for the MOIFA exhibition from the Shirone O-dako Museum, one of Japan’s many kite museums. The town of Shirone is home to the June Tako Kichi Matsuri (Kite Crazy Festival) and to a famous tradition of kite fighting. “These are kite battles between Shirone and the neighboring town of Ajikata,” Katz-Harris said. “They fly 22-foot kites, the goal to entangle another kite and pull it from the sky. Then there’s an intense tug of war to see which side can destroy the other’s kites.” The spectacle is featured in The Great Kite Fight, a National Geographic film viewable in a section of the exhibition devoted to Shirone’s festival. It is amazing how elaborate are many of the painted designs on Japanese kites, which rarely last long — not to mention those destined for almost immediate destruction in kite fights. In the National Geographic film, kite artist Saburo Imai says, “Of course I know that once a kite goes up into the air, it’s always destroyed. All a painter cares about is that while it’s up there, it’s beautiful.” MOIFA was awarded a grant to bring two artists from Shirone — Kazama Masao, who has two giant kites in the exhibition, and Endo Hiromi, an artist who works at the Shirone O-dako Museum — to present workshops for the Museum of New Mexico Foundation’s Arts Alive! program. The workshops take place on July 23 and 25. The show includes several ukiyo-e-style woodblock prints that depict kiting, including works by renowned artists Katsushika Hokusai and Utagawa Kuniyoshi. According to Katz-Harris, the prints also depict “the kite mania that seized the land when it moved from the samurai, the military nobility, to the masses.” “I think that’s the path a lot of cultural traditions followed,” Kahn commented. “They were in the upper class first, then were later disseminated. I’ve read stories that sometimes commoners would fly their kites over the compounds of the aristocrats to annoy them.” In any case, kite flying became an increasingly popular pastime in Japan in the 1700s, during the peaceful Tokugawa era. The ukiyo-e prints are on loan from Scott Skinner, who serves as board president of the Drachen Foundation. Headquartered in Seattle, the foundation is devoted to increasing and diffusing knowledge about kites. See www.drachen. org for a wealth of information about kites and kite flying here and abroad. “I was fortunate to be invited to Japan several times in the 1990s and early 2000s to fly kites, because I make kites and fly them, and mine are inspired by Japanese kites,” Skinner said. “I started looking for woodblock prints with kites in them at that time.” Most of the ukiyo-e artists focused on scenes from everyday life. If kites appear in a print, it’s usually a New Year’s festival scene or it depicts a place that is famous for kites. Other prints in the show are omocha-e style: they contain multiple images that are meant to be cut out and played with, almost like small toys. “Probably the biggest thing that distinguishes Japanese kites is their variety,” Skinner said. “People would go to Tokyo once or twice a year to pay taxes, and there would also be a lively exchange of craft and art ideas and farming and business ideas that people would take home. And because the environments are so different, they may have taken a Tokyo kite home, but it might not have worked in that environment, so it was altered. “Almost every city in Japan has a unique kite to that city. You can visit Japan a hundred times and never see a kite in the air, but if you’re there during the springtime Golden Week holiday, there are kites and windsocks everywhere.” ◀

details ▼ Tako Kichi: Kite Crazy in Japan ▼ Opens Sunday, June 9 (collector David Kahn speaks at 1 p.m., reception, including kite-making workshops and kite-flying workshops, 2-4 p.m.); exhibit through March 23, 2014 ▼ Museum of International Folk Art, 706 Camino Lejo, 476-1200 ▼ Museum admission fees apply (free to New Mexico residents on Sunday) - 30

PASATIEMPO I June 7-13, 2013


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Michael Abatemarco I The New Mexican



There’s something unexpected leering from the roof of Ellsworth Gallery, a new establishment on East Palace Avenue. You’ve probably noticed the dragon slithering from the top, grinning down at you on your way to El Palacio for a sandwich or to Nicholas Potter Bookseller to find that rare first edition. You may recall that the hammered-copper dragon by artist Ilan Ashkenazi was originally slated to be installed in 2012, but remodeling of the space — formerly home to Shibui, a gallery that specialized in Asian antiques — necessitated a postponement. The dragon is finally here, and for those seeking something a little different, the grand opening of Ellsworth Gallery has been well worth the wait, not only for the dragon but for the eclectic mix of antique Japanese armor and contemporary art inside.

“I’ve always wanted to do something a little more dynamic — living artists, changing exhibitions,” gallery owner Barry Ellsworth told Pasatiempo. Ellsworth, who previously worked in the film industry in New York and taught in the film program of the College of Santa Fe after moving to New Mexico in 2002, has been dealing in Japanese art for the past few years, primarily in Europe. “I specialize in 18th-century armor and accouterments. I started acquiring and dealing in Japanese antiques. In 2005 I had the opportunity to work with somebody in Paris, which is oddly the center of that kind of collecting, even more than in Japan. I was three years in Paris with a private gallery and returned here in 2008. Since then I’ve mostly been dealing with European clients.” continued on Page 34

Maritza Wild Chateau, above, from left: The Gallop, 2007, Karakorum, Mongolia; The Sacred Forest 2, 2006, Paro, Bhutan; both archival UltraChrome ink 32

PASATIEMPO I June 7-13, 2013



The Hand, 2007, Agra, India, archival UltraChrome ink; opposite page, samurai helmet and battle mask, circa 1650, Kaga Province, Japan

Ellsworth Gallery, continued from Page 33 Ashkenazi’s dragon draws inspiration from a beast with a long history in Japanese mythology and folklore, and its design was influenced by jizai okimono, a Japanese tradition of articulated animal sculpture. That in itself may get you in the door. Inside, the gallery is divided into two spaces: one for contemporary works and one for Japanese antiques. Full sets of samurai armor show off the craftsmanship of their makers. Helmets come replete with elaborate crests called maedates, while sleeve armor bears exquisite ornamental designs such as cherry blossoms. Even a type of surcoat worn by the samurai is embroidered with intricate patterns. But the first thing to notice when entering the gallery are the large-format photographs by contemporary photographer Maritza Wild Chateau, a native of

SURPRISES FROM ANOTHER UNIVERSE It happened over a bonfire. Representatives of Ellsworth Gallery, a new art venue with the goal of showcasing ancient and contemporary art, approached Meow Wolf members gathered around the flames and asked them to co-curate the gallery’s Friday, June 7, opening. According to Vince Kadlubek, a member of the arts collective,“They really wanted to have the contemporary arts side of the gallery open and welcoming to the younger arts demographic here. So they’re pretty aware of how the art world is here in Santa Fe, and they wanted to come out of the gates a little bit differently.” As to how exactly the opening differs from the norm, Kadlubek explained that the night combines a number of performative elements in a program called A Night of Surprises.“Whether it be music or dance or theater,” the performances “will sort of just occur, and you don’t know what it’s going to be or where it’s going to come from. It’s almost as if we are going to be flipping a switch and having 34

PASATIEMPO I June 7-13, 2013

Bogotá, Colombia, whose exhibition, Motion and Stillness, is not only the inaugural show at Ellsworth Gallery but also her first exhibit in Santa Fe. Chateau, who now lives in New York, travels extensively to capture images that are at once ethnographic and artistic. “I studied anthropology, so I did a lot of ethnography studies in Colombia and the Amazon, and all of that was very visual,” she told Pasatiempo. “I was always recording, visually, the way people live, the inside of the houses, and the surroundings, more so than by words.” Chateau, who received a master’s degree in media studies from New York’s New School for Social Research, has photographed in India, Vietnam, Kenya, Rwanda, Madagascar, Australia, Japan, and China and in nations of Europe and South America. “As soon as I have an opportunity to go to those remote places, there I go.” Her subjects have included interiors such as kitchens from various parts of the world as well as landscapes, buildings, and people. The images

the audience entering a parallel, surreal universe.” Pressed for an example, Kadlubek hypothesized, “Maybe a gorilla comes through and looks at the art and picks up some hors d’oeuvres.” Regardless of whether any gorillas crash the party, several nonsurprise performances are openly listed for the evening, incorporating a range of diverse media. Dancer Annie Kohn presents two modern pieces that Kadlubek promises are “magnificent”; artists Matt King and Caity Kennedy create a mobile-style sculpture live and on-site (as with many Meow Wolf productions, the sculpture will encourage interaction); and throughout the night, musicians Cole Bee Wilson, DJ Dirt Girl, and Public Address provide a sonic ambience to complement the goings-on. Public Address’ three sets are a particular highlight. The electronic duo composed of Ben Wright (of D Numbers) and Andrew Bowen“haven’t yet performed in Santa Fe. This will be a first,” Kadlubek pointed out. Meow Wolf’s transformation of the gallery is designed to correspond with the opening exhibit of photography by Maritza Wild Chateau. Entitled Motion and Stillness, the exhibit harmonizes with the night’s

surprises in that, according to press materials, the photos are“evocative of travel to other worlds.” Doors open with a reception at 5 p.m. and the performances begin around 6:30 p.m. DJ Dirt Girl closes out the evening with a set lasting until everyone, primates included, heads home. — Loren Bienvenu

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always convey a sense of commonality, of the human drama unfolding on a global scale. Notable in the photographs is a subtle toning down of most hues to a near monochromatic look and the enhancement of a single color or two, such as the jewel-toned belt of a horseback rider or the vibrant color of a woman’s dress. Chateau’s interest in playing with color tones is influenced by the contrasts between her native Colombia and New York City. “I think it’s the fact that Colombia is very colorful. The houses are painted in pink, in blue, in green, and here in New York City there’s these huge buildings and they’re beautiful, but it’s very monochromatic.” The images in Motion and Stillness often have a dual focus, encapsulating a sense of movement and immobility in a single photograph. Almost like street photography, they resemble what might be seen with the naked eye, such as a quick movement or blur at the limits of your field of vision. Riders in a horse race in Mongolia or people in a rushing crowd become almost abstract patterns of tinted light. “What really attracted my eye were the colors of the riders’ sashes, the oranges and all that. I captured them to show the speed and color passing, like a moment. It’s like in filmmaking, tracking the object.” Despite Chateau’s manipulation of images to accentuate or dilute color, she always works with what is present at the time of shooting, never adding hues that were not already there. Tied to her color sense is a feeling of the vibrancy of the human spirit and the celebration of life. “Colombia is very vivid in colors and culture and music,” she said. “I mean, I love New York, but I don’t get inspired the same as when I’m in those places where I can feel those colors. It’s part of your soul.” ◀

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▼ Maritza Wild Chateau: Motion and Stillness ▼ Reception 5 p.m. Friday, June 7; performances by Meow Wolf begin at 6:30 p.m.; exhibit through Sept. 1 ▼ Ellsworth Gallery, 215 E. Palace Ave., 989-7900












Robert Nott I The New Mexican



PASATIEMPO I June 7-13, 2013




JERRY BARRON MAINTAINS A PRACTICAL ATTITUDE WHEN IT COMES TO curating the 3-Minute Film Fest (Pasatiempo is a sponsor of this year’s festival), which screens on Saturday, June 8, at the Lensic Performing Arts Center. “If you don’t like a certain movie, at most you have to wait three minutes, and it’s over,” he said. Barron’s Mission Control production company has hosted the festival almost every year since 1998. Barron believes three minutes is more than sufficient for the task at hand: “I personally think three minutes is a very long time. It’s possible to tell a good story in 30 seconds. As with any sort of art, the number-one priority is to engage your audience — entertain them and get out as soon as you are done.” This year’s fest features 49 movies ranging in length from a matter of seconds to about three minutes. Northern New Mexico residents contributed about 20 of the entries, and some foreign titles made their way into the mix too. Barron said he received about 350 submissions this year, which is more than 10 times the number he got in 1998. “The first year we did this we showed every entry we received — exactly 28.” This year’s lineup includes documentaries, animated films, horror pictures, music videos, comedies, dramas, and abstract mixed-media works. Jimi La Pointe’s Mime Freaks pays homage to silent-film comedy in its tale of mimes involved in murder, while Jeremy Galante and David Cowles’ Sniffles is a cute cartoon about a dog who follows his nose — because it has jumped off his snout and run away. Hireling, made by James Blackburn and Ben Palmer, celebrates Quentin Tarantino’s crime melodramas in abbreviated form. Mark Mazzeo’s Say Something follows the old “boy meets girl, boy loses girl” romantic-comedy route while complicating matters with a can of pepper spray and an overexposed derrière. Rumble at the Pad of the Stay-at-Home Dad — brought to us by the same people who made Battle at the House of Unwashed Dishes, according to a title card — is







a domestic kung fu comedy by Derek Rugsaken. Lot 254, by Toby Meakins, is a creepy, to-the-point horror movie that seems to have jumped off the pages of a 1950s pulp comic book. “My motivation is to encourage amateur filmmakers and to give young people and people who have never made a movie before the idea that they can make a movie,” Barron said. Catherine Carter is one of those people who’s just beginning to experiment with filmmaking. Her background includes still photography and journalism, which may explain why her three-minute film 1930 draws on those talents to tell how the Great Depression wiped out the hopes, the dreams, and even the souls of many people. Carter, a resident of Taos, said she made 1930 in April while visiting friends who live on a stretch of always foggy, rainy northern California coast. Her parents came of age during the Great Depression, and she still recalls her grandfather telling how he survived those years by eating onion sandwiches. The film reflects on the impact of the current national recession, she said. For Carter, making a three-minute movie was anything but a snap. “I’m coming from the still-photography world, where I take a picture and I’ve frozen a tenth of a second in time on film,” she said. “So adjusting to time-based media like this has been interesting. I tell stories briefly; I tend not to ramble.” Palmer, an Albuquerque resident, said that three minutes was almost too much time for Hireling. “People do have a short attention span these days. I even thought Hireling was slow, with so few camera movements and so little dialogue. You don’t have to tell everything, because the audience does not have to be told outright everything that is going on. Give them the gist of it; they will pick up the rest.” He and Blackburn shot their picture just off the intersection of Coors Boulevard and Montoya Street in Albuquerque in less than six hours over two days in March.



They play the two leads, and actress Destiny Dickinson portrays the third character; all are hired assassins. Their initial goal was just to try out their new video equipment. “James wrote the basic script in about five minutes,” Palmer said. Passing joggers expressed some concern that the trio was running around with prop guns, but other than that, it was an uneventful shoot, he said. Palmer and Blackburn have written and filmed a three-minute sequel to Hireling and are working on the third short film in what has turned out to be a series. Barron noted that national events and cultural fads can influence a festival’s offerings. In years past, the fest has been dominated by either dark dramas or zombie films, but this year’s lineup includes a healthy amount of comedies — suggesting that filmmakers want to offer pleasing diversions from depressing headlines. And in that vein, keep your eye out for Things Girlfriends Say, made by a group of Española Valley High School students, which will probably amuse audiences with its spot-on reflections on young people. Various girls spout one-liners to their off-screen boyfriends: “Why did you tweet her?” “I’ve gained so much weight.” And of course, “Are you even paying attention to me?” Of course we are paying attention — for three minutes, at least. ◀

details ▼ 3-Minute Film Fest ▼ 7 p.m. Saturday, June 8 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $12, $8 for children under 12; 988-1234,




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PASATIEMPO I June 7 - 13, 2013

Sunday, June 9 · 1:00 – 4:00 PM Public Opening and Reception 1:00 PM • Talk by David M. Kahn, collector and connoisseur of Japanese kites • Opening Remarks by Felicia Katz-Harris, curator of Asian Art and exhibition curator 2:00 – 4:00 PM • Kite Making in the Atrium • Kite Flying with Scott Skinner, founder and board president of the Drachen Kite Foundation • Reception hosted by the Women’s Board of the Museum of New Mexico


Free with museum admission. New Mexico residents with I.D. free on Sundays. Youth 16 and under and MNMF members always free.

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movIng Images film reviews

First person multiple Adele Oliveira I The New Mexican Stories We Tell, documentary, not rated, The Screen, 4 chiles If you don’t already know the details of Sarah Polley’s latest film, Stories We Tell, it’s probably better to go to the theater with the simple knowledge that this is a documentary about Polley’s family. Though critics and interviewers have revealed the film’s fault lines since its limited release a couple of weeks ago, if you haven’t read these articles and reviews already, don’t. Stories We Tell is unexpected and provocative, and there is a peculiar pleasure in being taken in and surprised by someone else’s family history. The Canadian actor and director began performing in television programs when she was a child. Polley’s acting in films like The Sweet Hereafter and My Life Without Me was well received, but in recent years, her focus has turned to directing: 2006’s Away From Her and 2011’s Take This Waltz. In Stories We Tell, Polley examines her family history, primarily through a series of interviews with family members and friends. Polley’s mother, Diane, who died of cancer in 1990, when Polley was 11, is the heart of Stories We Tell. In old Super 8 family movies, Diane is vivacious and almost always laughing open-mouthed. The youngest of her mother’s five children (the eldest two are from a previous marriage), Polley spent her teenage years at home alone with her father, Michael, and the two are perhaps unusually close. Michael and Diane were actors, and both appeared onscreen with Polley when she was a child. Polley opens the film by asking Michael and her brothers and sisters ( John, Susy, Mark, and Joanna) to tell the story of Mum from the very beginning. These early scenes establish immediate candor: though game for the interviews, Polley’s siblings all admit to

Sarah Polley


PASATIEMPO I June 7-13, 2013

The ice woman filmeth: Sarah and Michael Polley

being nervous as they settle in to their living room couches and kitchen tables. We see the boom mikes, trailing wires, and Polley darting in and out of the frame. The process of constructing the film is evident, and this is important: Polley wants us to take note of what she’s doing and to understand that this (like most films, documentary or not) is only one representation of “the truth.” Diane emerges as a complicated figure: we learn she lost custody of her children from her first marriage because she committed adultery, and this disturbed her for the rest of her life, though she saw John and Susy regularly. Diane was a housewife, though she never gave up acting entirely. The year before Polley was born, she traveled from Toronto, where the family lived, to Montreal for six weeks to act in a play. Her children describe her as a great deal of fun. Michael, though clearly devoted to his wife, recalls how he disappointed her by giving up acting and writing in favor of more stable employment and how his introversion clashed with Diane’s love of people and parties. He didn’t tell her often enough how much he loved her, and we learn from the kids that Diane liked sex quite a bit more than Michael did. There’s also a fair amount of disagreement about Diane’s essential nature: one friend says she “lacked guile,” while another calls her “a woman of secrets.” Diane, of course, can’t speak for herself, and we hear her voice only very briefly, when she’s recording a song for television. The footage is black-and-white, and before beginning, Diane looks up at the camera, smiling. “Me? Do you want me?” she asks.

Like any good storyteller, Polley carefully deploys information, which is the key to the film’s success. Its critical revelation occurs about 30 minutes in and isn’t definitively resolved for another half an hour. And as in other documentaries from the past few years — Catfish and Exit Through the Gift Shop, both released in 2010, come to mind — Polley uses techniques that do not fit strictly within the form’s traditional observational mode. Though this may irk cinéma vérité devotees, Polley’s deviations from documentary in its purest sense are in service of a greater truth and aid her storytelling. Late in the film, she is transparent about these artistic constructions, though they may be evident earlier to the sharp-eyed or cynical. Stories We Tell belongs to the Polleys, Sarah most of all, but it’s also about the mythmaking that occurs in all families. No clan is without its secrets or events remembered from different perspectives or things we wish had gone another way. These occurrences do in fact become changed through retelling years later. In her work as a director, Polley is at her best when exploring the tiny, cumulative actions that create relationships. Like the story of my family and probably yours, Stories We Tell is sad and sweet, messy and nostalgic, an amalgam of truth and lies and half-truths, impossible to untangle. At the beginning of the film, Polley’s sister Joanna says, “I guess I have this instinctive reaction of, like, who [expletive] cares about our family, right? Can I swear?” We care, because every family has a story, and this one is potent and artfully told. ◀

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movIng Images film reviews

Healing on the Hill Jennifer Levin I For The New Mexican Tiger Eyes, drama, rated PG-13, Center for Contemporary Arts, 3.5 chiles Tiger Eyes is the first major motion picture adaptation of a book by Judy Blume, iconic author of young adult literature. Many women, and plenty of men, claim they could not have grown up without her books. Whether the topic was annoying siblings, getting your first period, finding out about racism, dealing with a body that was different, or losing your virginity, Blume had a book for every possible bump in the road of childhood and adolescence. She was always relatable and she never talked down. Tiger Eyes, published in 1981, is her book about grief over the sudden death of a parent and the journey to a new normal for the family left behind. After Davey Wexler’s father is killed in a robbery, her mother moves her and her little brother, Jason, from Atlantic City to Los Alamos to stay for a time with her Aunt Bitsy and Uncle Walter. The movie has a timeless quality. Though it is not set in 1981, there is but one use of a cellphone in the entire film, and no other modes of communication have been updated to reflect today’s technology. The people in the movie talk to one another — or don’t. And when they don’t, it’s important to the story. Although some small changes were made between the book and the screen, it is an emotionally faithful adaptation; the changes largely serve to advance dramatic action and take advantage of the culture and landscape of New Mexico. Blume co-wrote the screenplay with her son, Lawrence Blume, who directed the movie, which was filmed on location in and around Los Alamos.

Willa Holland and Elise Eberle


PASATIEMPO I June 7-13, 2013

Hold that Tiger: Willa Holland and Amy Jo Johnson

Willa Holland (Gossip Girl, The O.C.) plays Davey and Tatanka Means plays Wolf, a guy she meets hiking in the canyon. Means’ father, the late, legendary Native American activist Russell Means, appears as Willie Ortiz, a patient in the hospital where Davey volunteers with her classmate Jane, who is played by Albuquerque native Elise Eberle. The cast contains gem after gem, including well-known character actress Cynthia Stevenson (Happiness, The Player) as Aunt Bitsy and young Lucien Dale of Santa Fe as Jason. Davey’s relationship with each character in the story drives Tiger Eyes, and Holland is up to the task of playing an ordinary teenager, pretty but unglamorous, curious about the world without being preternaturally smart or witty or even troubled — except for the fact that her dad just died. This is not a movie in which the characters zing one-liners at one another instead of sounding like real people talking. There is no pretense or attitude here. When Davey and her friends roll down a hill in the dark, shrieking with laughter, or perform an impromptu, public waltz while Christmas shopping near the Santa Fe Plaza, they feel like real teenagers, oblivious to anyone but themselves in a way that is slightly embarrassing to watch, yet nonetheless endearing. Davey is unknowingly brave, or stupid, when — as a New Jersey native with absolutely no relevant experience — she ventures down into Los Alamos Canyon with no water, the wrong shoes, and no real idea of how to get out. She is befriended and guided by another hiker, who tells her to call him Wolf. In turn, she tells him to call her Tiger. The role of Wolf is superbly cast. You hear him before you

see him, and anyone from Northern New Mexico will immediately recognize the bounce and lilt of a native voice — a voice that can quickly disarm and charm a newcomer. When the camera rotates to focus on his face, it’s clear that we’re seeing something almost never seen in a contemporary feature film, which is an utterly authentic representation of a New Mexican. In the book, Wolf is Spanish; in the movie he’s Indian. What could have been an obligatory teen-romance plotline is a crucial, pivotal friendship. Together, Wolf and Davey navigate a time in their lives that, to Davey, already feels surreal — the time after her father died, when she went to New Mexico, where her uncle built bombs and her aunt was afraid of everything. Where her mother (Amy Jo Johnson) stopped getting out of bed in the mornings, and then started again. Where she met this really cute guy who let her feel all the things she was actually feeling and never acted like a jerk. Davey’s other primary friendship, with pretty, talented, teenage-alcoholic Jane, is fascinating because Davey doesn’t seem to like her, nor does she seem to dislike her. Eberle, who has an amazing range of facial expressions, makes Jane’s inability to remain sober or hold her liquor both alarming and predictable. In a way, when Jane throws up, it’s comic relief, but it’s not played for laughs. You just groan along with Davey, because this girl she doesn’t know very well is drunk again. No wonder she’d rather hike with Wolf. This is a laudable adaptation of Blume’s work that, like her books, stands up to multiple viewings. May it open the door for more. ◀


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Desert was the best option for me when I was going into 7th grade because no other school seemed to care about its students in the way Desert did. It supports individualism and allows you to find yourself. Desert has a phenomenal college counselor who helps kids find out what they want to do and how to achieve their goals. Grayson will be attending SFCC in preparation for attending UNM’s architecture school.

Sara Hartse

Photos © Kim Kurian


Desert has been my school for the last 6 years and it given me so much. The faculty are not only brilliant, amazing people but are genuinely passionate about helping me learn. As I prepare to leave Santa Fe and go to college, I’ve been thinking about what I’ll take with me from high school. I’ll take the sense of possibility. I’ve found the strength to make my voice heard and know that people were listening.

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movIng Images film reviews

Hoops and dreams Robert Ker I For The New Mexican The Iran Job, sports documentary, not rated, in English and Persian with subtitles, The Screen, 3 chiles Thousands of young men play college basketball in America, but there are only 450 players, maximum, on NBA rosters at any given time. That leaves a considerable amount of gifted people who may never play in the NBA Finals but can still eke out a living as professional basketball players — provided they’re willing to pack their sneakers and fly around the world on a phone call’s notice. They’re called journeymen, and for obvious reasons. Look at J.R. Giddens, the University of New Mexico star who was drafted by the Boston Celtics in 2008. In just five years, the former Lobo has played for the Celtics and the New York Knicks in the NBA; for NBA Development League teams in Maine, Utah, and New Mexico; and for professional teams based in Poland, Greece, and Italy. Nobody will confuse players like Giddens for Kevin Durant or LeBron James, but they still possess size, talent, and training that only a microscopic percentage of the world’s population shares. They have a marketable, in-demand skill that a hardworking agent can sell. This life is not for everybody, as journeyman Paul Shirley laid out in his excellent book Can I Keep My Jersey? It can be lonely. The travel is not luxurious. Some teams abroad are slow to pay players. You may find yourself shivering through a Russian winter.


PASATIEMPO I June 7-13, 2013

Globe-trotter: Kevin Sheppard, left

Culture shock can be tremendous. And after being the best player or very near it on every team you ever played on, you must learn humility and how to cope with rejection. While traveling the world and playing a game for a living sounds like an exotic dream to many of us, it actually takes a certain kind of person to succeed at it. Many gifted young players cannot handle this lifestyle, as we learn in the documentary The Iran Job. We’re told near the beginning of the film that teams in Middle Eastern countries such as Iran must pay players a bit more than those in other countries, because players and their families are fearful of war breaking out. The film’s star, Kevin Sheppard, is the kind of person who can handle it. The U.S. Virgin Islands-born Sheppard, who played basketball at Jacksonville University, coasts through the movie with arms as wide and open as his smile. His Iranian teammates open up to him, and workers at local shops greet him enthusiastically when he comes through their doors. He reciprocates their affection with genuine warmth, and the point of the documentary may be to show what there is to gain by being open to the world. This point is underscored by Sheppard’s relationship with three young women he meets through physical therapy sessions at the local hospital. Early in the movie he watches President Obama’s inauguration and tells us that he’s optimistic but apolitical, that he prefers to watch and listen than to utter a political opinion aloud. He doesn’t become an activist by the film’s end, but he shows through his relationship with the women what

value there is in developing friendships outside one’s comfort zone. He learns firsthand what women go through in a regime such as Iran’s: he must sneak them out the back door of his apartment complex and exercise caution while driving in a small car with them, for fear they’ll be arrested for being so close to a man they are not married to, and at one point the government bans all women from the gymnasium where men’s games are played. Through these experiences he develops a deep empathy for his friends’ plight and a concern for their well-being that extends to the audience and ripples through to the closing credits. The film doesn’t plunge as deep into the material as it could, but it keeps the running time short and breezes us through to the credits. It is peppered with beautiful shots of Iranian cities that give you a nice tourist’s-eye view of a country that few Americans are likely to visit. The basketball scenes are crisp and brief, accentuated with sophisticated graphics and music choices that celebrate both hiphop and Middle Eastern culture, and they give us a look into Iranian sports practices, such as shouting “Praise Allah!” in huddles. You may have noticed that I haven’t yet mentioned the team Sheppard plays for or described what kind of season it has. Iran’s A.S. Shiraz team is new to the league, beginning the season in last place. You may be able to guess whether the team will rise from the league’s basement and how far it will progress, but that’s a plot you’ve seen on the big screen many times. The drama of the sports season is wisely downplayed, but the film shows the power of sports to bring people together. ◀

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movIng Images film reviews

That’s Amalfi Jonathan Richards I For The New Mexican Love Is All You Need, romantic comedy, rated R, Regal DeVargas, 3 chiles Sometimes you just have to throw up your hands and say, “This is wonderful,” despite a storyline that telegraphs its scenes like a Western Union operator with obsessive-compulsive disorder. Danish director Susanne Bier, who normally deals in bleaker material (In a Better World, her 2010 Oscar winner), has gone all soft and cuddly here, and in lesser hands (for instance, as a Hollywood remake), the result would probably be insufferably cute. But Bier — with her mostly excellent cast and with glorious coffee-table-book images of the Amalfi coast captured by director of photography Morten Søborg — manages to keep this valentine on a very enjoyable track. It’s been a bad stretch for Ida (Trine Dyrholm), a plucky blond Copenhagen hairdresser. She’s been battling breast cancer, and as the picture opens she’s in her doctor’s office getting an uncertain prognosis. She goes home to discover Leif (Kim Bodnia), her loutish husband, on the sofa shtupping his mistress Tilde (Christiane Shaumberg-Müller, a name that could have benefited from the Hollywood studio system). Her adored son Kenneth (Micky Skeel Hansen), is packing his duffel bag and heading off to war. But Ida is nothing if not resilient. She won’t worry about that now — after all, tomorrow is another day. She prepares to fly to Sorrento, where her daughter

Trine Dyrholm and Pierce Brosnan


PASATIEMPO I June 7-13, 2013

Set a course for adventure, your mind on a new romance: Pierce Brosnan and Trine Dyrholm

Astrid (Molly Blixt Egelind) is about to marry her boyfriend Patrick (Sebastian Jessen) after a whirlwind courtship. In the airport parking lot, Ida backs her car into an expensive Mercedes driven by Philip (Pierce Brosnan), a prickly, gruff, high-powered fruit magnate. Could things get worse? Well, Philip could turn out to be her prospective son-in-law’s father. And so off they go to Italy together like a porcupine and a kitten. The wedding is to take place at the stunning coastal lemon-orchard villa that belongs to Philip but has stood unused since the tragic death of his wife some years back. Astrid and Patrick arrive early to get the place up to speed, with Astrid providing the spunk and vision and Patrick being dragged along like a dog on a leash. And there gathers a wedding party that might remind you of the family in Thomas Vinterberg’s The Celebration (1998), which even featured some of the same actors, specifically Dyrholm and the spicily named Paprika Steen, who here plays Benedikte, the predatory sister of Philip’s dead wife who always felt that Philip married the wrong sister. Leif shows up with the tacky Tilde, whom, he announces, he intends to marry. And some local talent is on hand to provide complications, specifically the lean and lissome Alessandro, who has bedroom eyes for one of the wedding party. At the center of it all are the irresistible presences of Dyrholm and Brosnan. From the fender-bending first encounter, there is never any doubt that this crusty, embittered widower and this sunny, cancer-challenged but indomitable jilted wife will eventually sweep aside the superfluous baggage that litters the space between them and find true love. It’s all about the getting there. It’s a shame that Brosnan brings with him a résumé that includes Mamma Mia!, which will conjure up echoes of mature love on a sun-splashed Mediter-

ranean coast and may insinuate unwanted Abba songs into your head, but he and Bier lay all that successfully to rest. Brosnan brings you along willingly as his hard-shell finish slowly melts away and he evolves from insufferable martinet to gentle, sensitive modern man. He also provides the occasion for much of the movie’s dialogue being in English, which will spare you a lot of reading and allow you more leisure to enjoy the location. But none of it would work without Dyrholm. Her Ida is a sun bursting through the clouds, a bird song after a storm. She’s almost impossibly optimistic and forgiving, but she carries beneath her soft armor enough hurt, fear, and experience to counteract any danger of the saccharine. Her vulnerability, emphasized in a swimming scene in which she is naked from the top of her chemo-bald head to the soles of her feet, is achingly apparent, yet she has an inner resolve that keeps her appealing and real. The pieces of this movie are by no means perfect. Leif, Ida’s appalling husband, is too broadly drawn, the fiancé Patrick could be more interesting, and we could have done with fewer repetitions of the without-which-it’s-not-an-Italian-romantic-comedy standard, Dean Martin’s “That’s Amore.” (But when you hear the version played over the end credits, you’ll appreciate Dino.) Oranges and lemons, we learn when Philip and Ida stroll through his picturesque citrus groves, can grow from the same tree. And we all know what to do if life gives us lemons — or oranges for that matter. As for the by-the-numbers predictability of the plot turns, well, you can make those into a parlor game whispered to your movie companion — “I told you!” — as you see them gathering on the horizon off the beautiful Amalfi coast. It will just add to the charm. ◀


Events are free and open to the public // IHM REtREat CEntER 50 Mt. Carmel Road, Santa Fe


Portfolio Walk

fRI 7 JunE 6-8PM Join us for a walk through the Review Santa Fe 100 fine-art photographers and documentary portfolios from around the world.

Seminars & Discussions

Sun 9 JunE 10:30aM-12:30PM

fRI 7 JunE 3-4PM // Sat 8 JunE 2:3-3:30PM //

*Sign language interpretation provided for the deaf and hard of hearing.

Exhibits & Guided Visits fRI 7 JunE 6-8PM

CENTER will offer guided visits of the historic campus and the art exhibitions.

Review Santa Fe is supported, in part, by an award from the National Endowment for the Arts, Art Works, and by New Mexico Arts, a division of the Department of Cultural Affairs.

E X P O S I n G G R E at P H O t O G R a P H Y



June 7 - July 7


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movIng Images film reviews

Natalie Dessay

Not quite Traviata James M. Keller I The New Mexican Becoming Traviata, documentary, in French, Italian, and English with subtitles, Center for Contemporary Arts, onion

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Sat at 10:00 and Sun at 11:00 SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494

Bargain Matinees Monday through Friday (First Show ONLY) All Seats $7.50 48

PASATIEMPO I June 7-13, 2013

If it enlightens us about nothing else — and I think that is the case — the documentary film Becoming Traviata at least clarifies why opera stars are paid the big bucks. Partly it’s because the best of them have a fine voice and a decent stage presence, but it’s also because they have to waste so much time putting up with stage directors who are drunk on their own nonsense. In this case, the brightest of the stars is French soprano Natalie Dessay, on whom filmmaker Philippe Béziat often trains his camera as he chronicles the rehearsal process for a production of Verdi’s La traviata at the Aix-en-Provence Festival in 2011. The overweening stage director is Jean-François Sivadier. Since the late 1990s, he has overseen dramas and operas at French regional theaters, the Aix Traviata being (it seems) the third of four operas he has directed to date. Opera aficionados hereabouts are familiar with Dessay’s impressive capabilities, since she has appeared with our local company in several works, including, in 2009, a production of La traviata that will return without her this summer. Although she has struggled with vocal issues over the years, she possesses a lovely voice when things are working right, as they are in this film, at least when she is not speaking her part or singing it in half-voice. She is particularly gifted as a singing actress, capable of bringing a character to life with meaningful credibility rarely encountered on the opera stage. She had already pursued serious study of ballet and acting before she started taking voice lessons at the advanced age of 20. Asked in an interview whether she considered acting more important than singing for her interpretations, she responded: “It is more important. For me, singing and music are only a means of expression, the goal being a theatrical and emotional experience.” Theatrical rehearsal is not much of a spectator sport, and watching Sivadier put her through her paces is no more interesting than one might expect. In the end, “watching Sivadier” is what this film is mostly about, and one is left assuming that he instigated it. Indeed, the press reported that Dessay was blindsided, not learning until she showed up at Aix that the preparations were to be filmed; she protested that rehearsal is really a private process before ultimately consenting to go along with the plan. She nonetheless comes across as a courteous colleague, even as Sivadier busies himself unnecessarily micromanaging her every move. He proves particularly obsessed with the minute placement of her hands and with making her drop to her knees or lie on the floor, and one gets the distinct impression that he wishes he were singing the part himself. Much of what he says he seems to be making up as he goes along. Of the other cast members, tenor Charles Castronovo seems to just barely put up with it, while baritone Ludovic Tézier rises to the occasion; still, both remain in the background here. Conductor Louis Langrée seems a hero, providing support and intelligence without intruding on the cast’s native capacities. We never see the result of the rehearsals, although glimpses of the production coming together suggest that it would be unremarkable. The performers were required to endure this process, but you are not. ◀

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Special Screening followed by Skype Q&A with Natalie Dessay! 2:00p Saturday, June 8 • $12, no passes (Reservations recommended)


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Followed by Q&A with Kirk Ellis 7:00p Wednesday, June 12 • $12 505-982-1338 x105

Reservations recommended by calling 982-1338 Friday June 7 12:00p - Frances Ha 12:45p - Renoir* 2:00p - Becoming Traviata 3:00p - Tiger Eyes* 4:15p - Frances Ha 5:15p - Renoir* 6:15p - Frances Ha 7:30p - Becoming Traviata* 8:15p - Frances Ha

Sat June 8 1:00p - Frances Ha* 2:00p - Becoming Traviata w/ Natalie Dessay by Skype 3:00p - Tiger Eyes* 4:45p - Frances Ha 5:00p - Renoir* 6:45p - Frances Ha 7:15p - Becoming Traviata* 8:45p - Frances Ha

Sun June 9 12:00p - Frances Ha 12:45 - Renoir* 2:00p - Becoming Traviata 3:00p - Tiger Eyes* 4:15p - Frances Ha 5:15p - Renoir* 6:15p - Frances Ha 7:30p - Becoming Traviata* 8:15p - Frances Ha

Mon-Tues June 10-11 12:45 - Renoir* 2:00p - Becoming Traviata 3:00p - Tiger Eyes* 4:15p - Frances Ha 5:15p - Renoir* 6:15p - Frances Ha 7:30p - Becoming Traviata* 8:15p - Frances Ha

Wed June 12 1:00p - Renoir* 12:45p - Frances Ha 2:45p - Frances Ha 3:15p - Renoir* 4:45p - Frances Ha 5:30p - Renoir* 7:00p - Folk/Art/Cinema: Central Station 7:45p - Becoming Traviata*

Thur June 13 12:45 - Renoir* 2:00p - Becoming Traviata 3:00p - Tiger Eyes* 4:15p - Frances Ha 5:15p - Renoir* 6:15p - Frances Ha 7:30p - Becoming Traviata* 8:15p - Frances Ha

*indicates showing is in The Studio at CCA, for a price of $7.50, or $6.00 for CCA Members


Kon-Tiki Shadow Dancer Miyazaki’s From Up On Poppy Hill Twenty Feet from Stardom Hava Nagila...& more!!! PASATIEMPOMAGAZINE.COM



— compiled by Robert B. Ker

immeasurably by a fine cast led by Pierce Brosnan and the wonderful Trine Dyrholm. It’s a grown-up romantic comedy, beautifully photographed at a family wedding on an Amalfi coast, that will make you sing “That’s Amore.” Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 46. NATIONAL THEATER LIVE IN HD: THE AUDIENCE Helen Mirren won an Academy Award for her performance as Queen Elizabeth II in The Queen. She revisits that role for this new play by Peter Morgan — who wrote that film — about the weekly audiences given by the Queen to the Prime Ministers, from Winston Churchill in 1952 to David Cameron in modern times. 7 p.m. Thursday, June 13. Not rated. Lensic Performing Arts Center, Santa Fe. (Not reviewed)

Career crashers: Vince Vaughn and Owen Wilson in The Internship, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BECOMING TRAVIATA Philippe Béziat’s film selectively documents rehearsals for a 2011 production of La traviata at the Aix-enProvence Festival. The main character is second-tier stage director Jean-François Sivadier, who is putting together what looks like an unremarkable production. His pretentious micromanagement seems to add little to the interpretation that star soprano Natalie Dessay would have devised on her own, but she plays along gamely. Tenor Charles Castronovo appears more palpably annoyed. In the time it takes to watch this film, you could listen to a complete recording of La traviata instead. Skype interview with Dessay follows the screening at 2 p.m. on Saturday, June 8. Not rated. 120 minutes. In French, Italian, and English with subtitles. Center for Contemporary Arts, Santa Fe. ( James M. Keller) See review, Page 48. THE INTERNSHIP In 2005, Vince Vaughn and Owen Wilson were riding high, when the huge success of Wedding Crashers cemented their A-list status. They’re no doubt hoping that a reunion will bring about a rise in their brand of smart-aleckry once more. Here they play two grown men who attempt to jump-start their stalled careers by entering Google’s competitive 50

PASATIEMPO I June 7-13, 2013

internship program. Rated PG-13. 120 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE IRAN JOB The basketball world features thousands of talented players who don’t make it to the NBA but have the option of playing professionally overseas. This crisp, fast-moving documentary follows one such player, Kevin Sheppard, to a country few people want to play in: Iran. He lands on a new, last-place team and helps it grow. Along the way he meets several people — including three women living as secondclass citizens under Iran’s strict regime — who help him personally grow. The drama of the sports season is downplayed, but the film shows the power of sports to bring people together. Not rated. 90 minutes. In English and Persian with subtitles. The Screen, Santa Fe. (Robert Ker) See review, Page 44. LOVE IS ALL YOU NEED Sometimes you just have to throw up your hands and say, “This is wonderful,” despite a storyline that telegraphs its scenes like a Western Union operator. Danish director Susanne Bier, who normally deals in bleaker material (such as In a Better World, her 2010 Oscar winner), has gone all soft and cuddly here, and in lesser hands the result would probably be insufferably cute. But Bier manages to keep this valentine on a very enjoyable track, helped

PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Kenneth Branagh’s 2006 film version of Mozart’s The Magic Flute. Stephen Fry provides the adapted English-language libretto. Joseph Kaiser, Amy Carson, René Pape, and Lyubov Petrova are among the stars. Branagh participates in a simulcast Q & A session after the screening. 1 p.m. Sunday, June 9, only. Not rated. 134 minutes. The Screen, Santa Fe. (Not reviewed) THE PURGE In this not-too-distant future, crime and unemployment in America have never been lower. What’s the secret? The government has granted the population 12 hours a year in which all laws are tossed out, emergency services are suspended, and you are welcome to do whatever you please. Given that this movie is advertised as “by the producer of Paranormal Activity and Sinister,” you can assume that what the filmmakers believe people secretly want to do is wear creepy masks and terrorize suburban families (in this case, one with a daddy played by Ethan Hawke). Rated R. 85 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) STORIES WE TELL This film is Canadian actor and director Sarah Polley’s documentary exploration of her family history. It’s better to approach the movie not knowing too much about it: there is a peculiar pleasure in being surprised by someone else’s family. Polley’s mother, Diane, who died of cancer in 1990, when Polley was 11, is the heart of the film, which is primarily constructed through interviews with her friends and family. Diane emerges as a complicated figure, and there’s no consensus on her character. Like any good storyteller, Polley deploys critical information carefully, and this is the key to the film’s success. Stories We Tell is about the Polleys, but it speaks to the mythmaking that occurs in all families. Rated

PG-13. 108 minutes. The Screen, Santa Fe. (Adele Oliveira) See review, Page 40. THIS IS THE END It sometimes seems that modern comic actors are so chummy that they all hang out together on the weekends. This movie takes one of those hypothetical hangouts and rains the apocalypse down on it. James Franco, Jonah Hill, Seth Rogen, Danny McBride, Craig Robinson, Michael Cera, Emma Watson, Mindy Kaling, Paul Rudd, and others play caricatures of themselves during the end times. Rogen and Evan Goldberg, who collaborated on Superbad and Pineapple Express, co-direct. Opens Wednesday, June 12, with a sneak preview at 7 p.m. Tuesday, June 11. Rated R. 107 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 3-MINUTE FILM FESTIVAL The nearly annual event, featuring works ranging from seconds to about three minutes long, returns to the Lensic Performing Arts Center for a one-time screening. The fest is designed as a showcase for amateur filmmakers, and this year’s offerings include a number of lively comedies, documentaries, animated films (Sniffles is particularly cute), and a noirlike homage to Quentin Tarantino (Hireling). There may be a few misfires among the roughly 50 titles, but so what? If you don’t like one, the next one is likely to grab you. 7 p.m. Saturday, June 8, only. Not rated. 111 minutes. Lensic Performing Arts Center, Santa Fe. (Robert Nott) See story, Page 36. TIGER EYES After Davey’s father is killed, her mother moves the family across the country to New Mexico, for an extended stay at their aunt and uncle’s house. Judy Blume’s beloved coming-of-age novel was adapted for the screen by the author and her son Lawrence Blume, who also directs. Performances are subtle, and casting is spot-on. The film is set in Los Alamos and Santa Fe, so local actors abound, including Russell Means and his son Tatanka Means, in the role of Wolf, as well as unknowns from Albuquerque Academy and the New Mexico School for the Arts. Rated PG-13. 92 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) See review, Page 42.

now in theaters AFTER EARTH The City of Brotherly Love is well represented in this big-budget sci-fi film, which pairs Philadelphian director M. Night Shyamalan and star Will Smith. However, the movie is really a vehicle for Smith’s son Jaden. The two play a father-son astronaut duo who crash-land on a future Earth. The son finds

himself fighting for his life as the plants and animals of the planet have wisely evolved to hunt and destroy humans. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) EPIC Hollywood’s latest limp animatedfeature effort is this Avatar rehash by Ice Age director Chris Wedge, about a teenage girl (voiced by Amanda Seyfried) who is shrunk into a secret forest world where she must join friendly plants and animals against an evil dude (Christoph Waltz). There are no palpable stakes, the dialogue is uninspired, the character animation looks straightto-DVD, Aziz Ansari’s hyper-annoying slug seems worked in as a result of focus-group response cards, and the dichotomy between girly princesses and manly soldiers is so dated that even Disney gave it up decades ago. Rated PG. 103 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Robert Ker) FAST & FURIOUS 6 This franchise, which somehow finds new gears with each installment, is wildly popular, in part because it presents a perfect vision of America as a multi-ethnic, mixed-gender posse that’s upwardly mobile and believes that family trumps all — and the expensive cars go zoom, zoom, zoom. The previous films are loaded with pleasures, guilty and otherwise, and part six is more of the same. The stunts are Looney Tunesworthy, the dialogue is hilarious (except for the jokes), and the acting (from Dwayne Johnson, Vin Diesel, Michelle Rodriguez, and friends) stresses brawn over brains. These are all positive traits. The problem is that for a movie that hypes speed to the point where even the rare subtitle zips across the screen, the story, in which the gang attempts to take down a terrorist (Luke Evans), downshifts to a crawl in the film’s second half. Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) 42 This version of the story of Jackie Robinson — the first African-American player in Major League Baseball — by writer-director Brian Helgeland aims for a double, not a home run. No big deal: the story has all the greatness one could want. In staying the course and paying extraordinary attention to detail, Helgeland has crafted an uplifting and crowd-pleasing movie. Much credit goes to the actors: Chadwick Boseman is every inch the movie star as Robinson, Harrison Ford delights in a rare character-actor turn as Brooklyn Dodgers general manager Branch Rickey, and the supporting cast is as sturdy as a Louisville Slugger. Rated PG-13. 88 minutes. Regal DeVargas, Santa Fe. (Robert Ker)

This Is the End

FRANCES HA Writer and director Noah Baumbach specializes in portraying underwhelming artists who stubbornly cling to their sense of self-importance as middle age grips them. This movie, shot digitally in black and white, centers on a 27-year-old woman (Greta Gerwig, who also co-wrote) who is sliding down that road with her struggling dance career and loosening relationships. Fortunately, her disposition is cheerful and optimistic, and for the most part, so is the film’s mood. Frances Ha nicely captures the awkward plight of those who struggle to find a place in the world and accurately represents floundering in your 20s, when the future is nothing but options and possibilities and when experiences and close friends make adequate substitutes for stability. Rated R. 88 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) THE GREAT GATSBY Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic American novel is The Great Gatsby the way Jay Gatsby might have directed it. Gaudy, extravagant, and ecstatically excessive, it lights up the screen like a lavish party into which Luhrmann hopes Daisy Buchanan will wander some night — and if not Daisy, then at least the rest of the world, looking for a good time. That is the quality that distinguishes this movie; when it slows down for the more intimate continued on Page 52




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scenes, it usually fails to convince. Leonardo DiCaprio is Gatsby; Carey Mulligan is the lovely, self-absorbed Daisy; and Tobey Maguire plays the narrator, Nick Carraway. Rated PG-13. 143 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D at Regal DeVargas, Santa Fe. ( Jonathan Richards) THE HANGOVER PART III The Wolf Pack is back for one last bender, so pass around some shot glasses and high-five your bros! When a gangster named Marshall ( John Goodman) kidnaps a member of the Pack ( Justin Bartha), it’s up to the other three (Bradley Cooper, Ed Helms, and Zach Galifianakis) to find Leslie Chow (Ken Jeong) and recover Marshall’s stolen millions. The tone is darker here, and as usual with the Hangover franchise, the best moments are those that play with Galifianakis’ offbeat persona. The rest of the film is so watered down that you won’t even catch a buzz. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) IN THE HOUSE Sex and menace hover perpetually around the edges of this superior psychological thriller from François Ozon (Swimming Pool). Germain (the wonderful Fabrice Luchini) is a failed novelist who teaches literature in a French lycée. When a bright kid in his class shows a real talent for writing, Germain is hooked. Claude (Ernst Umhauer) writes about insinuating himself into the home of a classmate, Rapha (Bastien Ughetto), who needs help with his math homework. How much of what Claude writes is true? How much is literary license? How much is diabolical manipulation? As story and life become muddled, one topping the other in melodrama and dubious dialogue, Ozon herds us toward a gratifying surprise ending. Rated R. 105 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) IRON MAN 3 Tony Stark (Robert Downey Jr.), once a cocksure genius ladies’ man, is suffering from anxiety attacks and an inability to relate to his live-in girlfriend, Pepper Potts (Gwyneth Paltrow). That’s when a terrorist called the Mandarin (Ben Kingsley) starts blowing things up. Meanwhile, a billionaire inventor (Guy Pearce) has






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PASATIEMPO I June 7-13, 2013

created a drug that regenerates human limbs and is plotting to kidnap the president. Luckily, Stark has developed an army of Iron Man suits he can summon from afar and control remotely. The special effects are eye-popping, but Downey’s typically barbed jabs are dull, the jokes aren’t funny, and the villains’ motivations are muddy at best. Rated PG-13. 130 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) MUD Matthew McConaughey is in top form as Mud, an Arkansas Delta backcountry hothead with a ton of charm who enlists a couple of teenage boys (Tye Sheridan and Jacob Lofland) to help him reunite with his sweetheart (Reese Witherspoon). Meanwhile, the law and the irate father of a man he killed are out looking for him. It’s a colorful tale and a cautionary one. Director Jeff Nichols does a good job with style and character, but he lets the story run on too long and loses the handle at the end. With Sam Shepard and Michael Shannon. Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) NOW YOU SEE ME What’s the secret behind the trick of getting audiences to turn out in the middle of the summer for an original movie about stage magicians? First you assemble a highly watchable cast, including Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, Mark Ruffalo, and Mélanie Laurent. Then you roll out a crackerjack setup: four illusionists perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, you make every scene so interesting in and of itself that viewers don’t care if the big picture makes much sense. Presto! You have a movie that’s wildly entertaining despite having to cheat to connect all the dots. Rated PG-13. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) THE RELUCTANT FUNDAMENTALIST Indian director Mira Nair (Monsoon Wedding), based in New York, has taken The Reluctant Fundamentalist, an international bestseller by the Pakistani/British writer Mohsin Hamid, and ramped it up into a psychological and political thriller that is rich in complexity and taut with tension. Riz Ahmed (Trishna) is excellent as Changez, a young Pakistani torn between the fundamentals of two worlds: the sky’s-the-limit opportunities of the American capitalist system and the poverty, tradition, and unrest of his Pakistani roots. Nair delivers a fascinating exploration of duality and perspective. With Liev Schreiber, Kate Hudson, and Kiefer Sutherland. Rated R. 128 minutes. The Screen, Santa Fe. ( Jonathan Richards)

RENOIR A quiet film with emotional depth and good performances, Renoir is a sun-dappled look into the famous painter’s household. When a free-spirited young woman (Christa Theret) comes to model for Renoir (Michel Bouquet), she serves his creative ends and falls in love with his son Jean (Vincent Rottiers). The focus is less on history than on the nature of perceptions. Rated R. 111 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SCATTER MY ASHES AT BERGDORF’S Matthew Miele’s documentary about the New York fashion mecca is a self-hugging valentine to the 5th Avenue shop, a sugary decaf cappuccino with way too much foam. There are some interesting people, like a veteran personal shopper who admits if she weren’t doing this, she’d be drinking. But mostly it’s a parade of fashion designers gushing about the store as the pinnacle of their dreams. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) STAR TREK: INTO DARKNESS In the newest installment in the Star Trek film series, director J.J. Abrams ups the ante on action and visual effects. This film finds Kirk (Chris Pine) and Spock (Zachary Quinto) at odds after a violation of the Prime Directive and the arrival of a genetically enhanced villain (Benedict Cumberbatch). It steers the U.S.S. Enterprise in new and exciting directions while exploring themes of unjust war and terrorism. Rated PG-13. 132 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Rob DeWalt)

other screenings Center for Contemporary Arts 10:30 a.m. Saturday, June 8: Trigger: The Ripple Effect of Gun Violence. A panel discussion with New Mexico gun-safety activists follows. 7 p.m. Wednesday, June 12: Santa Fe International Folk Art Market presents Central Station. Regal DeVargas Oblivion; What Maisie Knew. Regal Stadium 14 Midnight Thursday, June 13: Man of Steel, screens in 2D and 3D Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Monday, June 9-10: To the Wonder. ◀



What’s shoWing Call theaters or check websites to confirm screening times.





CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, Becoming Traviata (NR) Fri. 2 p.m., 7:30 p.m. Sat. 2 p.m., 7:15 p.m. Sun. to Tue. 2 p.m., 7:30 p.m. Thurs. 2 p.m., 7:30 p.m. Central Station (R) Wed. 7 p.m. Frances Ha (R) Fri. 12 p.m., 4:15 p.m., 6:15 p.m., 8:15 p.m. Sat. 1 p.m., 4:45 p.m., 6:45 p.m., 8:45 p.m. Sun. 12 p.m., 4:15 p.m., 6:15 p.m., 8:15 p.m. Mon. and Tue. 4:15 p.m., 6:15 p.m., 8:15 p.m. Wed. 12:45 p.m., 2:45 p.m., 4:45 p.m. Thurs. 4:15 p.m., 6:15 p.m., 8:15 p.m. Renoir (R) Fri. 12:45 p.m., 5:15 p.m. Sat. 5 p.m. Sun. to Tue. 12:45 p.m., 5:15 p.m. Wed. 1 p.m., 3:15 p.m., 5:30 p.m. Thurs. 12:45 p.m., 5:15 p.m. Tiger Eyes (PG-13) Fri. to Tue. 3 p.m. Thurs. 3 p.m. Trigger:The Ripple Effect of Gun Violence

Sat. 10:30 a.m.

regAl deVArgAS

562 N. Guadalupe St., 988-2775, 42 (PG-13) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10 p.m. Sun. toThurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. The Great Gatsby (PG-13) Fri. and Sat. 12:55 p.m., 3:50 p.m., 6:50 p.m., 9:50 p.m. Sun. to Thurs. 12:55 p.m., 3:50 p.m., 6:50 p.m. Love Is All You Need (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Mud (PG-13) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Oblivion (PG-13) Fri. to Thurs. 4:20 p.m., 7:20 p.m. Scatter My Ashes at Bergdorf ’s (PG-13) Fri. and Sat. 1:20 p.m., 10 p.m. Sun. to Thurs. 1:20 p.m. What Maisie Knew (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, After Earth (PG-13) Fri. to Mon. 11:05 a.m., 11:30 a.m., 1:40 p.m., 2:10 p.m., 4:30 p.m., 5 p.m., 7 p.m., 7:30 p.m., 9:30 p.m., 10 p.m. Epic 3D (PG) Fri. to Mon. 11:15 a.m. Epic (PG) Fri. to Mon. 11:10 a.m., 1:45 p.m., 4:45 p.m., 7:40 p.m., 10:30 p.m. Fast & Furious 6 (PG-13) Fri. to Mon. 12:30 p.m., 1:35 p.m., 4:35 p.m., 7:10 p.m., 7:35 p.m., 10:40 p.m. The Great Gatsby 3D (PG-13) Fri. to Mon. 3:50 p.m., 10:20 p.m. The Great Gatsby (PG-13) Fri. to Mon. 12 p.m., 7:15 p.m. The Hangover Part III (R) Fri. to Mon. 11 a.m., 1:15 p.m., 4 p.m., 7:05 p.m., 9:50 p.m. The Internship (PG-13) Fri. to Mon. 1 p.m., 1:35 p.m., 4:10 p.m., 4:40 p.m., 7:10 p.m., 7:40 p.m., 10:10 p.m., 10:40 p.m. Iron Man 3 (PG-13) Fri. to Mon. 11:05 a.m., 2:05 p.m., 5:05 p.m., 8 p.m., 10:50 p.m. Man of Steel 3D (PG-13) Thurs. midnight Man of Steel (PG-13) Thurs. midnight Now You See Me (PG-13) Fri. to Mon. 11 a.m., 1:50 p.m., 4:40 p.m., 7:30 p.m., 10:20 p.m. The Purge (R) Fri. to Mon. 11:15 a.m., 1:30 p.m., 2 p.m., 4:10 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 9:30 p.m., 10:05 p.m. Star Trek Into Darkness 3D (PG-13) Fri. to Mon. 3:45 p.m., 10:15 p.m. Star Trek Into Darkness (PG-13) Fri. to Mon. 12:50 p.m., 4:15 p.m., 7:40 p.m., 10:45 p.m. This Is The End (R) Tue. 7 p.m. Wed. and Thurs. 1:30 p.m., 4:15 p.m., 7:15 p.m., 10 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, In the House (R) Fri. and Sat. 8:45 p.m. Mon. to Thurs. 8:45 p.m.

The Iran Job (NR) Sat. 10 a.m. Sun. 11 a.m. The Magic Flute (NR) Sun. 1 p.m. The Reluctant Fundamentalist (R) Fri. and Sat.

11:30 a.m. Mon. to Thurs. 11:30 a.m. Stories WeTell (PG-13) Fri. and Sat. 2 p.m., 4:15 p.m., 6:30 p.m. Sun. 4:15 p.m. Mon. to Thurs. 2 p.m., 4:15 p.m., 6:30 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, After Earth (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. and Tue. 4:45 p.m., 7:20 p.m. Epic (PG) Fri. 4:40 p.m., 7 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7 p.m. Mon. and Tue. 4:40 p.m., 7 p.m. Fast & Furious 6 (PG-13) Fri. 4:25 p.m., 5 p.m., 7:10 p.m., 8 p.m., 9:55 p.m. Sat. 1:40 p.m., 2:10 p.m., 4:25 p.m., 5 p.m., 7:10 p.m., 8 p.m., 9:55 p.m. Sun. 1:40 p.m., 2:10 p.m., 4:25 p.m., 5 p.m., 7:10 p.m. Mon. and Tue. 4:25 p.m., 5 p.m., 7:10 p.m. The Hangover Part III (R) Fri. 4:55 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. and Tue. 4:55 p.m., 7:30 p.m. The Internship (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:50 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:50 p.m., 4:25 p.m., 7:10 p.m. Mon. and Tue. 4:25 p.m., 7:10 p.m. Iron Man 3 (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m. Now You See Me (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:50 p.m. Sat. 2 p.m., 4:35 p.m., 7:05 p.m., 9:50 p.m. Sun. 2 p.m., 4:35 p.m., 7:05 p.m. Mon. and Tue. 4:35 p.m., 7:05 p.m. The Purge (R) Fri. 4:50 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. and Tue. 4:50 p.m., 7:25 p.m. StarTrek Into Darkness (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. and Tue. 4:30 p.m., 7:15 p.m.





“GENIUS. i will never forget ‘stories we tell’.” Krista Smith,

AcAdemy AwArd nominAted filmmAker of ‘AwAy from her’



StartS tODaY

SANTA FE The Screen (505) 473-6494


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mitChell Storyteller CinemA (tAoS)

110 Old Talpa Canon Road, 575-751-4245 After Earth (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. and Tue. 4:45 p.m., 7:20 p.m. Epic (PG) Fri. 4:40 p.m., 7 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:40 p.m., 7 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:40 p.m., 7 p.m. Mon. and Tue. 4:40 p.m., 7 p.m. Fast & Furious 6 (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:40 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:40 p.m., 4:25 p.m., 7:10 p.m. Mon. and Tue. 4:25 p.m., 7:10 p.m. The Hangover Part III (R) Fri. 4:50 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. and Tue. 4:50 p.m., 7:25 p.m. The Internship (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:50 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:50 p.m., 4:25 p.m., 7:10 p.m. Mon. and Tue. 4:25 p.m., 7:10 p.m. Now You See Me (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:50 p.m. Sat. 2 p.m., 4:35 p.m., 7:05 p.m., 9:50 p.m. Sun. 2 p.m., 4:35 p.m., 7:05 p.m. Mon. and Tue. 4:35 p.m., 7:05 p.m. StarTrek Into Darkness (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. andTue. 4:30 p.m., 7:15 p.m.

(800) FANDANGO #608


Dr. Burt Melton

2 Locations

Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744

Santa Fe 141 Paseo de Peralta, Suite C Mon - Fri 505-983-2909

New Summer Menu

with lots of organic fresh produce from local farmers Thank you for your patience during Construction Project 986-5858 • 58 S. Federal Place • Santa Fe, NM 87501 PASATIEMPOMAGAZINE.COM


RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Island in the mall

Jinja Bar and Bistro

510 N. Guadalupe St., 982-4321 Lunch & dinner 11 a.m.-10 p.m. Mondays-Fridays, noon-10 p.m. Saturdays & Sundays Vegetarian options Takeout available Handicapped-accessible Noise level: quiet to festive, depending on time of day Full bar Credit cards, no checks

The Short Order Even though Jinja Bar and Bistro is located in a strip mall near the DeVargas Shopping Center, if you find yourself propped up against an embroidered pillow in one of the dark wood booths in the cool, dimly lit dining room, you might start thinking about a tropical vacation. The recently revised menu features pan-Asian and more mainstream dishes — some of which are better than others — plus a lengthy cocktail list that includes tiki favorites as well as classics and powerful “party bowls.” Recommended: avocado tempura, coconut soup, chow fun, Singapore noodles, and Mandarin-blossom cosmopolitan.

Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.


PASATIEMPO I June 7-13, 2013

If on some especially warm and sunny afternoon you find yourself propped up against an embroidered pillow in one of the dark wood booths in Jinja Bar and Bistro’s cool, dimly lit dining room, don’t be surprised if you also find yourself daydreaming about an island vacation. While you’re munching on steamed edamame, gazing at retro-style posters advertising steam liners and various brands of tropical hooch, Ella Fitzgerald might be crooning a tune by Cole Porter or Rodgers and Hart. It only adds to the fantasy if your dining companion is slurping up a fruity tiki-themed beverage like a mai tai or sipping an improbably aromatic pastel-pink Mandarin-blossom cosmopolitan. The menu is made up of pan-Asian selections — Singapore and chow fun noodles, pad Thai, and various curries — as well as some more mainstream dishes (salads, ribs, and hot wings, each with an Asian touch). A recent menu revision retained some favorites, tweaked others, and added new selections, particularly to appeal to the growing gluten-free crowd. You can order “snacks,” appetizers, and entrées that include noodles and various meat and seafood dishes (many are available in small and large sizes). Service is expedient, and the staff is friendly in a folksy way. Spring rolls are crisp, light, and not particularly greasy. If you choose to wrap these crunchy nibbles in lettuce leaves, mint, and cilantro, that only improves them. Try the decadent tempura avocado. If the dish arrives hot, the silky, buttery wedges are almost puddinglike inside their light crust. A squeeze of lime cuts the richness, as does a quick dip in mint-cilantro sauce. The wings in Dragon Breath sauce bear a striking resemblance to the popular bar-menu item, with just a hint of sesame thrown in for an Asian twist. (Wings purists fear not: blue cheese dressing is available on request.) The crispy Caesar salad is perfectly acceptable, though you might not be able to distinguish it from any other in town. The Chinese chicken salad feels a little old-fashioned with its canned mandarin oranges and crunchy, watery romaine, but it manages to be refreshing and satisfying. (Try swapping huge chunks of quickfried tofu for the poultry.) A note to the kitchen: whole cashews are almost impossible to spear with a fork. Jinja serves perfectly serviceable miso soup. The complex Malay coconut soup, a relative of the classic coconut-based tom kha, offers a pleasing mix of consistencies with its meaty shrimp, crunchy carrots and bean sprouts, and chewy udon. Jinja excels when it comes to noodles. The home-style chicken udon is a bit bland, but it’s oddly comforting in its simplicity and mild savoriness, like an Asian chicken noodle soup. Better are the wide chow fun noodles, tossed with vegetables in a salty, mildly spicy sauce. The thin Singapore noodles dish resembles pad Thai with its green onion, bean sprouts, egg, and chopped peanut, but it has a meaty smokiness thanks to barbecued pork. The dish is described as being “not for the

faint-hearted,” but we found its heat level to be quite tolerable. Meat has a monopoly here — I counted at least a dozen beef and poultry dishes and eight seafood selections. The kung pao (shrimp or chicken) is chockablock with cashews rather than the more traditional peanuts and has an overly sweet sauce and none of that dish’s customary heat. The rice paper salmon is a lovely fish fillet enveloped in rice paper, which unfortunately had turned gummy, stretchy, and difficult to cut. You can exchange tofu for meat in practically any item, but the menu suffers from a lack of straight-up vegetable dishes (the closest thing to a vegetable stir-fry is the chow fun, with its heaps of spinach, onion, and red and green peppers). Served in tiny side dishes are a light, crunchy cucumber salad that teeters between salty and sweet and a tangy, slightly spicy golden pineapple salsa that I could probably eat by the pint. Jinja has one of the lengthiest cocktail menus in town. It includes tiki bar favorites — the mai tai, zombie, and piña colada — as well as classics like the sidecar, Sazerac, and variations on the martini, margarita, and mojito. The “party bowls” are designed for two to four adventurous people — who hopefully have a high tolerance for booze and sugar. Then again, you’re in a strip mall, and you might be daydreaming about tropical locales. Why not at least take a vacation from the ordinary? ◀

Check, please

Dinner for two at Jinja Bar and Bistro: Spring rolls “snack” ..........................................$4.00 Chinese chicken salad with tofu .....................$11.25 Cup, coconut soup ...........................................$2.95 Chow fun chili noodles ..................................$11.95 Mandarin blossom cosmopolitan .....................$8.95 TOTAL ............................................................$39.10 (before tax and tip) Dinner for four, another visit: Small wings .......................................................$7.95 Avocado tempura ..............................................$7.95 Caesar salad ....................................................$11.25 Cup, miso soup .................................................$2.95 Chicken udon .................................................$10.25 Large rice paper salmon ..................................$14.95 Singapore noodles ..........................................$10.95 Scorpion bowl for two ....................................$19.95 TOTAL ............................................................$86.20 (before tax and tip)

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pasa week 7 Friday

TgiF recital Chancel Choir performs Opposites Attract, music of Schubert and Rodgers & Hammerstein, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext.16.

gallery/museum openings

allan Houser gallery 125 Lincoln Ave., 982-4705. Recent Arrivals and Hidden Gems, work by the late sculptor Allan Houser, reception 5-8 p.m. art exchange gallery 60 E. San Francisco St., Suite 210, 603-4485. New Works, paintings by Jeff Tabor, reception 4-6 p.m., through June. axle Contemporary 670-7612 or 670-5854. Summer performance series debut featuring Mark Feigenbutz’s The Comedy Cart; shows every hour 5-7 p.m. today and Saturday; look for the mobile gallery’s van at Railyard Plaza, 1607 Paseo de Peralta, visit for van locations through July 7. Bindle stick studio 616½-B Canyon Rd., 917-679-8080. Future Mythologies, new work by Jeffrey Schweitzer, reception 5-7 p.m. Blue rain gallery 130-C Lincoln Ave., 954-9902. Group Glass Show, panel discussion 2-4 p.m., reception 5-7 p.m., through June. Charlotte Jackson Fine art 554 S. Guadalupe St., 989-8688. Friends and Family, group show, reception 5-7 p.m., through June 23. Chiaroscuro Contemporary art 702½ Canyon Rd., 992-0711. Bark, paintings by Gayle Crites; Variations, totem-inspired sculpture by John Geldersma; reception 5-7 p.m., through July 7. David rothermel Contemporary Fine art 616½ Canyon Rd., 575-642-4981. New work by Rothermel, reception 5-8 p.m., through June 28. ellsworth gallery 215 E. Palace Ave., 989-7900. A Night of Surprises, grand opening co-curated with local cooperative Meow Wolf featuring artist performance pieces; plus, Motion and Stillness, photographs by Maritza Wild Chateau; 5-10 p.m. (see story, Page 32). evoke Contemporary 130-F Lincoln Ave., 995-9902. Solitude, plein air paintings by Lynn Boggess, reception 5-7 p.m., through June 30. Fatima Hall Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., 984-8353. Group photography show by participants of CENTER’s portfolio review, 6-8 p.m. reception and tours of The Curve: 2013 Choice Award winners’ works and Review Santa Fe alumni exhibit. Houshang’s gallery 50 E. San Francisco St., 988-3322. Works by Jan Guess and Ann Pollard, reception 5-8 p.m. legends santa Fe 125 Lincoln Ave., 983-5639. Inside the Studio, group show with artist demonstrations, reception 5-7 p.m., through Saturday. lewallen galleries Downtown 125 W. Palace Ave., 988-8997. Internal Narratives, paintings by Sammy Peters, reception 5-7 p.m., through July 7.

Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59


PASATIEMPO I June 7-13, 2013

compiled by Pamela Beach,

in ConCerT

Connie long and Brian mclane Country-rock duo, Agora Shopping Center, 7 Caliente Rd., Eldorado, 5:30-7:30 p.m., no charge. evarusnik Santa Fe’s classical/Latin/jazz blend ensemble celebrates the release of its album In A Poker Slash Refrain, 8 p.m., $10-$20 sliding scale, Iconik Coffee Roasters, 1600 Lena St., Suite A-2, 428-0996, 21 +, encore Saturday. ruby ate the Fig Middle Eastern mystic rock, with guest dancer Travis Jarrell, 8 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., $18 at the door,


Blown glass by Nancy Callan, at Blue Rain Gallery, 130-C Lincoln Ave.

manitou galleries 123 W. Palace Ave., 986-0440. Roger Hayden Johnson and Hib Sabin, New Mexico landscapes and wildlife sculpture, reception 5-7:30 p.m. marigold arts 424 Canyon Rd., 982-4142. New wildlife watercolors by Ruth Tatter, artist reception 5-8 p.m., through June 27. meyer east gallery 225 Canyon Rd., 983-1657. David Jonason: New Works, cubist Southwest oil paintings, reception 5-7 p.m. mountain Trails gallery 200 Old Santa Fe Trail, 983-7027. Mixed-media paintings by Ken Estrada, reception 6-8 p.m. santa Fe Clay 545 Camino de la Familia, 984-1122. Works by Adam Field, Lorna Meaden and Ben Krupka, reception 5-7 p.m., through July 20. Touching stone gallery 539 Old Santa Fe Trail, 988-8072. Quintessence, work by ceramicist Tadashi Ito; paintings by Sheila Keefe; reception 5-7 p.m., through June 29.

In the Wings....................... 60 Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63

Tr Contemporary 409 Canyon Rd., 984-8434. Paintings by Rosenberg (aka Tom Ross); work by sculptor Don Smalley; grand-opening reception 5-7:30 p.m., through July 5. Waxlander gallery 622 Canyon Rd., 984-2202. Absorb and Connect, new work by Christopher Owen Nelson, reception 5-7 p.m., through June 17. William and Joseph gallery 727 Canyon Rd., 982-9404. New paintings by Jeanne Bessette, reception 5-7 p.m., through June. Without reservations gallery 112 W. San Francisco St. Suite 104. Work by Kewa Pueblo cartoonist Ricardo Caté.

ClassiCal musiC

David Wescott yard Classical guitarist, 7 p.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10 in advance, 428-8138, $12.50 at the door, discounts available.

Lady Blue’s Dreams Puppet’s Revenge presents its adaptation of the story of a New Mexico nun, Sor María de Jesús de Ágreda, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15 suggested donation benefits the Solace Crisis Treatment Center’s Women’s Jewelry Collective, seniors and students $12, 424-1601, continues Saturday. Les Misérables opening night Performed by C-A-M-P Studios students, 7 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $15 in advance; students $10; 946-0488; $20 at the door; through Sunday.


linda myers and simon Bialobroda The co-authors sign copies of and discuss Guided from Beyond: The Story of the Templar: A Divine Edifice for the Coming Golden Age, 4:30 p.m., Ark Bookstore, 133 Romero St., 988-3709.


Black & White party Second annual dance party and silent auction in support of the Santa Fe Mountain Center’s bullying prevention programs, 8 p.m., La Posada de Santa Fe Resort & Spa, 330 E. Palace Ave., call 983-6158 for details. Disco nia Jam Martial arts and dance kick-off class for PRIDE month, 5:45 p.m., StudioNia Santa Fe, 851 W. San Mateo St., 988-1299, by donation for the Santa Fe Human Rights Alliance. Nature: Hummingbirds — Magic in the Air New Mexico PBS and Randall Davey Audubon Center present the film; 7 p.m. screening followed by a panel discussion, the Lensic, 988-1234, no charge.

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, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to or See our calendar at, and follow Pasatiempo on Facebook and Twitter.

Santa Fe Opera Backstage Tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays, through Aug. 13. Vista Grande Public Library book sale Semi-annual used-book sale, 2-7 p.m., 14 Avenida Torreon, Eldorado, 466-7323, continues Saturday.

Tiny’s Guitarist Ben Wright, 5:30-8 p.m.; rock and blues band The Jakes, 8:30 p.m.-close; no cover. The Underground at evangelo’s Reggae Dancehall with Brotherhood Sound System, 10 p.m., call for cover.

Jewel Box Cabaret Drag show kick-off for Santa Fe PRIDE month, 8:30 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $10 at the door, VIP seating $20, 428-7781,

8 Saturday



Lady Blue’s Dreams Puppet’s Revenge presents its adaptation of the story of a New Mexico nun, Sor María de Jesús de Ágreda, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15 suggested donation benefits the Solace Crisis Treatment Center’s Women’s Jewelry Collective, seniors and students $12, 424-1601. Les Misérables Performed by C-A-M-P Studio students, 7 p.m., Greer Garson Theatre, SFUAD, 1600 St. Michael’s Dr., $15 in advance; students $10; 946-0488; $20 at the door, Sunday finale.

(See addresses below) Bishop’s Lodge Ranch Resort & Spa Jazz guitarist Pat Malone, 6-9 p.m., on the patio. Café Café Los Primos Trio, traditional Latin beats, 6-9 p.m., no cover. Cowgirl BBQ Americana duo The Flyin’ A’s, 5-7:30 p.m.; Jay Boy Adams and Zenobia with Mister Sister, R & B, 8:30 p.m.-close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 8-11 p.m., no cover. The Mine Shaft Tavern Gypsy Night, belly dancing and music, 8 p.m., call for cover. Second Street Brewery Americana band The Backwoods Benders, 6-9 p.m., no cover. Second Street Brewery at the Railyard The Bus Tapes, folk rock, 7-10 p.m., no cover.

axle Contemporary 670-7612 or 670-5854. Summer performance series debut featuring Mark Feigenbutz’s The Comedy Cart; 5-7 p.m., hourly shows; look for the mobile gallery’s van at Railyard Plaza, 1607 Paseo de Peralta, visit for van locations through July 7. Giacobbe-Fritz Fine art Gallery 702 Canyon Rd., 986-1156. Art for Rabbits, silent auction in support of the New Mexico House Rabbit Society’s rescue and adoption efforts; through June 15. SiTe Santa Fe 1606 Paseo de Peralta, 989-1199. Marco Brambilla: Megaplex, video installations, through June. Worrell Gallery 103 Washington Ave., 989-4900. Second anniversary celebration and group show, reception 5-8 p.m.


evarusnik Santa Fe’s classical/Latin/jazz blend ensemble celebrates the release of its album In A Poker Slash Refrain, 8 p.m., Iconik Coffee Roasters, 1600 Lena St., Suite A-2, $10-$20 sliding scale, 428-0996, all ages.

Talking Heads



The Music of Character: Mozart’s The Marriage of Figaro Oliver Prezant, Santa Fe Community Orchestra’s music director, discusses the opera, 10 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Trigger: The Ripple effects of Gun Violence 10:30 a.m. film screening followed by a panel discussion, Center for Contemporary Arts, 1050 Old Pecos Trail, $15 at the door, discounts available, 466-1335.


Landscape photography workshop Patrick Mohn teaches skills and techniques, Cerrillos Hills State Park, meet at the parking lot a half-mile north of Cerrillos Village on County Rd. 59, $5 per vehicle, 474-0196.

From Controversy to Canonization New Mexico artist Judy Chicago and author Jane Gerhard discuss Gerhard’s book The Dinner Party: Judy Chicago and the Power of Popular Feminism at 2 p.m. Sunday, June 9, book signing and Q & A follow at the New Mexico Museum of Art, 107 W. Palace Ave., no charge, call the nonprofit Through the Flower for information, 505-864-4080.

pasa week

d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa nch Resort & Spa Bishop’s Lodge Ra ., 983-6377 Rd e dg Lo 1297 Bishops Café Café 6-1391 500 Sandoval St., 46 ó Casa Chimay 8-0391 409 W. Water St., 42 ón ¡Chispa! at el Mes 983-6756 e., Av ton ing 213 Wash uthside Cleopatra Café So 4-5644 47 ., Dr o 3482 Zafaran Counter Culture 5 930 Baca St., 995-110 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Café te The den at Coyo 3-1615 98 , St. r ate W 132 W. at The Pink The dragon Room a Fe Trail, nt Sa d Ol adobe 406 983-7712 lton el Cañon at the hi 811 8-2 98 , St. al ov nd 100 Sa Spa eldorado hotel & St., 988-4455 o isc nc Fra n 309 W. Sa el Farol 3-9912av 808 Canyon Rd., 98

Pasa’s little black book ill el Paseo Bar & Gr 848 2-2 208 Galisteo St., 99 evangelo’s o St., 982-9014 200 W. San Francisc hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina La Casa Sena Cant 8-9232 98 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa La Posada de e Ave., 986-0000 lac and Spa 330 E. Pa g arts Center Lensic Performin St., 988-1234 o 211 W. San Francisc Sports Bar & Grill om Ro er ck Lo The 473-5259 2841 Cerrillos Rd., The Lodge Lodge Lounge at St. Francis Dr., N. 0 at Santa Fe 75 992-5800 The Matador o St., 984-5050 116 W. San Francisc vern The Mine Shaft Ta 473-0743 d, dri Ma , 2846 NM 14 Museum hill Café lner Plaza, 984-8900 710 Camino Lejo, Mi

Music Room at Garrett’s desert inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo italian Grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378 Revolution Bakery 1291 San Felipe Ave., 988-2100 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & Grill 37 Fire Pl., Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 Secreto Lounge at hotel St. Francis 210 Don Gaspar Ave., 983-5700

continued on Page 61

The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & Nightlife 135 W. Palace Ave., 982-7265 Steaksmith at el Gancho 104-B Old Las Vegas Highway, 988-3333 Sweetwater harvest kitchen 1512-B Pacheco St., 795-7383 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Zia diner 326 S. Guadalupe St., 988-7008



exhibitionism A peek at what’s showing around town

Jeffrey schweitzer: Unnatural Fog, 2012, ink wash, ballpoint pen, collage, and acrylic medium on wood panel. The new Bindle Stick Studio (616 ½-B Canyon Road) presents Future Mythologies: New Work by Jeffrey Schweitzer. The artist’s multimedia pieces include video, installations, and drawings and feature a kind of everyman character placed in surreal, imaginative landscapes. The gallery’s inaugural show opens Friday, June 7, with a 5 p.m. reception. Call 917-679-8080.

Adam Field: Tumbler, 2011, soda-fired porcelain. Santa Fe Clay (545 Camino de la Familia) presents an exhibition of functional ceramics by Adam Field, Ben Krupka, and Lorna Meaden. Field crafts vessels with elaborate decorative patterns; Krupka’s work draws on narrative themes and representational imagery with simple abstract renderings; and Meaden’s pottery is ornamental and linear. All three artists work with porcelain. The show opens Friday, June 7, with a 5 p.m. reception. Call 984-1122.

Rosenberg: Reconciliation, 2013, acrylic on acrylic panel. Celebrate the grand opening of Tom Ross’ new gallery, TR Contemporary, at 409 Canyon Road. For the first show, Ross features new abstract paintings he signed with the moniker Rosenberg, his original family name, changed when his father arrived at Ellis Island after escaping the Holocaust. The abstractions are a shift away from Ross’ representational, illustrative paintings. The show also features sculptures by Don Smalley. It opens on Friday, June 7, with a 5 p.m. reception. Call 984-8434.


PASATIEMPO I June 7-13, 2013

helen hardin: Visions of Sunset, 1982, acrylic. The Pablita Velarde Museum of Indian Women in the Arts (213 Cathedral Place) presents A Straight Line Curved, an exhibition of more than 30 paintings by Helen Hardin (19431984), some of which have not previously been shown. Hardin was of Santa Clara Pueblo heritage, and her paintings often include abstract representations of Native American iconography drawn from myth, folklore, and traditional styles found on Mimbres and Hohokam pottery. The show runs through Sept. 30, and entrance is by museum admission. Call 988-8900.

Lynn boggess: October 30, 2011, oil on canvas. Solitude, an exhibition of paintings by Lynn Boggess, opens with a 5 p.m. reception on Friday, June 7, at Evoke Contemporary (130-F Lincoln Ave.). Boggess’ plein-air paintings are rendered using cement trowels; they capture the beauty of untrammeled landscapes with an abstract sensibility. His work is evocative of the changing moods of the seasons. Call 995-9902.

At the GAlleries David Richard Contemporary 130-D Lincoln Ave., 982-0318. Variations: Evolution of the Artist’s Media 1986-2012, work by Richard Anuszkiewicz; Wavelength, paintings by Beverly Fishman, through June 15. Gerald Peters Gallery 1011 Paseo de Peralta, 954-5700. A Survey: Selections From Rome and Other Works, Patrick Oliphant’s drawings, monotypes, cartoons, and sculpture, through Saturday, June 8. Hunter Kirkland Contemporary 200-B Canyon Rd., 984-2111. Luminous Grace, paintings by Jennifer J.L. Jones, through Sunday, June 9. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 988-3250. Bella Città, architectural urban landscapes by Italian artist Marco Petrus, through Sunday, June 9. Nüart Gallery 670 Canyon Rd., 988-3888. In a Broken Tongue, paintings by Cecil Touchon, through Sunday, June 9. Verve Gallery of Photography 219 E. Marcy St., 982-5009. Photo-based works by Maggie Taylor and Henrieke Strecker, through June 22.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit for hours of operation. $40 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday.

Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Balancing Signal to Noise, works by Zoe Blackwell, Brandon Soder, and Betsy Emil, Spector Ripps Project Space; Muñoz Waxman front and main galleries: Vector Field, installation by Conor Peterson; The Curve, works by CENTER’s competitionwinning photographers David Favrod and Ignacio Evangelista; through July 7. Gallery hours available online at or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Facing the Camera: The Santa Fe Suite, photographic portraiture by Rosalie Favell • Stands With a Fist: Contemporary Native Women Artists • For Instance, Look at the Land Beneath Your Feet, video installation by Kade L. Twist • Apache Chronicle, Nanna Dalunde’s experimental documentary on the artist collective Apache Skateboards; through July. Open 10 a.m.-5 p.m. Monday and WednesdaySaturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, opening Sunday, June 9, through March 2014 (see story, Page 28)

peter sarkisian’s installations are exhibited in Video Works 1994-2011 at the New Mexico Museum of Art; Pounding Study shown

• Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. • Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through August • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Video Works 1994-2011, mixed-media

installations, through Aug.18 • Mont St. Michel and Shiprock, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept.15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. TuesdaySunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin, through September. Open noon-4 p.m. Friday-Sunday. $10 admission. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Creativity Revisited, silver anniversary of the museum’s permanent collection, through July13. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Marco Brambilla: Megaplex, video installations, opening Saturday, June 8, through June. Open 10 a.m.-5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.



In the wings MUSIC

Emmylou Harris and Rodney Crowell The former bandmates reunite in support of their album, Old Yellow Moon, 7 p.m. Saturday, June 15, The Downs of Santa Fe, $40, ages 14 and under $10, 988-1234, Sandra Wong, Dominick Leslie, and Ty Burhoe Percussion, nyckelharpa/fiddle, and mandolin trio, 8 p.m. Saturday, June 15, Gig Performance Space, 1808-H Second St., $15 at the door, Taos School of Music The 51st season opens in Taos on Sunday, June 16, with the Shanghai Quartet featuring guest pianist Robert McDonald and violist Michael Tree; music of Schubert, Brahms, and Dvoˇrák; the season’s line-up includes pianist Thomas Sauer and the Borromeo and Brentano String Quartets; $20 in advance, discounts available, tickets and schedule available online at The Flatlanders Texas country trio, acoustic set 7:30 p.m. Wednesday, June 19, Santa Fe Sol Stage & Grill, 37 Fire Pl., $34, 988-1234, Santa Fe Bandstand Outside In Productions and the City of Santa Fe present the 11th annual free performance series featuring national and local performers on the Plaza community stage, weekly from June 21 through Aug. 23. Line-up includes Eliza Gilkyson, A Hawk & A Hawksaw, and Max Baca y Los Texmaniacs. Schedule and updates available online at Goddess: Marilyn Monroe Movie Musicals Vocalist Anne Ruth Bransford and the Bert Dalton Trio, 6 p.m. Sunday and Monday, June 23-24, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232. From Darkness to Light: A Kurt Weill Tribute Broadway tunes performed by singer Robert Sinn and pianist David Geist, 7:30 p.m. Sunday, June 23, dessert reception follows, doors open at 7 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20 in advance and at the door, Arlen Asher Santa Fe’s woodwind master is joined by Michael Anthony on guitar, Michael Olivola on bass, and John Trentacosta on drums in KSFR Radio’s concert series, 7 p.m. Thursday, June 27, Museum Hill Café, 710 Camino Lejo, $20, 428-1527. The Howlin’ Brothers Nashville-based bluegrass band, 7:30 p.m. Friday, June 28, Gig Performance Space, 1808-H Second St., $15 in advance at, $18 at the door, Patty Griffin Singer/songwriter, 7:30 p.m. Friday, June 28, Max Gomez opens, Greer Garson Theatre, SFUAD, 1600 St. Michael’s Dr., $46-$62,, 988-1234. Santa Fe Opera The season opens Friday, June 28, with Offenbach’s The Grand Duchess of Gérolstein; other offerings include the premiere of Theodore Morrison’s Oscar, SFO’s first mounting of Rossini’s La Donna del Lago, and two revivals, Mozart’s The Marriage of Figaro and Verdi’s La Traviata; also, Christine Brewer in recital, Sunday, Aug. 4; call 986-5900 or visit for tickets and details on all SFO events.


PASATIEMPO I June 7-13, 2013

Upcoming events Runa Celtic-roots ensemble, 8 p.m. Saturday, July 27, Gig Performance Space, 1808-H Second St., $20 at the door,


Festival au Desert: Caravan for Peace Tour Malian artists Ali Farka Toure All-Stars, featuring Mamadou Kelly, and trance-groove ensemble Tartit, 7:30 p.m. Wednesday, July 10, the Lensic, $25-$40, 988-1234, Santa Fe Desert Chorale 2013 Summer Festival The thirty-first season, July 11-Aug.19, features Romance to Requiem with Susan Graham and an evening of cabaret with Sylvia McNair, Santa Fe and Albuquerque, advance tickets available at the box office, 311 E. Palace Ave., 988-2282, or online at New Mexico Jazz Festival The eighth annual event takes place in Santa Fe and Albuquerque July 12-27; includes Stanley Clarke Band, Lionel Loueke Trio, Terence Blanchard Quintet, and Catherine Russell, $20-$50, tickets available online at the Lensic box office,, 988-1234. Santa Fe Chamber Music Festival The 41st season ( July 14-Aug. 19) performers include pianists Inon Barnatan and Jeremy Denk, violinists Ida Kavafian and L.P. How, and the Orion and Shanghai String Quartets, for advance tickets call 982-1890, for more information visit

Miss Jairus, A Mystery in Four Tableaux Theaterwork presents Michel de Ghelderode’s play, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, June 14-23, James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., 471-1799, Seth Meyers Saturday Night Live’s head writer brings his stand-up comedy routine to Albuquerque’s KiMo Theatre; 7 p.m. Sunday, June 16, $54 in advance at, proceeds benefit Jewish Federation of New Mexico. Luna Unlaced Presented by Chicago-based pan-Latina theater company Teatro Luna, 8 p.m. Tuesday and Wednesday, June 25-26, Teatro Paraguas Studio, 3205 Calle Marie, 424-1601. 2013 BUST Circus arts and puppetry troupe Wise Fool New Mexico spotlights its circus-camp participants, 7 p.m. Friday, 2 and 7 p.m. Saturday, June 28-29, 2778-D Agua Fría St., $10-$15 sliding scale, kids 12 and under $5, 992-2588. Deadwood Duet and Love’s Lonely Highway Southwest Rural Theatre Project presents two one-act plays by Brad Gromelski and New Mexico playwright Patricia Crespin’s drama respectively, Deadwood Duet Friday-Sunday, June 28-30; Love’s Lonely Highway Friday-Sunday, July 5-7; Teatro Paraguas Studio, 3205 Calle Marie, $12, discounts available, 424-1601,

the Flatlanders on stage June 19, at santa Fe sol stage & grill

Aspen Santa Fe Ballet The first program of the summer features new works by choreographers Cayetano Soto and Norbert de la Cruz; plus, Trey McIntyre’s Like a Samba, 8 p.m. Friday and Saturday, July 12-13, the Lensic, $25-$72, 988-1234,


Beltrán — Kropp Peruvian Art Collection Museum of Spanish Colonial Art exhibit of gift items including a permanent gift of sixty art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s Ambassador to the U.S. (1944-45), opening Friday, June 21, running through May 27, 2014, 750 Camino Lejo, Museum Hill, 982-2226. Santa Fe International New Media Festival CURRENTS 2013 features works by international and local artists; exhibits; outdoor video projections, digital dome screenings; panel discussions; and workshops; openingnight receptions and performances Friday, June 14, at Zane Bennett Contemporary Art, David Richard Gallery, El Museo Cultural de Santa Fe, and the Railyard Plaza; festival runs through Sunday, June 30, at various venues, visit for details. 64th Annual Santa Fe Rodeo Downtown rodeo parade 10 a.m. Saturday, June 15; rodeo 6:30 p.m. Wednesday-Saturday, June 19-22, $10-$37; Chicks ’n’ Chaps, rodeo clinic for women in support of Breast Wishes Fund, 1 p.m. Friday, June 21, $65 early bird tickets; Santa Fe Rodeo Grounds,, 988-1234. 16th Annual Santa Fe Greek Festival Á la carte menu by Santa Fe chefs; music by The Aegean Sounds; folk dances; and an import market; 11 a.m.-9 p.m. Friday and Saturday, June 21-22, Santa Fe Community Convention Center, $3, ages 12 and under no charge, visit or call 577-4742 for more information. Santa Fe Opera Ranch Tours Extended tours of the grounds with a meet-theartist component, last Friday of June, July, and August, tour $12, added backstage tour $20, call 986-5900, visit for a schedule of other community events. Santa Fe Wine Festival New Mexico wine samples and sales, music, food booths, and arts & crafts, noon-6 p.m. Saturday and Sunday, July 6-7, El Rancho de las Golondrinas, 334 Los Pinos Rd., $13 includes wine glass for adults 21+, youth discounts available, 471-2261. 2013 Santa Fe International Folk Art Market More than150 artists offer goods at the 10th annual event hosted by the Museum of International Folk Art; pre-market events begin July 10-11, opening party July 12, market July 13-14, visit for schedule and ticket information. SITE Santa Fe events The experimental exhibit series SITElab, presented primarily in the lobby gallery space, continues with Enrique Martínez Celaya: The Pearl opens July 12; My Life in Art series (held at the Armory for the Arts) begins July 16 with Lowery Stokes Sims and Jaune Quick-to-See Smith; other shows are scheduled in November, December, and January 2014, visit for updates.

pasa week

from Page 57

8 Saturday (continued) Power Yoga in the Park Experience movement in the elements, 9:15 a.m. weekly, Chavez Community Center Park, 3221 Rodeo Rd., $6, discounts available, 955-4000, all ages.


3-Minute Film Festival Juried competition presented by Mission Control; amateur, student, and professional films; 7 p.m., the Lensic, $12, kids $8,, 988-1234. Artists Market Live music by Buffalo Nickel Band and food vendors, 11 a.m.-2 p.m., Agora Shopping Center courtyard, 7 Caliente Rd., Eldorado, 466-1270. Contra Dance Traditional New England folk dance with live music by Five Dog String, lesson 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $8, students half price, 820-3535, beginners welcome. santa Fe Artists Market 8 a.m.-1 p.m. Saturdays at the Railyard Park across from the Farmers Market through November, 310-1555. santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe Opera Insider Days Opera Guild members offer insights into productions and behind-the-scenes processes, Saturdays through Aug. 24; call 986-5900, visit for complete schedule of community events. vista Grande Public Library book sale Semi-annual used-book sale, 9 a.m.-3 p.m., 14 Avenida Torreon, Eldorado, 466-7323.


(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. Cowgirl BBQ Mystic Lizard Band, bluegrass, 2-5 p.m.; Americana band Boris & the Saltlicks, 8:30 p.m.-close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Dashboard Romeos, eclectic rock, 9 p.m.-close, call for cover. evangelo’s Rock and blues band The Jakes, 9 p.m.-close, call for cover. La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 8-11 p.m., no cover. La Posada de santa Fe Resort and spa Jazz vocalist Whitney Carroll Malone, bassist Asher Barreras, and guitarist Pat Malone, 6-9 p.m., no cover. the Mine shaft tavern Jim & Tim, soulful blues, 3-7 p.m.; The Sean Healen Band, Western rock ’n’ roll, 7-11 p.m.; call for cover. the Palace Restaurant and saloon Drastic Andrew’s CD-release party, 9 p.m., call for cover. Pranzo Italian Grill Pianist David Geist with vocalist Faith Amour, 6-9 p.m., call for cover. Rouge Cat DJ Mark Farina spinning urban jazz, 9 p.m.-close, call for cover. second street Brewery MJVIII Jazz Project, 6-9 p.m., no cover. second street Brewery at the Railyard The Backwoods Benders, Americana, 7-10 p.m., no cover.

stats sports Bar & nightlife All Gold Everything, weekly DJ showcase; tonight’s guest David Last, 10 p.m., no charge. sweetwater harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover (see story, Page 20). vanessie Stu MacAskie Jazz Trio, 7 p.m.-close, call for cover.

9 Sunday GALLeRY/MuseuM OPenInGs

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014, lecture 1 p.m., reception and workshops 2-4 p.m. (see story, Page 28). santa Fe Public Library Main Branch, 145 Washington Ave., 476-5100. The Beauty of New Mexico, pastels by Mary Olivera, reception 2:30-4:30 p.m., through June.

In COnCeRt

Paper Bird Indie-folk band, 6 p.m., outdoors at the Railyard Plaza, 1607 Paseo de Peralta, no charge.


Flamenco’s next Generation Youth troupe, 2 p.m. Sunday performances through July 28, María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., tickets available online at, 467-3773. Les Misérables Performed by C-A-M-P Studios, 2 p.m., Greer Garson Theatre, SFUAD, 1600 St. Michael’s Dr., $15 in advance; students $10; 946-0488; $20 at the door.


ellen Zachos The author/ethnobotanist discusses Backyard Foraging: 65 Plants You Didn’t Know You Could Eat, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. From Controversy to Canonization New Mexico artist Judy Chicago and author Jane Gerhard discuss Gerhard’s book The Dinner Party: Judy Chicago and the Power of Popular Feminism followed by a book signing and Q & A, 2 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, for information call the nonprofit Through the Flower, 505-864-4080. A history of Jewish Cinema: the Movies the Moguls Made Marcia Torobin discusses the early film industry, 2:30 p.m., Congregation Beit Tikva, 2230 Old Pecos Trail, no charge, susan Gardner The author discusses To Inhabit the Felt World, 3:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, 428-0321.


Railyard Artisans Market Balladeer Michael Combs, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta,, 983-4098, market 10 a.m.-4 p.m. santa Fe Botanical Garden tours 2013 1 p.m. self-guided tour of the Tano Rd. area,

Verve Gallery of Photography shows photo-based work by Maggie Taylor, 219 W. Marcy St.

$35 in advance or $40 on tour day; tickets available at the Lensic,, 988-1234, call 471-9103 for more information. the santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671,


(See Page 57 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. Cowgirl BBQ Joe West and Friends, eclectic folk-rock, noon-3 p.m.; Hello Dollface, blues and soul, 8 p.m.; no cover. the Den at Coyote Café Speakeasy Sundays with vocalist Faith Amour, 5:30-8 p.m., call for cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s Tone & Company, R & B, 8:30 p.m.-close, call for cover. La Fiesta Lounge at La Fonda Old movie night, 6-10 p.m., no cover. La Posada de santa Fe Resort and spa Wily Jim, Western swingabilly, 6-9 p.m., no cover. the Mine shaft tavern Americana guitarist Gene Corbin, 3-7 p.m., no cover. second street Brewery at the Railyard The Bill Hearne Trio, classic country, 1-4 p.m., no cover. upper Crust Pizza Americana singer/songwriter Ray Matthew, 6-9 p.m., no cover. vanessie Acoustic Americana trio JEM, 6 p.m., call for cover.

10 Monday BOOKs/tALKs

the suppressed Memoirs of Mabel Dodge Luhan: sex, syphilis and Psychoanalysis in the Making of Modern American Culture A Southwest Seminars’ lecture with Lois P. Rudnick, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.


santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays, through Aug. 13.


(See Page 57 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. el Farol Geeks Who Drink Trivia Night, 7 p.m., no cover. La Fiesta Lounge at La Fonda Jimmy Stadler Band, Americana/rock, 7:30-11 p.m., no cover. vanessie Bob Finnie, piano and vocal classics, 7 p.m.-close, no cover.

11 Tuesday events

santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM


▶ Elsewhere


(See Page 57 for addresses) Cowgirl BBQ Singer/songwriter Eryn Bent, 8 p.m., no cover. el farol Canyon Road Blues Jam with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Jimmy Stadler Band, Americana/rock, 7:30-11 p.m., no cover. Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m., no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; vocalist/pianist Bob Finnie, 8 p.m.close.


abiquiú Chamber Music Series The sixth season opens Sunday, June 9 with violinist Carmelo de los Santos and pianist Rúbia Santos and continues through September, visit for tickets, directions, and concert schedule, 505-685-0076.

AlbuquErquE Museums/art Spaces

12 Wednesday BookS/talkS

hispanic arts Revival: José Delores lópez New Mexico Museum of Art’s weekly docent talks continue with a discussion of the late New Mexico furniture maker, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075. Michael Mcgarrity The Santa Fe author reads from and signs copies of his historical novel Hard Country, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. native art/folk art: Constructing lineages in early american Modernism Emily Moore, Colorado State University assistant art professor, discusses the evolution of American modernism, $5, Georgia O’Keeffe Research Center Lecture, Education Annex, 124 Grant Ave., 946-1039. Santa fe Clay Summer Slide lecture The series begins with ceramicist Kelly Garrett Rathbone, 7 p.m., Santa Fe Clay, 545 Camino de la Familia, 984-1122, through Aug.15.

in ConCeRt

Music on the hill 2013 St. John’s College’s free outdoor summer concert series debuts with vocalist Faith Amour, 6 p.m., outdoors at the college’s athletic field, 1160 Camino de Cruz Blanca, visit for series line-up, 984-6000, continues weekly through July 24.

Catalina Mountains by David Jonason, at Meyer East Gallery, 225 Canyon Rd.

tiny’s Mike Clymer of 505 Bands’ electric jam, 7 p.m.-close, no cover. Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

Santa fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

13 Thursday


in ConCeRt

ty Burhoe and Bruce Dunlap Acoustic jazz, 8 p.m., Gig Performance Space, 1808 Second St., $15.


Chapter Two preview Santa Fe Playhouse presents Neil Simon’s comedy, 7:30 p.m., 142 E. De Vargas St., $10, 988-4262,, Thursday-Saturday through June. national theatre of london in hD The series continues with The Audience, starring Helen Mirren, 7 p.m., the Lensic, $22, student discounts available, 988-1234,


Santa fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

Desirée Mays Opera Unveiled talk, 7 p.m., Vista Grande Public Library, 14 Avenida Torreon, Eldorado, donations accepted, 466-7323. Victor la Cerva The local author reads from, discusses, and signs copies of Masculine Wisdom, 6:30 p.m., Community Room, Santa Fe Public Library, Main Branch, 145 Washington Ave.




(See Page 57 for addresses) Cowgirl BBQ Acoustic duo Jennings and Keller, 8 p.m., no cover. la fiesta lounge at la fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. the Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover.


PASATIEMPO I June 7-13, 2013

Becoming Eduardo Reel New Mexico screens the award-winning film followed by a discussion with director Rod McCall, 7 p.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, no charge, Jim terr The Santa Fe singer/songwriter leads a free songwriting workshop at 4 p.m. followed by a performance at 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

(See Page 57 for addresses) Cleopatra Café Southside The Saltanah Dancers, belly dance, 7-9 p.m., no cover. Cowgirl BBQ The Gregg Daigle Band, prog-bluegrass, 8 p.m., no cover. evangelo’s Dance band Little Leroy and His Pack of Lies, 9 p.m.-close, call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. la Posada de Santa fe Resort and Spa Pat Malone Jazz Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6 p.m., no cover. the Matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover. Santa fe Sol Stage and grill Bluegrass band Wood & Wire, 7 p.m., call for cover. Second Street Brewery Joe West Trio, theatrical folk, 5-8 p.m., no cover. Steaksmith at el gancho Mariachi Sonidos del Monte, 6:30 p.m., no cover. Vanessie Singer/songwriter Eryn Bent, 7-8 p.m.; Clay McClinton Band, country rock and blues, 8:15 p.m.-close; call for cover.

framing Concepts gallery 5809-B Juan Tabo Blvd., 505-294-3246. Two Answers to Art, painters Lyle Brown and Dianna Shomaker, reception 5-8 p.m. Friday, June 7, holocaust and intolerance Museum of new Mexico 616 Central Ave. S.W., 505-247-0606. Disturbing, but Necessary, Lesson, scale model of a WWII prisoner transport to Auschwitz • Hidden Treasures, 158-year-old German-Jewish heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.-3 p.m. Tuesday-Saturday, donations accepted. indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. Matrix fine art Image New Mexico: A Juried Photography Exhibition, group show, reception and awards ceremony 5-8 p.m. Friday, June 7, through July 13. Richard levy gallery 514 Central Ave. S.W., 505-766-9888. Alex Katz, retrospective exhibit of prints; Elderly Animals, photographs by Isa Leshko; opening Friday, June 7, through July 26. Weyrich gallery 2935-D Louisiana Blvd. N.E., 505-883-7410. The Unique and Unusual, new work by Judith Duff; mixed-media paintings by Susan Zimmerman, reception 5-8:30 p.m. Friday, June 7, through July 26.


film & Media festival Movies; studentcreated digital media; art exhibits; Robert Redford in conversation; and previews of work by Israeli and British filmmakers; Friday-Sunday, June 7-9, Nob Hill District; visit for schedule of events and ticket information. Benefit for nDi new Mexico Featuring Sibylle Szaggars-Redford’s artwork; music by pianist David Thor Jonsson; dance accompaniment choreographed by National Dance Institute of New Mexico; and a poetry reading by Robert Redford; 6-8 p.m. Saturday, June 8, The Hiland Theater, 4800 Central Ave. S.E., $75-$100, 505-265-7786. Sunday Chatter The ensemble performs music of Britten and Mozart, 10:30 a.m. Sunday, June 9; plus, a poetry reading by Greg Martin, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available,


Chimayó Museum 13 Plaza de Cerro, 505-351-0950. 1-5 p.m. Sunday, June 9, Grupo Sangre de Cristo and Cipriano Vigil & Friends perform during an event celebrating summer; includes homemade food, an art show, and a museum tour of Chimayósos: Portrait of a Community, photographs by Don Usner, through July. Open 11 a.m.-4 p.m. Wednesday-Saturday, through October, donations welcome.


New Mexico Dance Coalition student scholarships Three scholarships awarded to New Mexico residents aged 8 to adults in the amount of $400; visit for guidelines and application forms; applications accepted through Friday, July 26; direct questions to Dyan Yoshikawa, Santa Fe Independent Film Festival Submissions sought for the Oct.16-20 festival; deadline July 1; final deadline Aug. 1. Visit for rules and guidelines (see story, Page 36).

Santa Fe Opera benefit Paul Horpedahl, SFO production director, discusses the opera’s season, and former SFO apprentice Carlos Archuleta performs, 4-7 p.m. Saturday, June 8, Misión Museum y Convento, 706 Bond St., contact Gretchen Yost for details, 505-753-8456.

los alamos Museums/Art Spaces

Mesa Public Library Art Gallery 2400 Central Ave., 662-8250. Meg Kramer: New Work, drawings and prints, 2 p.m. reception Sunday, June 9, through June 29.


Bienvenidos Help out by manning the tourist information window on the Plaza for the volunteer division of the Santa Fe Chamber of Commerce; call membership chairwoman Marilyn O’Brien, 989-7901. Girls Inc. of Santa Fe Artists needed to act as jurors during the 41st annual arts & crafts show Aug. 3-4, on the Plaza; also, various positions are available for help during the show; call 982-2042 or visit for details and to sign up. Kitchen Angels Drive vans to deliver food for the homebound two hours a week between 4:30 and 6:30 p.m.; 471-7780, People for Native Ecosystems Pitch in with feeding the prairie dog colonies in Santa Fe two or three hours a week; call Pat Carlton, 988-1596.

Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, no charge, for weekly programs and events schedule.


Gordon’s summer concerts The weekly series of free concerts continues with Warren Hood Band, 7 p.m. Friday, June 7; Eddy & the Nomads, 11 a.m., Saturday, June 8; both concerts at Central Ave. and Main St., visit for schedule.

madrid Museums/Art Spaces

Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Ghost Town Past, new display celebrating Madrid’s 40th Rebirth Day, through October. Steam locomotive, mining equipment, and vintage automobiles. Open 10:30 a.m.-4:30 p.m. daily. $5, seniors and children $3.


New Mexico Women in Film screenings Showing short films 2-5 p.m. Sunday, June 9; taco bar and old-fashioned lemonade stand, Mine Shaft Tavern, 2846 NM 14, $15, 473-0743, visit for more information.

taos Museums/Art Spaces

203 Fine Art 203 Ledoux St., 575-751-1262. Paintings, Monotypes & Sculpture From the ’80s, work by Bill Gersh (1943-1994), through Saturday, June 8. E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

William & Joseph Gallery shows new work by Jeanne Bessette, 727 Canyon Rd.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Retrospective, Altar Screens and Retablos: Catherine Robles Shaw & Family, through July 7. Open 10 a.m.-5 p.m. daily. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge. Ribak/Mandelman House 209 Ribak Ln., 575-751-0310. Reckoning With Modernism, works by Santa Fe painter Shelley Horton-Trippe and Taos textile artist Terrie Hancock Mangat, through the summer. Taos Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122. Oil+Water=Emulsion, group show of works by members of the collective, through July 5. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.


ARCOS Dance repertoire concert Celebrate the opening of the TCA bar with modern to classical music and dance, free 6 p.m. reception, ticketed 7:30 p.m. concert, Friday, June 7, Taos Community Auditorium, 133 Paseo del Pueblo Norte, $20, students under 18 $10; for tickets call 575-758-2052. Santero Victor Goler The local conservator discusses his book The Couse Collection of Santos, 2 p.m. Sunday, June 9, Mabel Dodge Luhan House, 40 Morada Ln.; reception and book signing follows at the E.I. Couse and J.H. Sharp Historic Site, 146 Kit Carson Rd., 575-751-0369.


Rockabilly on Route 66 Weekend festival and classic car show with music by Wanda Jackson and The Chop Tops; food vendors and a parade; in support of the New Mexico Route 66 Museum; Friday-Sunday, June 7-9, visit for tickets.

▶ people who need people Artists

New Mexico furniture craftspersons Santa Fe Arts Commission Community Gallery is planning an exhibit of chairs from June through August 2014; traditional, modern, sculptural, and functional pieces considered; submit portfolio to Rod Lambert, Community Gallery manager, by Friday, June 28; mail to P.O. Box 909, Santa Fe, NM, 87504, 955-6705. Pecos Studio Art Tour Call for Pecos area artists for the annual event Sept. 28-29, for information and application visit or call 505-670-7045. Pojoaque River Art Tour Area artists are invited to join the annual studio tour Sept. 21-22;, 455-3496. SITE Santa Fe’s Spread 4.0 dinner Artists of all disciplines are invited to submit proposals for food-related projects for the Oct. 11, dinner designed to generate financial support for artistic innovation; applications accepted online only at from Friday, June 7, through Sunday, July 7.

Filmmakers/Performers/Writers Julesworks Follies The monthly variety show series seeks ideas and behind-the-scenes help; contact Jules, 310-9997,

▶ under 21 Grind Sessions/Brutal Metal Night Scalafrea and Eat a Helicopter, Octaveleven opens, 6:30 p.m. Friday, June 7, Warehouse 21, 1614 Paseo de Peralta, $5, 989-4423. Youth Pride Music Night Presented by W21 and Human Rights Alliance, 7 p.m., Wednesday, June 12, Warehouse 21, 1614 Paseo de Peralta, no charge, 989-4423.

▶ pasa Kids Railyard Park Summer Movie Series Despicable Me, the world’s #1 super-villain, 8-10:30 p.m., Friday, June 7, Santa Fe Railyard Park, Paseo de Peralta and N. Guadalupe St., no charge, 982-3373. Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, 989-8359, visit for weekly scheduled events. George Ancona The Santa Fe author reads from and signs copies of his children’s book celebrating the garden at Acequia Madre Elementary School, It’s Our Garden, 4 p.m. Saturday, June 8, Bee Hive Books, 328 Montezuma Ave., 780-8051. Day Out With Thomas: The Go Go Thomas Tour 2013 Ride the Cumbres & Toltec Scenic Railroad train with Thomas the Tank Engine, star of the Thomas & Friends TV series, and enjoy a day of Thomas-themed activities, Saturday and Sunday, June 15-16, Friday-Sunday, June 21-23, 500 S. Terrace Ave., Chama, call 888-286-2737 for ticket prices and details. Dig Into Reading Santa Fe Public Library 2013 Summer Reading Program, toddlers and children up to age 12, visit for registration and events schedule, through July 27. ◀



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Pasatiempo June 7, 2013  

Pasatiempo June 7, 2013

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