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The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture February 8, 2013

Santa Fe ConCert aSSoCiation

Happy Hour Special - 50% off OUR FAMOUS CLASSIC APPETIZERS


Wines-by-the-glass,‘Well’ cocktails, House Margarita! - $5.00 each

Join us for Valentine’s Dinner 5-9pm


Monday thru Friday from 4:30 – 6:30 p.m. …

3 – Course Dinner Special / 35.00 per person Sunday thru Thursday From 5:30

New fleece caps are in! See on:

231 washington avenue santa fe, nm

Call 988-2355 for information & reservations 221 Shelby Street •


“Cooking is like love, it should be

entered into


Let’s freshen up that bedroom energy. Re claimed woods. Clean lines yet warm. Organic Mattress. Organic sheets. Silk filled Pillows and Comforters.


or not at all.”

- Harriet Van Horne

Functionals and Fine Art.

526 Galisteo Street • 820.0919 2

February 8 - 14, 2013




201 Galisteo St, Santa Fe, NM 87501 Tel 505 982 7000

Love Love Love

Origins® is a registered trademark used under license. ©2013 margOlis, inc





Generosity is Our True Nature

Let Us Assist You with Gifts for Your Loved Ones

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Gift Certificates Available



135 W San Francisco • Santa Fe •

A World of Beauty and Benefit

Cartier Chanel Chrome Hearts Anglo American, Anne et Valentin Beausoleil Lunettes Dolce & Gabbana Etnia Barcelona FACEaFACE Ronit Furst Gotti i.c!berlin Lindberg Denmark Oliver Peoples RetroSpecs Loree Rodkin Theo 2.5 Eyephorics…


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Optometric Physicians

444 St Michaels Drive

5 0 5 . 9 5 4 . 4 4 4 2 PASATIEMPO


Valentine’s Sensual Aroma Wine Dinner Join Chef Sparman of Luminaria & Brenda Boychuk of J.Lohr Vineyards to explore the sexy side of wine... with a sensual 4 course meal where you will evaluate dozens of aromas! Seating is limited

505.984.7915 |






YMPHONY ...bringing great music to life


Birds & Brahms La Gazza Ladra Smetana, Moldau Vaughan Williams, Lark Ascending Brahms, Symphony No. 2

The Symphony's own concertmaster

David Felberg




Emily Zants,

in memory of Rodman A. Sharp and

983-1414 4:00 PM

Steven Smith Conducts

Free preview talk an hour before the concert.

AT THE LENSIC ! $20 — $70

Half priced tickets for children 6 - 14 with adult purchase. The 2012–2013 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.


February 8 - 14, 2013

Celebrate LOVE in 19 Languages this

Valentine’s Day

at The Compound Restaurant with Mark Kiffin, James Beard Award-Winner Best Chef of the Southwest

We have great Valentine's Day cards and gifts! A ith ark W ove ewel M L J r You From e t ebra ift Cel tine’s G en Val

Reservations 982.4353

653 Canyon Road

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

Featuring Attractive Hand Crafted Southwestern Lighting

View our new bridal lines at the Santa Fe Wedding Fair on February 10th at the Santa Fe Convention Center


Great selection of Hand-Forged Iron Lamps, Unique Batik and Rawhide Lamp Shades. Reasonable prices every day of the year! Please come in, you’ll be pleasantly surprised.

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

Monday - Saturday Fine Jewelry The Mark of Distinction Established 1987

OPEN EVERY DAY 10-6 • 505.820.6304 233 Canyon Road •


Closed Sundays





February 8 - 14, 2013

On the cOver 32 gabriela montero On Sunday, Feb. 10, pianist Gabriela Montero gives a performance at St. Francis Auditorium. The musician, a dual citizen of Venezuela and the U.S., plays pieces by Brahms and Schumann and devotes a portion of the concert to an extended improvisation session. In anticipation of her Santa Fe appearance, Montero spoke with Pasatiempo’s James M. Keller about Venezuela’s struggles, its government, and its national training system for orchestra musicians, among other topics. Cover photo by Colin Bell.


mOving images

14 in Other Words Kafka, Dickens, and their flames 16 margaret Wrinkle’s Wash Slave and sire

46 Pasa Pics 50 Teddy Bear 52 Amour

mUsic and PerfOrmance 18 20 23 24 28 30 34 63


Pasa tempos CD Reviews terrell’s tune-Up Bobby Rush Onstage this Week Trio’s company timbuktu blues Eric Bibb and Habib Koité Pasa reviews Catfish Hodge too darn hot Coal: The Musical The Warriors Arcos Dance sound Waves Hey Mrs. DJ

56 Pasa Week

and 11 mixed media 13 star codes 54 restaurant review

art 38 a pilgrim’s progress Annie Leibovitz 42 this old horse Back in the Saddle CORRECTION: “Just a Gigolo,” in Pasa’s Jan. 18 issue, contained a few errors. Frieda Lawrence, who had three children from her first marriage, was 12 years older than Angelo Ravagli. The name of the gamekeeper in Lady Chatterley’s Lover is Oliver Mellors. Apologies to D.H.L.

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,

from The Warriors: A Love Story, produced by arcos dance

art director — marcella sandoval 986-3025,

assistant editor — madeleine nicklin 986-3096,

chief copy editor — Jeff acker 986-3014,

associate art director — lori Johnson 986-3046,

calendar editor — Pamela beach 986-3019,

staff Writers michael abatemarco 986-3048, rob deWalt 986-3039, James m. keller 986-3079, Paul Weideman 986-3043,

cOntribUtOrs Jon bowman, laurel gladden, robert ker, bill kohlhaase, Jennifer levin, susan meadows, adele Oliveira, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, 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

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

valentine’s dinner menu thurs., fri. & sat. | february 14th, 15th, 16th

Valentine’s Day at the Old House Celebrate Love with the Aphrodisiac Menu


Maine Lobster Scampi Lobster Claw and Tail Meat Sauteed in Butter, Garlic and White Wine with Rock Shrimp Risotto, Soybeans, Spanish Chorizo and Sweet Lemon Reduction $16

M a I n CO U R S E

Valentino Surf and Turf Roasted lamb Loin Glazed with apricot and Dijon Mustard and a Prosciutto Wrapped Scallop served with Roasted Corn and Huitlacoche Mashed Potatoes, Baby Vegetables and Champagne Veal Reduction $32


Tres Leches Chocolate Cake Milk Infused Chocolate Cake with Fresh Berries and Blackberry Whipped Cream $8

$45 per person

includes Glass of Fizz 56 Brachetto Spumante nV

also serving our full regular menu

1501 Paseo de Peralta - Santa Fe, nM 5:30-10:00pm • 505.955.7805 THE HACIENDA AND SPA -

Thursday through Sunday, February 14-17 This Valentine’s Day celebrate your beloved with our special four-course menu that features an array of aphrodisiac favorites including oysters, lobster tail, prosciutto, fresh strawberries and vanilla! $119 per couple. $149 per couple with wine pairings.

Reservations recommended. Please call 505.995.4530. 309 W. San Francisco Street



! e n i t n e l a V r u o y s Impres Bodhi Bazaar Chapare Dell Fox Jewelry Eidos Contemporary Jewelry El Tesoro Café Get It Together Kioti

Mercedes Isabel Velarde Fine Jewelry And Art On Your Feet On Your Little Feet Pandora’s Play Pranzo Italian Grill/Alto Raaga Restaurant


500 Montezuma Avenue •


February 8 - 14, 2013

Ristra Restaurant Rock Paper Scissor Salonspa Santa Fe Pens SoulfulSilks

. l a c o l p sho

Teca Tu – A Pawsworthy Emporium The Reel Life Wink Salon Cost Plus World Market

Mayor Richard J. Berry invites you to Historic Old Town

Saturday, February 9, 2013 Noon - 5 p.m.

• Puppy Love Kissing Booth

Find your next love! Pet adoptions and adoption specials.

• Kids enjoy arts and crafts with a heart

3 p.m. - Free Group Wedding and Renewal of Vows (Register at the event)

4 p.m. - Interfaith Blessing of Love and Devotion at the Gazebo

Historic Old Town

For more info call: 311 (Relay NM or 711) or 505.768.3556 Or visit Cultural Services Department, City of Albuquerque, Richard J. Berry, Mayor In partnership with the Albuquerque Arts Business Association (The ARTScrawl People) and the Old Town Merchants Association

B A B E T T E S F. C O M

• Free Walk-up Weddings

by A Celebration of Love Wedding Chapel. County Clerk will be on site to issue Marriage Certificates.

1 1 0 D O N G A S PA R , S A N TA F E

(505) 989-3435

Shopping Specials • Dining Walk-up Weddings • Chocolate Coffee • Live Entertainment



Santa Fe Institute 2013 Community Lectures Santa Fe Institute Community Lectures offer a glimpse inside the Institute’s research to understand the physical, computational, biological, and social complex systems that underlie the most profound issues facing humankind today. By transcending disciplines, breaking academic molds, and bringing together an international network of unorthodox thinkers, SFI is asking big questions that matter for science and society. Lectures begin at 7:30 pm and take place at the James A. Little Theater, 1060 Cerrillos Road, Santa Fe; exceptions are noted. Due to generous underwriting by Los Alamos National Bank, admission is free but seating is limited. For more information visit March 14 — How Social Media Might Help You Survive the Next Big Disaster

Note venue exception: Greer Garson Theater, 1600 St. Michael’s Drive, Santa Fe Leysia Palen is an associate professor of computer science and project director for the ConnectivITy Lab at the University of Colorado Boulder.

May 9 — The Minds of Children

Alison Gopnik is a professor of psychology and affiliate professor of philosophy at UC Berkeley and author of several books on child learning, including The Scientist in the Crib and The Philosophical Baby. SFI President’s Circle Donor Reception, 6:30 pm

May 30 — Zoobiquity: What Dolphin Diabetes Can Teach Us About Human Health Barbara Natterson-Horowitz, M.D., is an attending cardiologist at the UCLA Medical Center, a professor of medicine for the UCLA Division of Cardiology, and a consultant to the Los Angeles Zoo. Her recent book with Kathryn Bowers is Zoobiquity: What Animals

Can Teach Us About Health and the Science of Healing.

June 4 — The Brain and the Law: How Neuroscience Will Shift Blameworthiness

David Eagleman is a neuroscientist and writer at Baylor College of Medicine, where he directs the Laboratory for Perception and Action and the Initiative on Neuroscience and the Law.

June 26 — The Cosmic Landscape

Leonard Susskind is the Felix Bloch Professor of Theoretical Physics at Stanford University and director of the Stanford Institute for Theoretical Physics.

July 31 — Beyond Interdisciplinarity: Reconceptualizing the Academic Enterprise

Michael Crow is President of Arizona State University. Since 2002 he has guided the transformation of ASU into one of the nation’s leading public metropolitan research universities — a model he terms the “New American University.”

August 14 — On Moral Progress: Reason and Logic or Empathy and Emotion

Steven Pinker is a Harvard College Professor and Johnstone Family Professor in the Department of Psychology at Harvard University. He conducts research on language and cognition and is the author of seven books, most recently The Stuff of Thought: Language as a Window into Human Nature. Rebecca Newberger Goldstein is a novelist, biographer, professor of philosophy, and 2011 Santa Fe Institute Miller Scholar. SFI President’s Circle Donor Reception, 6:30 pm

September 10, 11, 12 — Stanislaw Ulam Memorial Lecture Series

Complexity and the Biology of Computation

SFI External Professor and Science Board member Stephanie Forrest is a professor of computer science at the University of New Mexico. She is a recipient of the University’s Research Lectureship (2012) as well as the 2012 Association for Computing Machinery/AAAI Allen Newell Award for innovations in computing technology that have enabled computer science to solve real-world challenges.

November 6 — Turing’s Cathedral: The New Mexico Origins of the Digital Universe

George Dyson is an author and historian of technology whose publications broadly cover the evolution of technology in relation to the physical environment and the direction of society. To Become a Member of the Santa Fe Institute President’s Circle, please contact the Office of Development at 505.946.3678. The Santa Fe Institute thanks Los Alamos National Bank, which continues to provide major underwriting for the Community Lecture Series. 10

February 8 - 14, 2013


Petr Jerabek

la’s L a Plazeu’seD y a n i t n e l a V e h t s t u p u n e m …, “Happyy” oin well, …u know Theaterwork’s production of Nilo Cruz’s Beauty of the Father


Lovers for a free Spain

Beef Tenderloin Medallions, pan seared

It isn’t every day that a father and his daughter fall in love with the same man, but in the written universe of Cuban American playwright Nilo Cruz, anything is possible. And romance is just the tip of the quill. Awarded the 2003 Pulitzer Prize for Drama for his play Anna in the Tropics — a recognition bestowed before the play even hit Broadway — Cruz is the only Latin American to have earned the prize. At 7:30 p.m. Friday, Feb. 8, Theaterwork opens its production of Cruz’s 2004 play Beauty of the Father at the James A. Little Theater. The play runs through Sunday, Feb. 17. In this drama set 100 years after the Spanish Civil War in Granada, birthplace and home of playwright and poet Federico García Lorca, American artist Emiliano (Tad Jones) spends much of his time at the shore painting — and confessing his inner thoughts and worries to the lingering ghost of García Lorca ( Jonathan Dixon). Marina (Vanessa Rios y Valles), Emiliano’s estranged daughter, comes to visit shortly after her mother’s death and becomes immersed in her father’s artistic life. But when Emiliano’s male lover — a headstrong and dashing young Moroccan perfumer named Karim (Isaiah Rodriguez) — enters the picture, Marina becomes is smitten with him. The artist is also bedding Karim’s wife of convenience, a worldly woman named Paquita, played by Trish Vecchio. Marina is initially unaware of the complex romantic entanglements that surround her. But in due time, the love rectangle will implode, and much will be revealed. García Lorca, who was executed by Spanish Fascists in 1936 for his politics and, it has often been argued, for his homosexuality, is not new to Cruz’s plays or to Theaterwork. The local company staged Cruz’s Lorca in a Green Dress during its 2004-2005 season. Beauty of the Father, like much of Cruz’s other work, is riddled with allusions to literature and symbolism in the exploration of love and sacrifice. For this production, director David Olson focuses particular attention on García Lorca’s poetry. The production also includes songs composed by García Lorca. Performances take place at 7:30 p.m. Friday and Saturday, Feb. 8 and 9, and Thursday to Saturday, Feb. 14 to 16; and at 2 p.m. Sunday, Feb. 10 and 17, at the James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Road. Tickets are $15; $10 for students. Call 471-1799 for reservations. — Rob DeWalt

obster Bisque garnished with char

grilled lobster medallions

and served with red wine demi-glace, sauce foyot, roasted shallot-cheesy risotto and sautéed spaghetti squash Chocolate Profiteroles, custard filled and accompanied by black raspberry-chocolate chip gelato $40 per person

Happy Valentine’s Day! Thursday, February 14th

Reservations Recommended 505.995.2334 100 E. San Francisco St. Santa Fe, NM

Lane Warner Executive Chef



A Musical Offering The New Mexico Performing Arts Society Chapel Series Concerts

Third Annual Valentine’s Concert Chamber Music of Johann Sebastian Bach

◆ ◆ ◆ ◆ ◆ ◆ ◆ ◆ ◆

The Immaculate Heart of Mary Chapel 50 Mount Carmel Road / Santa fe IHM Retreat and Conference Concert

Sunday, February 24, 2013 at 4:00 P.M. Program

Sonata in G major for Violin and Keyboard, BWV 1019 Sonata No.2 in D major for Gamba and Harpsichord, BWV 1028 Sonata in b minor for Flute and Obbligato Harpsichord Trio Sonata from “The Musical Offering”. for Flute, Violin, Cello and Keyboard, BWV 1079, No. 8

Guest Artists Kerri Lay, Violin Linda Marianiello, Flute Sally Guenther, Cello Susan Patrick, Harpsichord Tickets: $25 Adults / $22 Seniors / $17 Parent with Student / $15 Students

Reservations and Information: or 505-474-4513 NMPAS:

Credit Card Purchases at: www.ihmretreatcom 12

February 8 - 14, 2013

In Other wOrds Charles Dickens in Love by Robert Garnett, Pegasus Books, 448 pages Kafka in Love by Jacqueline Raoul-Duval, Other Press, 274 pages When it comes to love, famous writers are just like you and me — except apparently more so. They fall in and out of love, have their hearts broken, break hearts, carry on, lust, moon, scheme, play the fool, seduce, deceive, betray. Then, if they’re any good, they write it all down and use it in their books. If love were currency, writers could take a tax deduction. Take Charles Dickens, whose bicentennial we celebrated last year. He married a woman and maintained a steady, loyal domestic relationship for most of his life. Sadly, however, that relationship was not with his wife but with her sister. It might have been with her other sister, the one he was really in love with, but she died young. His first love was a young woman named Maria Beadnell. She gave him the time of day, barely, just enough to string the one-sided romance along for a few years, but eventually she dumped him, presumably for his lack of prospects. No doubt as the young Charles paced the cold damp streets of London in the spring of 1833 nursing his broken heart, he consoled himself with the thought: one day I’ll be a famous writer, and then you’ll be sorry. He got that right. Dickens married Catherine Hogarth the following year, on the rebound from Maria, and he was attentive enough to beget 10 children upon her, but aside from that, there does not seem to have been much of a rapport between them. Her younger sister Georgina became far more of a “companion, housekeeper, confidante, and (virtually) deputy wife,” writes Robert Garnett in his absorbing but sometimes annoyingly speculative romantic history of England’s premier novelist. It was another Hogarth sister, Mary, who became the next great and tragic love of Dickens’ life. He adored and idolized his young sister-in-law, and after she died (in his arms) she became “a transcendent force in his life, a sacred memory: muse, angel, even deity.” Mary was the inspiration for a number of his most poignant heroines, including Little Nell, whose illness in The Old Curiosity Shop had readers on both sides of the Atlantic in agonies of suspense and tears. (Crowds would gather when ships arrived in the States from London carrying the latest chapters of the novel, and when the last installment arrived in 1841, thousands of anxious fans massed at the New York docks and cried out to the sailors: “Does Little Nell die?”) Dickens’ third great love was an actress, Ellen Ternan. She was 18 when they met. He was 45 and by then, eat your heart out Maria, one of the most famous men in the world. After an apparently innocent first meeting, Ellen soon became his mistress, and it was the discovery of the affair that may have proved the last straw for the long-suffering Catherine. After 22 years of marriage, the Dickenses separated when Mrs. Dickens came upon a bracelet in a gift box bearing a card for Ellen. Real life, like Dickensian fiction, is not ashamed to use that sort of device. Happily, Charles’ comfortably domestic relationship with his faithful Georgie survived her sister’s departure. Dickens did his best to baffle the research of biographers. He burned most of his letters and diaries. A few survived, as did his letters in the possession of other people, as well as one pocket diary. “By-the-bye,” Dickens wrote to Georgie from New York in early 1868, “on the last Sunday in the old year, I lost my old year’s pocket-book.” Garnett speculates that it was stolen, and it eventually made its way to the Berg Collection at the New York Public Library, whence it has provided tantalizing glimpses into the Ternan affair as well as other aspects of Dickens’ life in 1867. But where so much is lost, the biographer is left to do a lot of guessing and conjecturing, and this can reach an irritating pitch. May have’s, maybe’s, and rhetorical question marks pelt down on Garnett’s pages like rain and soot on Holborn Hill in Bleak House, whose Lady Dedlock bears traces of Ellen. After one such flight of conjecture, Garnett allows that “such conclusions are speculative,” and after another, he admits, “The diary’s mysteriously brief note may lure us into imagining a ghost in the attic, when there is only a mouse.” Dickens wished to be remembered not for his personal life but for his extraordinary literary legacy. “I rest my claims to the remembrance of my country upon my published works,” he declared in his will. But literature seldom grows in a vacuum. Maria, Mary, and Ellen are enshrined and remembered in the heroines of his novels. As Garnett sums it up, “No one taught him more; no one stirred his feelings more powerfully, or enriched his imagination more generously.” If Dickens was a bit of a dickens when it came to love, Franz Kafka’s romantic history was virtually Kafkaesque. For Kafka, love seems to have been a kind of irresistible nightmare in which there was no satisfaction and from which there was no escape. He was a connoisseur of misery, a glutton for romantic punishment who was only happy when he was unhappy. To his close friend Max Brod, he once wrote: “I can love only what I can place so high above me that I cannot reach it.” Kafka tested this theory on the four main women in his romantic life. There were four to whom he became engaged, anyway. A number of others touched his heart and fired his imagination but escaped unscathed.


February 8 -14, 2013

book reviews

SubtextS St. Francis: made in our own image St. Francis, the “Poor Man of Assisi,” is arguably the most controversial of saints and has been for some 800 years. Born into a rich merchant family, Francesco di Bernardrone, after serving a year in prison and time among lepers, disavowed his birthright and became a penitent. His followers, the first Franciscans, lived like him, “according to the form of the Holy Gospel,” writes André Vauchez in Francis of Assisi: The Life and Afterlife of a Medieval Saint. Disputes surfaced among his own devotees, and his embrace of extreme poverty put him in opposition to the Church he loved, which sought to control and direct his legacy. But Francis, a man who is said to have made a deal with a wolf, remains a most human figure and an inspiration to Catholics and non-Catholics. Vauchez, professor emeritus at the University of Paris X Nanterre, sees Francis as “one of those spiritual masters whom each generation must remake as its own.” He takes on all sources, from St. Bonaventure, whose “official life,” written some 40 years after the saint’s death, grants Francis magical powers, to the Protestant Paul Sabatier, whose Life of Saint Francis began a trend of scholarship that humanized the “second Christ” and was immediately banned by the Catholic Church after its publication in 1893. Vauchez relies mostly on Francis’ own writing and discards that colored by devotion or resistance to his teachings. The majority of the book focuses on the changing notions of the saint over the intervening generations. Like biographer Thomas Celano, a contemporary who saw Francis as “truly new and of another time,” Vauchez views the saint’s relevance as a reflection of contemporary experience. The book, published by Yale University Press and translated from the French by Michael F. Cusato, is sometimes difficult going. But it’s worthwhile reading for those who wish to understand the Poor Man of Assisi’s legacy. — Bill Kohlhaase


1/5 cowgirl




Most of his women carefully preserved his letters. So did his friends, particularly Brod. So when French writer Jacqueline Raoul-Duval set out to write the story of the great novelist’s amours, she had a rich trove of firsthand material from which to draw. Raoul-Duval’s book is technically a novel, which gives her ample license for speculation and conjecture. When she introduces Franz in her opening pages, he is skipping boyishly from puddle to puddle through the cobblestoned streets of Prague, whistling “Collection de boutons au Louvre” as he makes his way to his friend Max’s house, where his first great romance awaits him. If one judges by the amount of literary real estate allotted in Raoul-Duval’s elegant novel, Felice Bauer was the first and the most important of Kafka’s loves. She consumes 126 pages. Her closest rival, Dora Diamant, who nursed Kafka through his final illness, gets about half that space, and she doesn’t even make her entrance for a dozen pages into her section. Julie Wohryzek, fiancée number two, manages less than a dozen pages altogether, and number three, Milena Jesenská, clocks in at barely 40. Mention must also be made of lovely teenage Gerti Wasner, “her every feature so delicate: her wrists, her ankles, the oval of her face, the shadow of her long eyelashes. She is so unlike sturdy, homely Felice.” He finds young girls especially poignant because “it is their fate to become women and lose their beauty, their innocent grace.” Franz and Gerti spend 10 chaste, idyllic days together at a health spa, and then Gerti has the good sense to leave without a backward glance. Another young woman shares Felice’s section. Grete Bloch enters at Felice’s invitation, sent by her friend as an envoy to broker an end to one of the many periods of silence that mark their largely epistolary relationship. Letters are the primary coin of most of Kafka’s relationships; he uses them to charm, to seduce, to bludgeon and torment. “He is made of literature,” his friend Max tells Felice, and despite a few mostly unhappy in-person interludes, the lion’s share of his wooing is done via the written word. So when Grete arrives in Prague as Felice’s envoy and urges him to “write to her less and visit her more,” the main outcome is that Kafka launches a correspondence with Grete that outstrips his letters to Felice. Four engagements, none reaching the altar, for the most part conducted long distance, often with many letters a day. Neurotic, tubercular, and spending much of his time in health spas, Kafka was not a robust lover. But with his pen he could be his best, without having to deal with the quotidian earthbound nuisances of groceries and hairpins and toothbrushes. Raoul-Duval makes extensive use of Kafka’s letters to his women in shaping the voice of her subject. Their letters to him do not survive. Kafka in Love is itself a kind of love letter, and nowhere is it more lovely than in the story (recorded by Dora in her recollections of Kafka) of the letters he wrote for a little girl he found sobbing in a park because she had lost her doll. No, he assures the child, your doll went on a trip. She wrote me a letter. And day after day he meets the little girl to read her letters from around the world from the wayward doll. It was this story, Raoul-Duval writes in her author’s note, that inspired her to undertake Kafka in Love. Kafka, by the way, was a great fan of Dickens. He urged Felice to read Little Dorrit and readily acknowledged the debt that “The Stoker,” a short story that became the opening chapter of Amerika, owed to David Copperfield. Both great writers loved, seldom wisely or too well, and used their passions for the women they loved as fuel for their writing. — Jonathan Richards



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pen your box of poems, love letters, inspiring thoughts… Bring them on Valentine’s Day to share with us over a glass of wine and chocolate fondue. We are a continuing care community that is part independent living, part assisted living and part skilled nursing home. And these parts make up the whole lot of love that is the basic characteric of our community. Join the journey of rediscovery at Taos Retirement Village.


You are invited!

EVENT: HEALTHY HEARTS POETRY READING Thursday, February 14, 2013 4 pm at The Village Bistro RSVP by February 12.


RETIREMENT VILL AGE 414 Camino de la Placita . Taos NM




Margaret Wrinkle’s first novel was conceived from a family story. Bill Kohlhaase I For The New Mexican


February 8 -14, 2013

Margaret Wrinkle, a seventh-generation Southerner from Birmingham, Alabama, first heard the story from a now-deceased cousin. An ancestor had been involved in slave breeding. Wrinkle tried to confirm it, but she could find no proof of the story — nor was she able to find any accounts of slave breeding at all. The only thing that came of her research through local libraries and archives was a three-line reference in a WPA-era account from slave descendants. “One of the interviewers asked about slave breeding,” Wrinkle said, “and the subject told a story about how one of the men went away for a weekend and then nine months later all these babies were born. I thought about that man and how psychologically involved that situation had to be, and I wanted to know more about him.” Imagining that notion of the man who went away, Wrinkle wrote her first novel, Wash. Wash (published by Atlantic Monthly Press) is the story of a slave with an unruly past who is rented out to other slave owners, like a horse, as a stud. The value of this service is at once degrading and simple: a pregnant slave woman is worth more than one who is not. But Wrinkle’s novel pushes far past its original conception. “Slave breeding is the premise or the setup to the book, but in the end it’s sort of peripheral to the finished story. It’s really about a lot of other things, the root of the culture at that time, the mix of it all, which together took over all the aspects of the story.” Told using contrasting first-person accounts and third-person narration, Wash imagines the psychology of slaves and slave owners, exposing the kind of thinking that allowed one to survive as a captive, often under cruel conditions, as well as that required of whites to justify — or ignore — the cruelties involved. Richardson, Wash’s owner, is driven to build an empire on the Tennessee frontier. He knows something of chains himself, having spent a year as a prisoner of the British during the Revolutionary War. Mena, Wash’s mother, is a strong and constant presence, her “telling” coming to her son just when he needs it. “I’d find myself in the middle of some trouble,” Wash recalls, “then I’d see her hands moving in my mind’s eye, the look on her face all those years ago. Then I’d say to myself, oh. Here it is. This right here is what she meant.” Pallas, a healer who becomes close to Wash, has suffered sexual humiliation of the worst kind. She knows when to hold on to memories and when to let go. Wash suffers his own indignities in captivity. He has one eye that wanders over everything, the result of a hammer blow to his temple from a previous owner’s son. The letter “R” is branded on his cheek to mark him as a runaway. The ironsmith who made that brand, Rufus, was turned over to slave marketers in West Africa by his own people who knew the value of his forging skills. Rufus serves as an image of cruelty, both suffered and inflicted. “He acted up pretty bad coming across,” says Wash, “so he got seasoned hard.” In 1996, Wrinkle made a documentary film titled brokenground, about contemporary race relations in Birmingham. She also spent time teaching underserved schoolchildren in her hometown. She drew upon research, not all of it of the scholarly sort, to create the world of Wash, some of it centered around the Outer Banks of North Carolina, some of it in the frontier northeast of Nashville, all of it shadowed by what it meant to be a slave or a slave owner in 1823. Not only did she pore over archival collections, but she also walked plantations, both preserved as museums and abandoned, took photos (a handful appear in the book), and studied traditional West African spirituality. She even worked with a blacksmith to see just what it was like to forge the letter stamped into Wash’s cheek. “I started writing this book as nonfiction, but it didn’t work out that way,” she said. “Most of the archival material I read didn’t deal with how people felt at the time. That had to be imagined.” As Wrinkle tells it, the story involves two ways of seeing life: one as linear and based on laws, the other as more metaphysical, based on cultural tradition, and continually existent. “It was important to me

that any book about slavery needed not to be about the same Western secular paradigm. Traditional African spirituality is not chronological. Everything that is happening in the present is happening in the eternal moment; the ancestors are present with the living. I was fascinated that the idea of story works as ceremony, a sort of time-travel machine. As you start to tell a story out of the past, the narrative moves into the present. Memoir arrives in the present tense even though it happened in the past.” These contrasting cosmologies are represented by the slaves’ desire to hold on to their traditional beliefs in the assembling of shrines, which whites called “mojos,” and the owners’ obsession with destroying them. The constant between the two cultures is storytelling, whether it’s Wash’s mother bringing his father to life or Richardson’s writing letters to absolve himself of the tragedy that came to his men during the war. What Richardson can’t bring himself to do is deal on paper with the story of his selling Wash’s services. He keeps an accounting of the sales, the acts reduced to numbers and dollar signs. His correspondence arranging Wash’s visits is veiled to obscure their purpose and then burned. Richards wants to address his relationship with Wash, wants to write about it, but he can’t bring himself to do it. These feelings are expressed in his first-person account, in the past tense and with regret, almost as if from the grave. Wrinkle manages to create the sense of each character in his or her first-person narrative without falling into clichéd dialect. Much of this comes from a sort of plain-spoken self-examination that reveals each character’s motivations. “It was only when I didn’t push and didn’t get out ahead of myself that I ever got anywhere,” says Wash, wrestling to control his impulsiveness. “I’m in it because I can’t stay out of it,” says Richardson about his slave business. “I knew that if I wrote directly, in a historically accurate way, it would distance the modern reader,” Wrinkle said. “So I created this kind of trans-alliteration, a middle ground, for the voices. There was no way I could write in some kind of dialect.” She explained that the rhythms she imparts to the voices came from editing her documentary. “When you edit some 40 hours of interviews and hear those rhythms over and over, it schooled me in the different ways people talk, the cadence of their speech.” Wrinkle is aware that writing as a black slave may seem inappropriate to some. She was participating in a writing workshop when an African American woman asked her what right she had to write from that perspective. “I told her slavery is my story, too. I believe that we underestimate the huge impact that slavery had on the white psyche. This is still playing out and needs to be dealt with.” In the book, different whites hold different views of slavery. Some see it as a God-given right. Some, like Richardson, are conflicted yet manage to tolerate the inhumane treatment they and other owners deal in. Some see it as simple travesty. A child of slave owners becomes an abolitionist. One woman tries and fails to establish a utopian community where blacks are freed and given education. The complexity of the book’s themes are a tangle of history and culture as well as cosmology. What the characters share, black and white, is a sense of their own stories, how they intertwine and how they are connected to the stories of those who came before. By writing in her characters’ different voices, Wrinkle has put them on equal footing. “They’re all together now in the same space, the way the voices cut in and respond to each other, that indicates that they hear each other, that nothing can be separated, the past from the present, that everything is connected. That’s the way their stories came to me. That process was terribly moving.” ◀

Margaret Wrinkle

details ▼ Margaret Wrinkle reads from Wash ▼ 6 p.m. Friday, Feb. 8 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

I started writing this book as nonfiction, but it didn’t work out that way. Most of the archival material I read didn’t deal with how people felt at the time. That had to be imagined. — Margaret Wrinkle




album reviews

PoLKaSTRa Original Music “I Do”: The Wedding From the Motion Picture Album (ancalagon) What do “Anna Karenina” (Decca) Dario you get when you cross a Canadian folk Marianelli’s music is suitably theatrical fiddler, a contrabassoonist who has played for the staging of director Joe Wright and with the New York Philharmonic and screenwriter Tom Stoppard’s adaptation of does a great Kosher chicken impression, Tolstoy’s novel. But it’s not as gorgeous as the an Israeli accordionist and former musical film itself and at times seems a bit common, child prodigy, a Nashville bassist, a French in contrast to the privileged station of the horn player who can belch the National characters. The story takes place in the 1870s, Anthem, and a violin-solo powerhouse? around the time Tchaikovsky premiered his Why, polka, of course. Formed in New York by violinist Lara St. Fourth Symphony — which, like Marianelli’s John and recording on St. John’s label, Ancalagon (named after recurring Karenina theme, borrows from the Russian folk tune St. John’s pet iguana), Polkastra follows up its 2009 album, Apolkalypse “Beriozka” (The Birch Tree). The music, with certain 20th-century Now, with this delightful collection of wedding songs from around the touches, is not quite period and not terribly dramatic. It’s more light opera globe. It’s a far cry from St. John’s Bach: The Six Sonatas and Partitas for than opera, as the tragic story might suggest. Yet individual pieces shine Violin Solo, and the ensemble covers plenty of territory besides straight (“Too Late”), and its theater aspects fit well with a film that takes place as polka. Since garnering international attention for her performances of both a stage production and in the world at large. The music — with romantic Bach, St. John has kept the critics guessing about her next move. passages squared against waltzes, lullabies, and sections that come The Wedding Album is separated into three sections: the ceremony, across like Shostakovich’s film music and jazz suites — sounds the reception, and the end of the night. Highlights include a bit unhinged in time. “Dance With Me” is a swirling tangle “Canon in D, Mostly,” a polka-fied fiddle version of the of counterpoints that captures Anna and Count Vronsky’s Pachelbel standard, and a silky, appropriately lumpgrowing passion. “Curtain,” a lush dramatic waltz, seems As befits a band in-throat-inducing version of Schubert’s “Ave Maria,” a perfect coda for this misplaced love story. The piece that performed here by Grammy-nominated soprano Isabel follows, “Seriously,” hardly sounds it, with comic muted with the album title Bayrakdarian and the Toronto Children’s Chorus. trumpet, snare rolls, accordion, and klezmerlike clarinet. ‘We Are the 21st Century “Shotgun Wedding March” is a hilarious Balkan take on In effect, it turns tragedy to farce. — Bill Kohlhaase Mendelssohn’s recessional and (bonus!) includes its own Ambassadors of Peace & Magic,’ crying mothers and drunken revelers. —Rob DeWalt Johann Kuhnau Biblical Sonatas (Concerto) By the year 1700, the 40-year-old Johann Kuhnau had earned a Foxygen wields a Ouija Foxygen We Are the 21st Century Ambassadors of law degree, built a successful law practice in Leipzig, and Peace & Magic ( Jagjaguwar) As befits a band with an served for 16 years as the organist of that city’s St. Thomas board that’s a direct album title such as this, Foxygen wields a Ouija board Church. He had earned a reputation as a polymath, excelthat’s a direct line to the 1960s. How much so? The first ling in mathematics and languages. That year he published line to the 1960s. song, “In the Darkness,” introduces listeners to “the darka satirical novel, The Musical Mountebank, as well as his ness” with the same panache and piped-in applause with which fourth collection of keyboard solos, which he titled Musical the Beatles unveiled the Sgt. Pepper’s Lonely Hearts Club Band on Presentation of Some Biblical Stories, commonly referred to as his the opening track of their 1967 album. In “San Francisco,” they muse Biblical Sonatas. The next year he was named Thomaskantor (effectively on how they left their love in the city, presumably with flowers in her hair. Leipzig’s music director), a prestigious position he held until his death in Singer Sam France almost perfectly nails the cadence of Bob Dylan’s best 1722 — after which he was succeeded by Johann Sebastian Bach. The kiss-off tracks over the Blonde on Blonde-era jangle of “No Destruction.” Biblical Sonatas have been recorded before, but since previous CDs seem France usually opts for a tone and delivery that’s uncannily similar to a to be currently unavailable (including a captivating reading by John Butt, young Mick Jagger — think Their Satanic Majesties Request and you’re on Harmonia Mundi) this new one by Italian harpsichordist Federico hip to his game. Foxygen will sometimes blow things out with a Caldara is especially welcome. Six Old Testament tales are brought psychedelic freakout, but their strengths lie more in melodies and alive through numerous movements of childlike charm — “The their ability to pick and choose from the Battle of David and Goliath,” “The Wedding toolbox of classic sounds. A song like “Oh of Jacob,” and so on — with each brief Yeah” alternately reminds me of Jagger, expanse introduced by a title (entered in the Lou Reed, Jean Knight’s “Mr. Big Stuff,” score in antiquated Italian) read enchantingly and “The Hokey Pokey.” It’s a mess, but by the golden-voiced actor Luciano Bertoli. a fun one. The musicians are young, and Caldara takes stylistically respectful freethey’re still trying to figure out how to pull doms with Kuhnau’s score, turning the more these influences together, but they’ve got a rhapsodic passages into personal, affectgood enough handle on the past to ing expressions. His CD is a delight, promise a bright future. biblical without being “churchy.” — Robert Ker — James M. Keller


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SAR Readings & conversations

brings to santa fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.

School for Advanced Research

As we welcome the new year, the trustees, faculty, and staff of the School for Advanced Research wish to offer our gratitude to our many donors for sustaining our mission to understand human culture, evolution, history, and creative expression.

“Any fool can know. The point is to understand.” —Albert Einstein

DaviD Mills Dreamweaver: The Works of Langston Hughes WeDnesDay 27 February at 7pM Lensic Performing Arts center Justice That Justice is a blind goddess Is a thing to which we black are wise. Her bandage hides two festering sores That once perhaps were eyes. —Langston Hughes Celebrate Harlem Renaissance writer Langston Hughes—affectionately known as Shakespeare in Harlem—in this one-person dramatic rendition of Hughes’ poems and short stories. Actor and writer David Mills’ performance takes the audience on an odyssey spanning five decades—from the 1920s through the 1960s—of Hughes’ writings, where Mills portrays Hughes’ notable characters, such as Madam Alberta K. Johnson and Jessie B. Simple. Mills has worked professionally in the dramatic and literary communities for more than a decade. For three years, he lived in Langston Hughes’ landmark home where he was inspired to create his tribute. TICKETS ON SALE NOW or call 505.988.1234 $6 general/$3 students/seniors with iD

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While the many donors whose gifts ranged from $1 to $1,000 are too numerous to list, we gratefully acknowledge those additional individuals, companies, and foundations who give to us so generously. So too do we thank the more than five hundred participants in our membership program. PASATIEMPO



Son of a preacher man

Blues, soul, and folk-funk trooper Bobby Rush isn’t exactly stretching any musical boundaries on his latest album, Down in Louisiana. But the album is full of strong, energetic performances that should satisfy old fans and maybe even impress some new listeners. A longtime veteran of the contemporary “chitlin’ circuit” — a loose-knit string of music venues that caters to middle-aged working-class African Americans — Rush didn’t receive much national attention until 10 years ago, when he was featured in a memorable segment of The Road to Memphis, part of the Martin Scorsese Presents the Blues series on PBS. A little history: Rush was born Emmit Ellis Jr. in Homer, Louisiana, in 1940 — or 1936, or was it 1935? Reportedly his father’s profession — he was a pastor at not one but two churches — is why the younger Ellis decided to use a stage name. Back then, the son of a preacher man wasn’t supposed to be fooling around with the devil’s music — though according to some sources, Emmit Sr. picked a little guitar and blew a little harp himself. Rush’s family moved to Arkansas when he was a teenager and to Chicago in the mid-’50s. There he fell in with blues giants Freddie King and Luther Allison, playing in bands with both. Rush didn’t have a “hit” record until 1971, when tiny Galaxy Records released his single “Chicken Heads” (which was included in the impressive soundtrack of the 2007 film Black Snake Moan). By the early ’70s, Rush slipped the surly boundaries of Chicago blues, signing up with Kenny Gamble and Leon Huff’s Philadelphia International label. His first album for the label, Rush Hour (1979), wasn’t as lush and slick as most


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of Gamble and Huff’s fare. Like Johnny “Guitar” Watson in the ’70s, Rush mutated from down-home blues to a sound closer to soul and funk than it was to the work of Muddy Waters and Howlin’ Wolf. For years, stretching into this century, Rush’s music featured horns, sometimes strings, and plenty of cheesy synthesizers (way too many for my taste). But Down in Louisiana features a stripped-down bar band (no horns, no synths) for a basic soul/blues sound. It’s not quite as basic as his “unplugged” acoustic album Raw from a few years ago, but it works.

It’s good to know that despite his advanced years, Bobby Rush still has a healthy dirty mind. The title song kicks off the album. Old rock ’n’ rollers should notice that some of the lyrics are lifted from the old P.J. Proby hit “Niki Hoeky” (a song that Rush himself covered several years ago). It’s a swampy song that features a Cajun accordion and hard-throbbing bass. It’s good to know that despite his advanced years, Rush still has a healthy dirty mind. Among the songs here are double-entendre-ridden tunes (mild by modern standards) such as a remake of one of his early songs, “Bowlegged Woman” (“You and me, baby, we go in hand/Like a bowlegged woman and a knock-kneed man”). And there’s one I had never heard before, “You Just Like a Dresser” (the punch line here is “Someone’s always ramblin’ in your drawers”). Rush gets to show off his harmonica powers on “Don’t You Cry,” a sweet, slow blues ballad. Then on “Tight Money” he sings about economic hard times. It’s about the current economic situation, though the song starts out when the singer is 5 years old and his parents have to pack up and leave town — for reasons the youngster doesn’t understand until years later. One of the best cuts here is “Raining in My Heart,” which features a nice, raunchy guitar hook and more “borrowed” lyrics (“The sun’s gonna shine in my back door someday”). Speaking of that old blues tradition of lifting lyrics from older songs, Down in Louisiana ends

with “Swing Low,” a back-to-the-swamp spiritual (with guitar licks that would make John Fogerty smile) in which Rush mixes lines from that song about the chariot, “Samson & Delilah,” “12 Gates to the City,” and probably others. It’s a satisfying Sunday-morning coda to a fun Saturday-night kind of album. Check out bobbyrush.html. Also recommended: ▼ Live at Legends by Buddy Guy. Buddy Guy is much better known than Bobby Rush. He was honored at the Kennedy Center last year for his contributions to American arts. He played at the White House a few months before and even got the president up on stage to sing “Sweet Home Chicago” with him and other blues greats. But the two have a lot in common. Both were born in Louisiana and made their first records in Chicago. And both are able to blast out the blues despite the fact that they are in their mid-70s. Guy even does a version of Rush’s “Chicken Heads” on this album, as part of a medley with Willie Dixon’s “I Just Want to Make Love to You.” At one point during the tune, he chuckles, “I know y’all laughin’ but I didn’t write this ... song. This was written by Bobby Rush. I just like it.” Guy is best known not as a writer, not even as a singer, but as a guitarist. It’s well documented that his flashy, fiery style (and high-energy stage antics, especially in his younger days) was an enormous influence on the likes of Jimi Hendrix and Eric Clapton. In recent years, it seems these ’60s rockers have had as much influence on Guy as he did on them. On this album Guy covers a couple of songs by Clapton’s group Cream — “Strange Brew,” which is part of a medley with John Lee Hooker’s “Boom Boom,” and “Sunshine of Your Love,” which is part of a medley with Hendrix’s “Voodoo Chile.” Like the title says, most of this album was recorded live at Legends, which is Guy’s own nightclub on Chicago’s South Side. The live tracks were actually recorded at the old location of the club — in 2010 it relocated to a new home a few doors up on South Wabash Avenue. But for reasons probably best known to his record company, the album also has three studio cuts. Fortunately, they’re good ones. Guy’s “Polka Dot Love” (longtime fans know Buddy has a weird thing for polka dots) is especially powerful. Learn more about Buddy Guy, his music, his nightclub, and even the lunch and dinner menus for Legends — Buddy’s Blackened Blues Burger and the Highway 61 Caesar’s Salad sound delightful — at ◀



The Santa Fe Concert Association

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Three Intermezzos, Brahms Fantasy in C Major, Schumann

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h e t f o d un Music of Chick Corea, Alan Pasqua, Brian Bennett, John Coltrane, and Beethoven

Faith, hope, and peace: Duruflé’s Requiem

ON STAGE Three’s company

Piano, string bass, and drums: it’s one of the most essential combos devised for the expression of jazz. Those three voices made up one of the archetypal performance units, at least since Bill Evans, Scott LaFaro, and Paul Motian really dug into its melodic possibilities in 1959. The trio remains a powerful format, exercised by the likes of pianists Brad Mehldau, Keith Jarrett, Ahmad Jamal, and Chick Corea. At 7 p.m. Friday, Feb. 8, pianist Brian Bennett, bassist Andy Zadrozny, and drummer John Trentacosta present “The Sound of the Trio” at the Museum Hill Café, 710 Camino Lejo. They play music by Corea, Beethoven, John Coltrane, Alan Pasqua, and Bennett. Admission for this gig in the KSFR Music Café series is $20; the event is a benefit for the radio station. Call 428-1527 for ticket and dinner reservations.

Maurice Duruflé (1902-1986) was one of the most respected organists of his time, studying with such legendary figures as Charles Tournemire, Louis Vierne, and Eugène Gigout, and serving for more than half a century as the organist at St. Étienne-du-Mont in Paris’ Latin Quarter. Duruflé was parsimonious as a composer, but the 14 pieces he published are polished to a fare-thee-well. The most popular with audiences is his Requiem, composed in 1947, a gentle work modeled on the analogous piece by Gabriel Fauré. Scored for chorus, vocal soloists, and organ (or orchestra), the work is based on Gregorian chant themes from the liturgical Mass of the Dead, with the organ representing (according to Duruflé) “the idea of peace, of faith, and of hope.” Linda Raney directs the Chancel Choir of First Presbyterian Church in a performance of this tender masterwork at the church (208 Grant Ave.), at 5:30 p.m. on Friday, Feb. 8. Donations are appreciated. Call 982-8544.


Mighty Midwestern tradition: the Gustavus Choir

Gustavus Adolphus College, in southcentral Minnesota, is richly endowed with Swedish-American Lutheran heritage. The kids there love to sing, with many belonging to one of the five choirs on campus. The college just finished celebrating its 150th anniversary, and for more than half of that span the Gustavus Choir, the most exalted of the school’s choruses (and please pronounce Gustavus with a long A), has been touring around the country and to points abroad, garnering praise for its choral finesse. During its current nine-day sweep through the American West, the choir alights at United Church of Santa Fe (1804 Arroyo Chamiso Road, 988-3295) for a concert at 7:30 p.m. on Friday, Feb. 8. There is a suggested $20 donation ($10 for students) at the door; partial proceeds will go to community charities. Gregory J. Aune conducts music by Debussy (his Trois Chansons de Charles d’Orléans), Mendelssohn, and Arvo Pärt, among other composers, as well as arrangements of folk songs and spirituals. Also some hymns, yah sure you betcha.

Smoochin’ for music

The Santa Fe Music Alliance — a group of promoters, musicians, and others on a mission to create a vibrant, diverse, and locals-friendly music scene — is throwing a Valentine’s Day party and membership drive on Thursday, Feb. 14, at Garrett’s Desert Inn (311 Old Santa Fe Trail, 982-1851). Things kick off at 6 p.m. with an alliance members meeting, and at 7 p.m. local singer-songwriter Liv Lombardi performs. Also on the night’s bill are Austin hard-rock/country four-piece Shurman, which is recording its next album in Santa Fe, and local indie-space-rock outfit Treemotel. The all-ages event also includes a cash bar (with I.D.), dinner specials, and a raffle for a room for two at the inn that evening. There is a minimum $10 donation for nonmembers; memberships are available at the door for $20. PASATIEMPO


Habib Koité, left, and Eric Bibb

Michel de Bock

Casey Sanchez I For The New Mexican

AMERICAN AND AFRICAN MUSICALTRADITIONS SURGE AND CONVERGE ust over a decade ago, world music label Putumayo released Mali to Memphis, a guitar-drenched compilation that pondered the connections between Delta blues and West African griot music. The impressive record lacked one element, however — a collaboration between its African and African American artists. That changed last year with the release of Brothers in Bamako, a jointly crafted record by American gospel-soul blues guitarist Eric Bibb and Malian poly-instrumentalist Habib Koité, who first met through their involvement with the original Putumayo disc. The duo performs in Santa Fe on Saturday, Feb. 9, at the Lensic Performing Arts Center. “In Habib, I recognized a music that moved me,” Bibb said in a phone interview from London, where he was touring. “Elements of his music were really familiar to me. It was similar to the music I grew up with.” The duo recorded the album in January 2012 in the Malian capital city of Bamako, a feat unimaginable now as battles between French forces and Islamist rebels roil the country. Koité was unable to schedule an interview because of the conflict. Regardless of the current turmoil, the Brothers album is a breezy fusion of folk genres. Its delivery is so low-key and relaxed that it may surprise listeners accustomed to the soulful wailings of either singer. The melodies of Bibb’s Keb’ Mo’-style urban blues gospel continued on Page 26 24

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Eric Bibb and Habib Koité, continued from Page 24

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February 8 -14, 2013

predominate, while Koité inflects the songs with a lush array of Malian instrumentation. Bibb said their collaboration came naturally, though he was often in awe of Koité’s approach to arranging and guitar playing. “I’m rooted in my finger-picking way of playing. Habib is a very versatile guitar player. I’m not as versatile.” “On My Way to Bamako” opens the album, its old-school rhythm-andblues riffs giving way to Koité’s banjo, pitched so high that it almost sounds like a steel drum. Bibb’s American drawl serves as a foil for Koité’s impressive harmonization, sung in a mixture of English, French, and Bambara, a language of Mali. “We Don’t Care” finds the two troubadours reworking a gospel hymn into a world pop lament about the social cost of First World consumerism. “Goin’ Down the Road Feelin’ Bad” incorporates the slightest hint of Koité’s Malian banjo picking into this 12-bar-blues standard. The pair even throw in a cover of “Blowin’ in the Wind,” which may not be the sop to radio-friendly world music it appears to be. The son of folk singer Leon Bibb, a nephew of jazz pianist John Lewis, and the godson of folk singer and civil-rights activist Paul Robeson, Bibb grew up in New York City, where greats of the 1960s folk movement frequently visited his home. An 11-year-old Bibb met Bob Dylan in 1962. Dylan advised him that when it came to music, “Keep it simple ... forget all that fancy stuff.” Koité has an impressive musical pedigree as well. The son of musician parents, he conducted a band at Mali’s National Institute of the Arts when he was still a teenager. His longtime band Bamada is a supergroup of well-known Malian musicians. In writing most of the group’s material, Koité ranges far and wide across Mali’s musical styles, which blend African, Islamic, and French genres. He is best known for using his acoustic guitar to mimic the sounds of traditional instruments, even tuning it in the timbre of a ngoni, a West African hand-held harp often made of a gourd and goatskin. The sound that results from the unique tuning seems equal parts flamenco and Fela Kuti. “As two guitar players, we really recognized something in each other,” Bibb said. Their collaboration, though, took nearly a decade to pull off because of both men’s heavy global touring schedule. “We kept running into each other in Europe and Australia,” Bibb said. “It took us a while to actually get time in the studio together.” These days, Bibb’s home is Helsinki, where he lives with his wife and tour manager, Sari Matinlassi-Bibb, and their 3-year-old son. “He’s already been all over the world and has his own passport,” Bibb said with pride. The guitarist says his performance in Santa Fe will draw largely from Brothers in Bamako. Both men will give short individual sets before joining each other onstage to play the material that melds their styles. Bibb has played Santa Fe before, and he’s quick to emphasize that though he grew up in New York, he has New Mexico roots — his mother is from Albuquerque. “One of my earliest memories is visiting a tamale factory in Santa Fe as a 5-year-old,” he added. Brothers in Bamako has received a lot of press because of its convergence of blues, gospel, and West African music, and Bibb gives Koité credit for that blending of styles. “I’m not a great soloist. He is. He was able to bring a brilliant fusion. He would bop and weave around these melodies I already laid down. It was natural and easy for both of us to write together.” Bibb is cautious about ascribing any larger cultural import to the record. “If by collaborating we have demonstrated a connection between African and African American music, that’s great,” Bibb said. “Our mission was just to play good music together.” ◀

details ▼ Eric Bibb and Habib Koité ▼ 7 p.m. Saturday, Feb. 9 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $19-$39; 988-1234,

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ob “Catfish” Hodge, a native of Detroit, has bounced around a lot of big cities for a country bluesman. Over some 40 years, he’s called Los Angeles and Washington, D.C., home. For the last couple of years, following a stint in the hills of Virginia, he’s been in Santa Fe, occasionally popping up at Tiny’s or Cowgirl BBQ. On Feb. 2, he was at the intimate and acoustically astute Gig Performance Space bringing his unique theatrical blend of music and story — sometimes it was hard to tell the difference — to a packed house that hung on his every word. The evening’s only disappointment was his announcement that he’d be moving back to Virginia sometime in the next few months. Catfish, we hardly knew you. Actually, that isn’t exactly true. Since Epic released his first recording, Get Down, in 1970, the singer-guitarist-composer has been a modest presence in country blues and rock. Onstage, he’s anything but modest. Dropping names from Bonnie Raitt to Bruce Cockburn, he offered glimpses of a life in blues as lived by a member of the Woodstock generation. He told how the Catfish band never made it to that fabled festival, stuck on a New York freeway with the masses heading to Yasgur’s farm, and how the record company refused to send a helicopter to rescue them. He talked about how hobnobbing with bluesman James Cotton at a Buffalo blues club led to his writing the song “Gone Fishin’” and how, years later, Cotton came up to him and said, “Fish, that song sounds mighty familiar.” By the time he began his second number at Gig, he had digressed to radical rocker John Sinclair of the MC5, Ted Nugent, and Bob Seger’s attorney. Hodge is a big man with a big, attractive voice that’s full of cries, hollers, growls, and yelps. Often when he finished a line, he would squeeze in a quick aside, a hurried wiseacre exclamation on the phrase he’d just sung. He played his guitar hard, the rich chords sometimes competing with his voice for attention, his hand thumping tough on the body of his instrument. Just when he’s convinced you that life is serious as hell, his face explodes into bug-eyed glare and he begins whistling or singing in a comic yodel. He may carry on about the blues, but he doesn’t leave you with them. He opened big with “Movin’ to the Country,” a tune that showcased his theatrical delivery. He answered a request for “Elmo’s Blues,” a piece about a mugging that saw his voice reflecting the victim’s fear. On “Fine Line,” he looked back to Gig’s impresario Bruce Dunlap, who responded to the song’s lament with inviting electric guitar phrases from his seat at the soundboard. On “Oscar Teo,” a tribute to “a wino that taught me about compassion,” Hodge displayed a sensitive, heartfelt delivery, his voice as scratchy-soft as a worn piece of satin. Hodge polled the audience to see who was over 80 (no one was) and who was under 18. “My perfect audience,” Hodge said in response to the demographic, a response that’s not quite true considering that one of his most recognized recordings is the 1996 disc Adventures at Catfish Pond, a program designed for children as well as adults. But he missed a tiny hand in the back. The owner of that overlooked hand was a young lady who claimed to be 4 years and 2 months old. She bravely walked down the aisle toward the stage to request Hodge’s “Pancake Man.” What could Catfish do but comply? —Bill Kohlhaase

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Adele Oliveira I The New Mexican

Coal: The Musical takes on issues of climate change or most of us who live in the global North, coal is part of our everyday lives. Even if we get some of our energy from a nuclear power plant, drive a Prius, or eat backyard produce in the summertime, it’s hard to escape the influence of coal: as societies and individuals, we use it to eat, stay warm, and travel around the world. That we share responsibility for the effects of climate change is the idea behind Coal: The Musical, an in-progress multimedia theater piece. The work is a production of Littleglobe, a New Mexico-based arts-oriented nonprofit, and it is presented on Friday, Feb. 8, in unfinished read-through format (with singing and live music) as part of the Lensic’s Under Construction series. Coal is several years in the making. In 2009, Littleglobe artistic director Molly Sturges received a United States Artists fellowship that afforded her the time to devote to the project. Upon receiving the fellowship, Sturges started posing questions about the kind of work she wanted to create. “What’s really important to me? What haven’t I done?” Sturges asked herself. “There are a lot of visual artists who are engaging with climate change, and I often left those shows overwhelmed and traumatized,” she said.

Sturges knew she wanted to create a theatrical experience around climate change, but she was wary of repeating the mistakes of other environment-based art (doomsday situations with no solutions) and of being dull and didactic. She knew that it was critical to engage an audience emotionally. “I’ve never done something so issues-based. I was nervous about simple answers and being prescriptive.” Coal’s creative team includes playwright Georgiana H. Escobar, story development and stage direction by Acushla Bastible (she co-directs with Sturges), and a score by Sturges and Luis Guerra. In order to avoid a pedantic tone and to ensure entertainment, the team decided the best format for their work was a musical fable. Many of Coal’s themes are age-old and familiar. Broadly, the story follows a boy and a girl on a quest to heal “a great tear in the fabric of the world.” During the show’s two acts, five actors and four musicians perform. The show also features a singing otter, a musical number about the economy, and a globally influenced score. The play’s myth-making component focuses on a figure called the Weaver and the woven threads that constitute the world. “We all live in a coal community,” Bastible said. “We’re all connected. And I don’t mean that in a hippie-dippy way. It’s just a fact.” “It’s not always apparent that we’re dependent on coal,” Bastible continued. “We sometimes live by values we don’t even recognize.” After the concurrent premieres of Coal’s finished version at the Lensic in Santa Fe and at Z Space in San Francisco in early 2014, the play goes on the road. The hope is to tour cities and towns across the country. At each stop, Coal’s creative team will designate 15 fellows, individuals who will lead locally generated actions to address climate change. This phase of the project is in development: responses to the performance (and ideas about what to do next) will be heard through a variety of venues, including story circles, post-show questionnaires, community dinners, and social media. (For details, see “We’re beginning conversations with a range of partner organizations, like the Labor Network for Sustainability,” Sturges said. “There’s a certain cultural group that tends to go to the theater, but the Lensic draws from many communities. We want to reach beyond the choir — that’s the grassroots arm of the project.” “Every day, wonderful projects are reaching a prescribed audience,” Bastible added. “We wanted to create something truly accessible, and well, it’s a musical.” At this moment in Coal’s development, audience members have an opportunity to be a part of the artistic process. “The Under Construction series is a little under

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the radar,” said Bob Martin, executive director of the Lensic. The series began a couple years after the Lensic opened, when screenwriter Joan Tewkesbury wanted to workshop a project with an audience. “It’s so interesting to see the art in development and hear the artist talk about it,” Martin said. “[The series] is a very safe and comfortable and nurturing place to do this kind of work, and we play a role in creating a civil society and [addressing] pertinent issues.” The read-through at the Lensic is “the first time we’ll hear the architecture of the music and the script together,” Sturges said. “Most theater is developed through regular feedback loops,” Bastible said. A closed-circuit feedback model often only includes people directly involved in the production. At the read-through, “we want to hear what’s clear and what’s not clear, if the story moves you, or if it doesn’t. This starts the process of engagement,” she said. Sturges and Bastible are familiar with the feeling of paralysis and powerlessness when confronting climate change. “It can be really hard to engage with environmental issues,” Sturges said. “[We] love our kids, but we’re not leaving them any water, the soil won’t grow food, and the air is dirty. It’s difficult to face this stuff, but we have to face it together, through storytelling and humor. ... Art allows us to get out of habitual ways of interacting with the world.” Bastible and Sturges want Coal to move beyond the depressing climate projections and statistics regularly offered in the media. “Our interest is in the connective tissue, and not just within the arts community,” Bastible said. “We wanted to contribute to [the conversation] in a meaningful way. There’s a lot of work going on right now around climate and the environment; it’s that zeitgeist feeling. How can you not respond to something that feels so relevant?” ◀

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details ▼ Coal: The Musical, a work in progress presented by the Lensic Performing Arts Center and Littleglobe ▼ 7 p.m. Friday, Feb. 8 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $10, students no charge; 988-1234,





February 8 -14, 2013


abriela Montero, who is now in her early 40s, has grown increasingly in demand as a concert pianist over the past half decade, such that her résumé now bursts with engagements with top-flight orchestras of Europe and America, including among the latter those of New York, Chicago, Philadelphia, Cleveland, San Francisco, and Los Angeles. With these ensembles, she plays the great concertos of the piano repertoire, usually to thunderous applause, but it is in her solo recitals that her most unusual talent comes to the fore: she is a master improviser. When she appears at St. Francis Auditorium on Sunday, Feb. 10, in a concert sponsored by the Santa Fe Concert Association, she will display both sides of her gifts. Prior to intermission, she will perform towering masterpieces of the piano repertoire: Brahms’ Three Intermezzos (op. 117) and Schumann’s C-Major Fantasie (op. 17). After the break, she will field musical themes proposed by the audience, turning their melodies into the unpredictable, extempore creations for which she has grown famous. “My improvisation is something completely free and open,” Montero explained in a phone interview from Spain, where she was concluding a European tour. “There’s nothing before I start to improvise and nothing afterwards. It is not in any way formulaic or guided by any kind of structure. It is like jumping off a cliff and flying without any kind of harness or protection.” Surely there must be some thought process beforehand, we suggested, like deciding on a key or a meter. “There is nothing, absolutely,” she insisted. “I don’t decide the key, I don’t decide the style, I don’t decide where I’m going or how the piece progresses. I’ll play the theme a few times so I remember it, and off I go. It pretty much decides itself. That’s what is so liberating about it. There is no decision making. When I improvise, I’m in a state of nonjudgment, where there is no right or wrong. My brain doesn’t interfere. It doesn’t call the shots, and something else just takes the improvisation where it has to go.”


ontero finds the experience even physically distinct. “It’s as if a part of my brain shuts down and another one opens. It’s almost as if there are two sides to me. When I play Beethoven, for example, it’s as if I am playing somebody else’s experience. I am portraying somebody else’s life and story, so there is a plan. Something guides me to decide what I want to do in the piece. Whereas when I improvise, it’s almost as if I clean the slate, and there’s nothing there.” This skill was common among classical musicians of past eras. Mozart and Beethoven, for example, typically included improvisations as high points of their piano concerts. But it largely faded away during

the 20th century, leaving organists as the only classical musicians who are routinely schooled in the art of improvisation today. “I am trying to bring something back from the past,” said Montero, who has been improvising since her earliest experiences at the keyboard, during her childhood in Caracas, Venezuela. “At the beginning, when I began to improvise onstage, a lot of people would assume that, since I improvised, I was a jazz pianist. Classical improvisation is a very different idiom from jazz improvisation. I had to educate everyone about what I do and who I am, which is a classical pianist.” But Montero is much more than a classical pianist. She has also become a humanitarian and an outspoken political critic of her native country — particularly of Hugo Chávez, who has been its president since 1999. Last month she participated in the World Economic Forum in Davos, Switzerland. “It was my second time there,” she said, “and I had the honor of being a ‘cultural leader.’ I was involved in four different sessions, including one where I was able to expose my ideas and my feelings about Venezuela and also speak about my piece ExPatria — the reasons why I wrote it and what it means.” This 15-minute outburst for piano and orchestra, which she composed in 2011, is a musical polemic that, she said, “speaks very clearly, on a very emotional level, of the desperation and frustration and sadness that at least half the country feels right now.” Her voice grew more intense as she continued. “I don’t think a lot of people are aware that in the year 2011 we had almost 20,000 murders reported in Venezuela, and last year — just a year later — there were almost 22,000 murders reported. It’s a dire situation, an urgent situation. Honestly, you can’t leave your home in Venezuela without fearing for your life, and that is not acceptable. When a country has reached such a moral, social, economic, and physical bankruptcy, you have to look to the leadership. The leader of a country should secure the safety and wellbeing of its citizens, and when this is not the case, you have to ask questions as to why we are in such a situation and what we are going to do about it. My stance is one against the violence and the corruption that have taken over Venezuela, especially in the last 14 years. And I want to try and make the world a little bit more aware of what we are enduring.”


o music lovers, Venezuela is synonymous with El Sistema, the nation’s training program for orchestra musicians that has earned international accolades. Montero did not participate directly in the program, but she maintains close ties with many colleagues who did, and she acknowledges the positive aspects of the incentive. But she also considers it an arm of propaganda for Venezuela, and an expensive

an expensive one. “It’s as if El Sistema is a flower in a cemetery. It’s an oasis that has many beautiful reasons for being and many beautiful results, but I’m beginning to wonder: Is it worth losing the country to save El Sistema?” Montero, who maintains dual American and Venezuelan citizenship, has no plans to renounce the latter. “I’ll always be Venezuelan. I don’t want to neglect the country that I love and the people I care for. It’s all about empathy, in the end.” Nonetheless, she keeps her distance from the Chávez regime, choosing to reside in Boston with her two daughters and her partner, the Irish baritone Sam McElroy. But back to the music. We wondered if she sometimes feels tempted to let her improvisatory instincts take over when she is interpreting a repertoire piece. “No. I have too much respect for the composers, and I play what they write. The only instance where I will improvise is in cadenzas in Mozart and Beethoven concerti.” That is entirely in keeping with the assumptions of Classical composers, who included opportunities for cadenzas in their scores precisely to allow room for interpreters to showcase their abilities as improvisers. But apart from that, Montero has no desire to embroider the scores of the masters. “When I improvise, I improvise. When I play the repertoire, I play the repertoire.” Her recital on Sunday opens with the Brahms intermezzos (“so gorgeous”) and then moves on to the Schumann Fantasie, a large-scale work that has been known to leave pianists quivering. Asked about its daunting technical demands, Montero basically shrugs. She enjoys a fearsome technique, after all, even to the point of being a sometime duet partner of Martha Argerich, who may possess the most legendary technical facility of any living pianist. “The whole subject of technical difficulty ...” said Montero, trailing off. “When it comes to the piano, there is a solution for everything, and there is a reason for every passage that has been written, an emotional and metaphorical reason for it to be there. With this piece, I see it as this outpouring of love and passion of Schumann, which you find in all his music; but in this piece in particular, you find that it just overwhelms, emotionally and romantically. I don’t like to think of the technical side of pieces. I’m only really interested in the expression behind it. It all falls into place when you have that perspective. The notes have to be there, but it’s an exclamation of such sublime heights that the physical just falls by the wayside.” As we were about to conclude our call, she mentioned one last thing. “This concert is the very first time I will ever play the Schumann Fantasie. I’ve wanted to play it for many years, but it wasn’t until recently that I decided to schedule it and really learn it. It’s one of the pieces I really adore.” Who would want to miss that? ◀

Colin Bell

The two sides of pianist Gabriela Montero 32

James M. Keller I The New Mexican

Gabriela Montero

details ▼ Pianist Gabriela Montero performs works by Brahms and Schumann as well as improvisations, presented by Santa Fe Concert Association ▼ 4 p.m. Sunday, Feb. 10 ▼ St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. ▼ $20-$50; Tickets Santa Fe at the Lensic (988-1234,



Loves and lessons from World War II

Arcos DAnce Rob DeWalt I The New Mexican


the 1959 book The Warriors: Reflections on Men in Battle, author, philosopher, and former U.S. Army intelligence officer J. Glenn Gray writes, “Modern wars are notorious for the destruction of nonparticipants. ... Add to this the unnumbered acts of injustice so omnipresent in war, which may not result in death but inevitably bring pain and grief, and the impartial observer may wonder how the participants in such deeds could ever smile again and be free of care.” “I never knew my grandfather,” Eliot Gray Fisher — Gray’s grandson and a Santa Fe-based multimedia artist and composer — told Pasatiempo. “All I had were stories about him from my aunt, my mother, and my grandmother, before she died.” On Friday, Feb. 8, Fisher, who serves as multimedia director for local company Arcos Dance, presents the first performance of his production The Warriors: A Love Story at the Center for Contemporary Arts. The piece was inspired by the lives of Fisher’s maternal grandparents and touched by the horrors and complexities of modern war; Fisher and Arcos choreographers Curtis Uhlemann and Erica Gionfriddo set out, in part, to create a theatrical production that honored Fisher’s grandparents and the lessons they took away from World War II. “My grandmother left me books that my grandfather had written,” Fisher said, “and the best known was no doubt The Warriors. I was fascinated by it. Not only did J. Glenn Gray have this soldier experience, which I could


February 8 -14, 2013

barely fathom, but he was also very thoughtful in his written recollections about it. He was a lot older than many of the men who went off to fight overseas. He had just gotten his doctorate in philosophy, was called up to serve immediately after that, and kept a very extensive journal, which he incorporated into the book.” Gray’s The Warriors is a collection of broad reflections on warfare that are as relevant today as they were when he committed them to paper during the war. “I discovered in the book his ruminations on technology, and the alienation that the industrial military machine brings to humanity — how it allows societies to continue to wage war in increasingly anonymous ways,” Fisher said. “I thought it was an important story to tell, as was the rest of my grandfather’s and grandmother’s lives.” Gray’s wife, Ursula, who grew up in Germany, appears only once in The Warriors. In the book’s dedication, Gray writes, “To Ursula: my wife, formerly one of the enemy.” During high school, Fisher was assigned an oral-history project, and he chose Ursula, his grandmother, as his subject. He interviewed her about surviving the bombing of Dresden by the Allied forces, and in so doing he began to put the pieces together of his grandparents’ shared experience during and after the war. “The intersection of my grandfather and grandmother many years ago was intriguing on so many levels,” Fisher said,

“both philosophically and personally: a Pennsylvania farm boy goes to Columbia University, gets a doctorate in philosophy, heads off to war to fight for the Americans, and writes about the horrific things he and many other soldiers saw and did. After the war, and after some reflection, no doubt, my grandfather returns to Germany to help with the reconstruction. While there, he meets Ursula, his future wife — a survivor of the bombing of Dresden.” Before the bombing, Ursula was immersed in athletics and modern dance. While in Dresden she studied under expressionist dance pioneers Mary Wigman and Gret Palucca. She also served as an alternate athlete during the 1936 Summer Olympics in Berlin. “My grandfather was this man of words and ideas, and my grandmother was all about the body, the joy of movement, as well as being very emotionally expressive,” Fisher said. “It’s an interesting challenge for me, to try to merge dance and philosophy.” continued on Page 36

Erica Gionfriddo and Curtis Uhlemann rehearsing The Warriors: A Love Story; top, Justin Golding as J. Glenn Gray; opposite page, Karen Leigh as Ursula; photos courtesy Rick Fisher



The Warriors, continued from Page 35 Over the past year, Fisher has increasingly incorporated multimedia elements into Arcos performances, and he thought that approach would be an appropriate way to tell this story. The music serves as a thread between past and present, a bridge between the same characters living in different times. “The frame of the story — the script — describes that it is the night before the commemoration, or memorial service, for my grandmother, and I’m trying to write this piece of music to honor her and my grandfather. So the climax of the story really is that I’ve finally begun to understand enough about my grandparents that I feel confident enough to write this piece of music celebrating them and the love they shared with each other and the rest of the world.” At the end of the play, a piano piece composed by Fisher contains elements of all the characters’ individual musical themes, also composed by Fisher, which are heard throughout the production. “The dance during the climax is a duet that’s performed to the solo piano piece, and within it appear choreographed elements seen earlier that speak to each character. The themes work over a similar harmonic structure. At the end we finally hear them all together in a piece that is, essentially, an embodiment of me: a musical metaphor explaining that in some ways, I carry my grandparents’ legacy forward.” Fisher, Uhlemann, and Gionfriddo were most concerned with the production’s many transitions and their fluidity and were determined not to have audience members feel like they were watching one medium and then another and then another. “The conception process was collaborative between the choreographers and me,” Fisher explained. “We talked about the transitions like knobs being turned up and down, so that there’s never one point in the production where an element — video, music, dance, dialogue — is glaringly there or glaringly absent; they are all just leveled out and blended in different ways.” Fisher shot some video and worked on other projected elements for The Warriors. One scene, he said, was inspired by Kurt Vonnegut’s 1969 novel Slaughterhouse-Five, in which Billy Pilgrim goes downstairs the night that he’s going to be abducted by aliens and watches a war film backward. “I found this 1944 documentary about the Memphis Belle and another film starring Gregory Peck,” he said. Fisher’s father, Rick, an artist and former College of Santa Fe instructor, contributed much of the still imagery that serves as the set’s projected backdrop. The visual technology incorporated into the production required a relatively large budget, Fisher said, and he turned to crowd-funding on the internet to build capital. “We successfully completed our fundraising campaign. We were initially worried we weren’t going to get there, but we insisted on compensating the musicians, dancers, actors, designers ... everyone got paid. In retrospect we should have started fundraising earlier.


February 8 -14, 2013

Eliot Gray Fisher with digital collage of Dresden created by Rick Fisher; left digital composite by Rick Fisher to be projected in The Warriors: A Love Story

But it has connected us to a new potential audience. We had donors giving us money from all over the place due to friends and social media, but we also had a number of strong Santa Fe connections, people who had perhaps never seen an Arcos production who, besides being involved as a funder, were simply excited about seeing it come to the stage.” Fisher stressed that the work is more than a story about a family and its connections to war. Following his grandfather’s lead, he ponders the ongoing price paid for land, treasure, and ideals. And a part of him worries that, sometime in the near future, when technology keeps the whites of the enemy’s eyes at bay, from the distance of a drone’s cross hairs, the stories of war will be absent the humanity that once inhabited them. “Really, right now, we’re losing the generation that experienced World War II, when war shifted to include the death of innocents as common practice,” Fisher said. “Simultaneously, there are all these stories popping up and haunting us now. Like the one after Hurricane Sandy when all of those wartime love letters washed up on the Jersey shore. Or the indecipherable coded message from World War II that was discovered next to the skeleton of a carrier pigeon in Surrey, England, recently and couldn’t be deciphered. It’s a cue from history. A circle that needs to be closed — the past poking the present in the back to prepare us for the future.” ◀

details ▼ Arcos Dance presents The Warriors: A Love Story ▼ 7:30 p.m. Friday & Saturday, Feb. 8 & 9, 2 p.m. Sunday, Feb. 10; continues Feb. 15-17 ▼ Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, 982-1338 ▼ $20, students $15; call 473-7434 or email for reservations



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Valentine’s Day

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“Sweet-Art” Dinner Thursday, February 14 6-9 p.m. Santa Fe School of Cooking 125 N. Guadalupe St.

Rekindle your passions for food, art, and that special someone. Artist Ron Pokrasso and Chef Tracy Ritter have designed a delectable multi-course menu, paired with fine wines, for a Valentine’s to remember. As a special Valentine, every guest will take home an original, signed Ron Pokrasso print, created especially for this event (valued at $200).



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Annie Leibovitz: Annie Oakley’s heart target, private collection, Los Angeles, California, 2010; © Annie Leibovitz, from Pligrimage, Random House, 2011

Sigmund Freud’s couch, Freud Museum, 20 Maresfield Gardens, London, 2009 38

February 8 -14, 2013

Robert Scoble

Annie Leibovitz

Michael Abatemarco I The New Mexican

A pilgrim’s progress Annie Leibovitz points her lens in a different direction

Emily Dickinson’s only surviving dress, Amherst Historial Society, Amherst, Massachusetts, 2010

In 2010, through its Women of Distinction Series, the Georgia O’Keeffe Museum honored photographer Annie Leibovitz for her contributions to society and culture. The event featured a rare public appearance by Leibovitz at the Lensic Performing Arts Center. This month, Leibovitz returns to Santa Fe, once again in connection with the O’Keeffe Museum. Annie Leibovitz: Pilgrimage, a unique photographic exhibition, opens at the O’Keeffe on Feb. 15. Organized by the Smithsonian American Art Museum in Washington, D.C., the traveling exhibition is a companion to Leibovitz’s book Pilgrimage, published by Random House in 2011. Not only did Leibovitz take the photos, but she also wrote the text. Historian Doris Kearns Goodwin wrote the introduction. Unlike Leibovitz’s commercial photography, the images in Pilgrimage offer a glimpse into the worlds of people and places significant to her. She relates her interests and fascinations in personal recollections of sites and the people who inhabited them. Included in the book is a section on O’Keeffe, with images shot during Leibovitz’s 2010 visit to New Mexico. “On that occasion, we took her up to the Abiquiú house, and she had an immense response to it, as many artists do,” O’Keeffe curator Carolyn Kastner told Pasatiempo, “because going into that studio space is really a profound insight into O’Keeffe: the way she clears her visual space, the spareness of how she lives.” Leibovitz speaks about Pilgrimage at the Lensic Performing Arts Center on Tuesday, Feb. 12. When people think of Leibovitz, they remember her famous photographs for Rolling Stone, including Meryl Streep in white makeup and the provocative image of a naked John Lennon embracing Yoko Ono, and her work for Vanity Fair, including a pregnant and nude Demi Moore in 1991. “Her commissions are astonishing, and her career, first at Rolling Stone and then at Vanity Fair and Vogue, is extraordinary,” Kastner said. “I think her personal response to O’Keeffe fits on another side of her life that isn’t really well documented. She’s always had a very strong artistic practice, her personal practice separate from her commissions.” The book is an intensely focused, often up-close look at personal items and places, devoid of the people associated with them but not devoid of their presence. Among the subjects are Sigmund Freud’s couch in his study, Emily Dickinson’s only surviving dress (one of two dress photos in the exhibit — the other is a concert gown that belonged to African American singer Marian Anderson), a bullet-shattered television set that once belonged to Elvis Presley, and the darkroom of Ansel Adams. As part of her travels, Leibovitz shot locations from the same vantage points used by Adams and O’Keeffe. “Ansel himself said that people were disappointed when they went to these places and their pictures didn’t look like his,” Leibovitz writes in Pilgrimage. Her shots of the Yosemite Valley, which Adams photographed beginning in the 1920s, do not look like his either. Hers are less dramatic and warmer, with orange skies and violet mountains. Leibovitz’s photographs and text invite the reader to see as she sees, with intimate access to places and objects that make their owners somehow more human to us. “They’re portraits of each of these people,” Kastner said, “but also a modernist portrait of Annie Leibovitz, because she’s reflected in what she’s chosen to express about each of these places or people, and it’s how she photographs them that’s so significant. For Ansel Adams, of course you would go to Yosemite. But Ansel Adams was rephotographing exact photos that Carleton Watkins had taken of the same site. [Watkins] was a 19th-century photographer. Annie Leibovitz follows, so there’s this great lineage that she becomes a part of. “Having accompanied her on some of the photographic forays here in New Mexico, I understood the personal nature of the book. continued on Page 40 PASATIEMPO


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Skeleton of a pigeon studied by Charles Darwin, Natural History Museum at Tring, Hertfordshire, England, 2010

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February 8 -14, 2013

Pilgrimages are often about a return and a connection. Think about that title, Pilgrimage. It’s very powerful. Then look at the people and places that were part of that pilgrimage; modernism is one link, but also American history, to which she is so vitally linked. People forget this part: she was the photographer there the day Nixon resigned.” Leibovitz’s time in O’Keeffe country resulted in a significant section of the book. In addition to an image of the Cerro Pedernal, also a subject of O’Keeffe’s landscapes, Leibovitz includes shots of the stony ground of the O’Keeffe-named Black Place in western New Mexico, where O’Keeffe collected rocks that are still visible in her Abiquiú home. Leibovitz also shot interiors, capturing the humble, simple living conditions of the artist. “I didn’t expect to be moved when we walked into O’Keeffe’s studio,” she writes, “but I found myself weeping. It’s hard to describe the sense of solitude and peace in that room.” Pilgrimage also contains a surprising number of images that would not look out of place in a natural history collection or its precursor, a cabinet of curiosity. Leibovitz includes photographs of stuffed birds in the collection of the Amherst Historical Society and Museum in Massachusetts; a bird specimen collected by Charles Darwin on the voyage of the Beagle; a pigeon skeleton from his collection at the Natural History Museum in Tring, England; and animal bones that once belonged to O’Keeffe, now stored in the O’Keeffe Research Center in Santa Fe. Other objects are fascinating for their historical context. For instance, Leibovitz photographed the hat and gloves Abraham Lincoln wore on the night of his assassination. “It’s not just the object. It’s the charge that the previous owner gave to them,” Kastner said. “The objects carry these stories.” The exhibition does not have traditional museum labels presenting techniques or processes, materials, and titles. “Instead, she’s offering us her view, like in the text, of these people,” Kastner said. “When you stand in front of the Marian Anderson dress, you won’t be reading about the photograph — you’ll be reading about Marian Anderson. So even in the exhibition, she brings us on her personal journey.” ◀


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Annie Leibovitz, continued from Page 39

▼ Lecture with Annie Leibovitz, benefits the Georgia O’Keeffe Museum 6 p.m. Tuesday, Feb. 12 Lensic Performing Arts Center, 211 W. San Francisco St. $35, $50 & $75 (discounts available); 988-1234, ▼ Annie Leibovitz: Pilgrimage Exhibition opens 10 a.m. Friday, Feb. 15; through May 5 Georgia O’Keeffe Museum, 217 Johnson St., 946-1000 By museum admission



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Hilary Hahn

“She astonishes audiences in performance after performance.” —Gramophone Magazine

FAURÉ Violin Sonata no. 1 in A Major, Op. 13 CORELLI: Violin Sonata no. 4 in F Major, Op. 5 BACH: Ciaconna from Partita no. 2 in D minor, BWV. 1004

TUESDAY, FEBRUARY 19, 2013 • 7:30

The Lensic Performing Arts Center • $20 - $75 Lensic box office: 988.1234

The Santa Fe Concert Association 321 West San Francisco Street, Suite G Santa Fe, New Mexico 87501 Phone: 505.984.8759 Fax: 505.820.0588 PASATIEMPO


Michael Abatemarco I The New Mexican

THIS OLD HORSE equine imagery abounds in museum show Back in the Saddle, a new exhibition of works from the vaults of the New Mexico Museum of Art, is not about the horse per se, although horses are represented in almost every piece. The exhibit is an opportunity to show off the range of styles and themes present in Western art in the collection. The museum’s Joseph Traugott curated Back in the Saddle with John Torres-Nez, chief operating officer of the Southwestern Association for Indian Arts (SWAIA). “The 25 works in Back in the Saddle bring together drawings, prints, photographs, and paintings,” Traugott said. “These are representational works and a few lightly abstracted pieces. The thrust is really New Mexico realism.” This is the second exhibit collaboratively curated by Traugott and Torres-Nez. The two previously worked together on Tourist Icons: Native American 42

February 8 -14, 2013

Barbara Latham (1896-1989): The Rail, circa 1949, lithograph, 10 x 14 inches; opposite page, W. Herbert Dunton (1878-1936): Scene of Cowboy Life (Rodeo), 1914, oil on canvas, 29.5 x 19.25 inches

Kitsch, Camp, and Fine Art Along Route 66, presented at the Museum of Indian Arts & Culture in 2001. “Over a long period of time, we’d been talking about doing a multiworks project,” Traugott said. “John and I worked well together before, and I thought this would be an interesting combination of voices. The objects in the show are diverse in terms of New Mexican artists and include Native Americans as well as Hispanic and European American artists. The images from this diverse group represent an interesting cross section of ideas about New Mexico as well as the formal subject itself. “When John and I went through the early painting collections that were the core beginnings of the show, it became clear that there were works he responded to and that I responded to. Together they did sort of meld into one curatorial perspective.” Back in the

Saddle is presented in conjunction with a selection of the museum’s Georgia O’Keeffe paintings. Included in Back in the Saddle are some well-known works from the collection, such as Joseph Henry Sharp’s powerful The Stoic. In this painting from 1914, a Plains Indian, after the death of his son, expresses his grief by dragging the heads of several horses, tethered to the flesh of his own back, toward a barren landscape. Torres-Nez’s descriptive title card for the painting discusses the self-mutilation and ritual scarification involved with the Sun Dance of tribes of the northern Great Plains, bringing an ethnographic interpretation from a Native perspective. Other familiar works include W. Herbert Dunton’s Scene of Cowboy Life (Rodeo), an oil painting executed in gray scale, showing a rider on a bucking horse. Longtime museum visitors may also recognize

Walter Ufer’s Chance Encounter, in which two Native Americans on horseback approach each other across an open, sagebrush-covered field. Traugott pairs the work with a painting from the collection by Otto Kuhler, known for his mid-20th-century designs of American trains. “The Walter Ufer has been on display, off and on, for many years,” Traugott said. “Otto Kuhler’s funny takeoff, From Rust to Rails, shows two locomotives coming toward each other on separate tracks, but you have the two engineers waving to each other. It’s another chance encounter, but this one is with the iron horse; the other a living horse.” Other works in the exhibit have not seen the light of day for a number of years. These include photographer Laura Gilpin’s Navajo Covered Wagon from 1934, continued on Page 44 PASATIEMPO


Back in the saddle, continued from Page 43

Betty Hahn: White Hat, White Horse, White Guy, 1998, four-color lithograph with photographic transfer and oil pastel, 19 x 25 inches

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February 8 -14, 2013

Sheldon Parsons’ undated New Mexico Landscape, and Eugenie Fish Glaman’s undated Restless Model, a portrait of a draft horse. “Some of them needed to be cleaned,” Traugott said. “Some have new, more appropriate frames added. This will be a very bright collection that’s in excellent condition.” The museum continues to build its collection of 20th-century art, Traugott’s area of expertise, and several recently acquired works, as well as items that have not been exhibited before, are also presented. Betty Hahn’s White Hat, White Horse, White Guy considers the relationship between Tonto and the Lone Ranger, noting that Tonto was always in the Lone Ranger’s shadow, despite being integral to the plots of the radio and television serials. Hahn’s four-color lithograph presents a series of portraits of the Lone Ranger and his horse, Silver, arranged in a grid. Tonto’s image has been blacked out. The most recent acquisition in the show is Bill Schenck’s Coming Down From the Mountain, a vibrant painting in which Schenck merges realism with a flat Pop Art style. Another image, acquired by the museum in 1998 but not exhibited until now, is George Wharton James’ photograph Exploring the Camera. James’ 1897 albumen print shows two European Americans demonstrating a camera for two Diné men. This work underscores the complex relationship between photography and Native Americans. Although the show has a smaller purview (and a smaller footprint) than It’s About Time: 14,000 Years of Art in New Mexico, the museum’s long-term exhibition celebrating the diversity of art in the state, Back in the Saddle dovetails nicely with the larger exhibition, providing a more focused look at the museum’s holdings. “We do want to make it clear that we have deep collections and that it’s not a one-dimensional collection by any stretch of the imagination,” Traugott said. “The collections are very important, and we want to show them in creative and innovative ways. I think that’s part of the goal for this project.” ◀

▼ Opening reception 5 p.m. Friday, Feb. 8; through Sept. 15 ▼ New Mexico Museum of Art, 107 W. Palace Ave. ▼ By museum admission (no charge 5 to 8 p.m. on Fridays); 476-5072


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— compiled by Robert Ker

SAFE HAVEN Valentine’s Day is a good time for a new movie based on a Nicholas Sparks novel (The Notebook, Dear John), but 2013 is actually the first time one has been released on V-Day. You know what to expect: a hurt woman learns to love again, everything takes place in the golden light of the “magic hour” before sunset, and nobody is far from a secluded beach. Opens Thursday, Feb. 14. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) SIDE EFFECTS Director Steven Soderbergh returns with his fourth movie since September 2011. This thriller finds him taking his prolific streak to New York City, where a couple (Channing Tatum and Rooney Mara) is threatened by the creepy side effects of a drug. Sex, lies, and/or videotape may be involved. Jude Law co-stars. Rated R. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

Take two capsules as needed for anxiety and double-crosses: Rooney Mara and Channing Tatum in Side Effects, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week AMOUR This exquisitely crafted film, a Palme d’Or winner at Cannes and an Oscar favorite, is beautifully played by a couple of legends of French cinema. Jean-Louis Trintignant (Z) and Emmanuelle Riva (Hiroshima, Mon Amour) portray retired musicians in their 80s. When she suffers a minor stroke and enters an inexorable decline after botched surgery, he honors his promise to keep her at home in their Paris apartment, coping as his beloved wife sinks into a living hell. Austrian filmmaker Michael Haneke (The Piano Teacher, The White Ribbon) turns his unsparing lens on the indignities, humiliations, sufferings, and helplessness that can attend the end of a long life. Depressing but riveting. Not rated. 127 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 52. BEAUTIFUL CREATURES There’s a new girl in town (Alice Englert), and there’s something supernatural about her. Will her powers hamper her chances with a local hunk (Alden Ehrenreich) or destroy the town long inhabited by her uncle ( Jeremy Irons)? She’ll find out when the nature of her powers is revealed on her 16th birthday, which may be sweet or may be sour. Opens Thursday, Feb. 14. Rated PG-13. 123 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 46

February 8 -14, 2013

ESCAPE FROM PLANET EARTH This animated film about aliens who try to escape an aggressive planet comes from newcomers Rainmaker Entertainment. The animation looks strong, but the jokes look to be the usual wisecracks and burps. Opens Thursday, Feb. 14. Rated PG. 95 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) A GOOD DAY TO DIE HARD Back in 1988, Die Hard forever raised the action bar when John McClane (Bruce Willis) found himself stuck in a building with some baddies. The title then referred to McClane’s grit; in 2013, it might refer to the franchise itself. Opens Thursday, Feb. 14. Rated R. 98 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) IDENTITY THIEF Sandy Patterson ( Jason Bateman) discovers his identity has been stolen. He has one week to clear his name, so he goes to Florida to find the thief (Bridesmaids’ Melissa McCarthy), and they engage in a lot of insulting and punching. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Wagner’s Lohengrin from Teatro Alla Scala in Milan. René Pape, Jonas Kaufmann, and Annette Dasch star. Presented by the Wagner Society of Santa Fe. 11 a.m. Saturday, Feb. 9, only. Not rated. 248 minutes, plus two intermissions. The Screen, Santa Fe. (Not reviewed)

TEDDY BEAR Dennis, a professional bodybuilder from Denmark whose rippling muscles camouflage his true character as a cream puff, cringes in the close company of women. He’s fed up with being alone, so he does something drastic — he travels to Thailand to find a soul mate. This endearing seriocomedy is soft around the edges, but there’s a genuine heart beating at its core. Kim Kold steals the show as the lovable lug, though all of the performances resonate strongly. Some may find it the ideal date movie, because no matter how geeky you are, you will look positively suave and sophisticated alongside the inept Dennis. Not rated. 92 minutes. In Danish and Thai with subtitles. The Screen, Santa Fe. (Jon Bowman) See review, Page 50.

now in theaters ANY DAY NOW Travis Fine’s drama is based on the true story of a West Hollywood gay couple’s attempt to adopt a mentally disabled child who is being neglected by his drug-addicted mother. An aging and broke drag performer (Alan Cumming) and his newfound lover, a closeted district attorney (Garret Dillahunt), form a bond with the boy. But as they fight for full custody within a prejudiced legal system, the mother is released from jail and fights for parental rights. Stellar performances, meticulous production design, and a great soundtrack make Any Day Now a joy to watch. Rated R. 97 minutes. The Screen, Santa Fe. (Rob DeWalt) ARGO Ben Affleck takes a true story by the throat and delivers a classic seat-squirming nail-biter that has been nominated for seven Oscars. In 1980, as the world

watched the hostages in the U.S. embassy in Tehran, a small group of Americans made it to the Canadian ambassador’s residence and hid out while the CIA tried to figure out how to spirit them out of the country. The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin (a best supporting actor nominee) and John Goodman at the Hollywood end. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BEASTS OF THE SOUTHERN WILD Benh Zeitlin’s inventive and visually stunning debut feature transports viewers to a magical world conjured up by its 6-yearold heroine, Hushpuppy (Quvenzhané Wallis). She lives with her stern father in the Bathtub, a low-lying community in the Louisiana bayou that’s about to be slammed by a hurricane. The storm unleashes fears, emotions, and reveries for Hushpuppy, who clings to her dreams as the devastation mounts. The film is up for four Oscars, including Best Picture, with nominations for Zeitlin and Wallis. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. ( Jon Bowman) BULLET TO THE HEAD Arnold Schwarzenegger struck out on a comeback vehicle when The Last Stand recently fizzled in theaters. Now it’s Sylvester Stallone’s turn. He plays a dude who’s mad and thinks all of his problems can be solved with guns. He also solves problems with axes and fists — but mostly, it’s guns. Rated R. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CHASING ICE Director Jeff Orlowski follows environmental photographer and one-time climate-change denier James Balog as he launches and maintains his Extreme Ice Survey, a long-term photography project that gives what Balog calls a “visual voice” to the planet’s rapidly receding glacial ice sheets. Visually stunning and horrifying in scope and context, Chasing Ice is at its best when the talking heads are not in the picture. At times the film appears to be more about Balog than the planet, and although his story is compelling, the ice should be the true star. Rated PG-13. 75 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) DJANGO UNCHAINED Quentin Tarantino’s first film since 2009’s Inglourious Basterds is an homage to the spaghetti Western, but it mixes, matches, and mismatches ideas, themes, and music from a lot of other movies as well. Django ( Jamie Foxx) is a freed slave who partners with a bounty hunter (Christoph Waltz, a best supporting actor Oscar nominee) to find and free Django’s enslaved wife. The performances are

often terrific (as with Leonardo DiCaprio’s foppish Southern plantation owner), and the blood and humor flow openly. Still, it’s longer than it ought to be. Nominated for Best Picture by the Academy. Rated R. 165 minutes. Regal Stadium 14, Santa Fe. (Robert Nott) HANSEL & GRETEL: WITCH HUNTERS Those who have clamored for an edgy, modern take on Hansel and Gretel finally have a movie at the end of their bread-crumb trail. Jeremy Renner and Gemma Arterton play those feisty kids, all grown up and now bounty hunters who will push witches into ovens for money — while dressed in black leather and wielding high-tech weapons, of course. Rated R. 88 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 3-D only at Storyteller, Taos. (Not reviewed) THE HOBBIT: AN UNEXPECTED JOURNEY This is the first of Peter Jackson’s three films based on Tolkien’s 1937 children’s novel about a hobbit named Bilbo (Martin Freeman) who is recruited by the wizard Gandalf (Ian McKellen) and 13 dwarfs to help slay a dragon. The Hobbit is a breezier book than the Lord of the Rings trilogy, so the movie is more lighthearted than Jackson’s earlier adaptations — sometimes awkwardly so. Still, the attention to detail, the magnificent effects, the warm cast, and the heartfelt themes make The Hobbit a journey full of expected delights. Rated PG-13. 169 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) HYDE PARK ON HUDSON In June 1939, King George VI (Samuel West) and Queen Consort Elizabeth (Olivia Colman) flew to President Franklin Roosevelt’s estate in upstate New York to make sure they had support in the upcoming war. This bit of history could have made for a gravely serious film, but instead director Roger Michell cast Bill Murray as FDR and Olivia Williams as his wife, Eleanor. Murray is never fully believable, and the meeting of the powers is staged as an easygoing weekend in the country. Much of the drama actually stems from Roosevelt’s distant cousin Margaret “Daisy” Suckley (Laura Linney), with whom the president had an affair. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Robert Ker) LES MISÉRABLES The stage musical version of Victor Hugo’s great novel is the longest-running musical of all time. It has been seen by more than 60 million people in all sorts of languages and countries. This movie could put an end to all that. In the hands of director Tom Hooper, who guided The King’s Speech with subtlety and grace, this screen adaptation is garish, shrill, and breathtakingly over the top. The songs are still there, up close and personal like you’ve never seen or heard them. The

A Good Day to Die Hard

cast (headed by Hugh Jackman and Russell Crowe) performs bravely, if not always wisely or too well. Nominated for Academy Awards in eight categories, including Best Picture. Rated PG-13. 158 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) LIFE OF PI Ang Lee’s adaptation of Yann Martel’s bestselling novel is an intriguing exercise in going toward, intense being, and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a Bengal tiger in a wild ocean, is set. That middle part is a fabulous creation of imagination, and it is riveting. The lead-in sets it up with a promise of a story that “will make you believe in God.” The recessional discusses what we have seen, what may or may not be true, and what we’ve learned. Suraj Sharma and Irrfan Khan play Pi, young and older. The real star is the CGI that will make you believe in tigers, at least. Nominated for 11 Oscars, including Best Picture. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. ( Jonathan Richards) LINCOLN Steven Spielberg’s Lincoln is a small film, considering its subject. With the Civil War as background, it focuses on the passage of the 13th Amendment to the Constitution and what was required to achieve it. The president deals with the false choice of ending the war and continued on Page 48 PASATIEMPO



continued from Page 47

slavery, criticism from his political enemies, and dysfunction in his own family. Daniel Day-Lewis looks and sounds the part of the 16th president, though sometimes his words and the cadences at which they come feel self-conscious. Up for Academy Awards in 12 categories. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe. (Bill Kohlhaase) MAMA Andrés Muschietti directs this feature about two girls who survived in the wilderness for five years with the help of a freaky spirit called Mama. When their uncle (Nikolaj CosterWaldau) and his girlfriend ( Jessica Chastain) take the tykes in, the ghost comes along, and Mama don’t take no mess. Despite decent performances, Mama is more of the same: a woman-done-wrong monster, an endless string of speaker-blowing “boo” moments, and a central conceit about how kids see the darnedest things. And worst of all, CGI ghosts just aren’t scary. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) PARKER Jason Statham plays a thief who is doublecrossed in a heist for his share of the cash. The other thieves think they have killed him, but they haven’t. Uh-oh. Expect lines of dialogue such as “Leaving me alive was your first mistake” and “You don’t need to look for me — I’m coming for you.” Jennifer Lopez co-stars. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material adapted from a play by Ronald Harwood. Beecham House is a retirement home for musicians, among them brooding Reg (Tom Courtenay), sweet daffy Cissy (Pauline Collins), and lecherous, fun-loving Wilf (Billy Connolly). When diva Jean (Maggie Smith) arrives, it completes a foursome who once starred together in a noted production of Verdi’s Rigoletto and sets the stage for an encore performance of its famous quartet in the home’s annual Verdi tribute. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the talented musician Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and

spicy bland




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February 8 -14, 2013

a detective story all in one. It follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. Nominated for a best-documentary-feature Oscar. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SILVER LININGS PLAYBOOK After his release from a mental institution, Pat Solatano (Bradley Cooper) moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. He meets Tiffany ( Jennifer Lawrence), who also has a couple of screws loose. She agrees to help him if he will agree to be her partner in a dance competition. The finely honed dialogue, attention to detail, and impressive performances make the movie a near-perfect oddball comedy. This is the first film in 31 years to receive Oscar nominations for all four principals; it garnered four additional Oscar nods as well. Rated R. 122 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) STAND UP GUYS Director Fisher Stevens packages a mélange of genres that includes the buddy movie, the mob movie, and the over-the-hill-gang movie to produce a sometimes hackneyed but highly entertaining romp. It relies almost entirely on the enormous charm, talent, and history of its three stars — Al Pacino, Christopher Walken, and Alan Arkin — and they do not disappoint. Pacino is Val, released from prison after almost three decades of taking the fall for his gang mates. Walken is Doc, his best friend, who has an unhappy duty on his hands. Arkin is their old pal and getaway driver Hirsch. Stand Up Guys delivers a tasty serving of entertainment and a chance to watch three old pros at work. Rated R. 95 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) 2013 OSCAR NOMINATED SHORT FILMS: ANIMATION The strongest set of animation nominees in years boasts the familiar (Disney and The Simpsons get nods with Paperman and Maggie Simpson in “The Longest Daycare”), the surreal (Fresh Guacamole), the pastoral (Adam and Dog), and the poignant (Head Over Heels). Even better, the program is ideal for children; there are none of the scary or “edgy” films of the past — only heart and humor. Not rated. 41 minutes total. The Screen, Santa Fe. (Robert Ker) 2013 OSCAR NOMINATED SHORT FILMS: LIVE ACTION The live-action nominees are slightly uneven, but there isn’t a bad one in the bunch. Asad spins a fable of a young boy in a Somali fishing village. Death of a

Shadow contains imaginative steampunk setpieces. Curfew tells of a former junkie who babysits his niece; it contains nice moments, but the mix of tones is jarring. Henry is a moving tale of an elderly pianist holding desperately to his memories. Buzkashi Boys is about two boys in Kabul, Afghanistan, who yearn to play a pololike game on horseback. It offers one striking image after another — if a short-film program is like a passport around the world, it’s the brightest stamp. In English and various other languages with subtitles. Not rated. 106 minutes total. The Screen, Santa Fe. (Robert Ker) WARM BODIES A young zombie (Nicholas Hoult) stumbles around with his peers but yearns for more. Enter a cute zombie hunter (Teresa Palmer) who gets his heart beating again. Their extremely unlikely romance holds the key to “curing” the zombie plague, but first they need to fight some skinny, angry, CGI thingies and get daddy ( John Malkovich) to approve of their relationship. The setup is clever, and the use of pop music is inspired, but Warm Bodies is thin on content and often lurches along as slowly as the undead. Rated PG-13. 97 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) ZERO DARK THIRTY Kathryn Bigelow’s CIA procedural about the hunt for Osama bin Laden has stoked a fierce debate over the effectiveness and morality of torture. In all of this soul-searching, it’s easy to lose sight of the fact that this is, as they say, only a movie. Jessica Chastain gives a powerful performance in the role of the key investigator. For the most part the events feel real, sometimes unbearably so. Chastain has been nominated for a best actress Oscar, and the film is up for best picture. Rated R. 157 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards)

other screenings DreamCatcher A Haunted House. Lensic Performing Arts Center 7 p.m. Thursday, Feb. 14: Moonstruck. New Mexico History Museum 113 Lincoln Ave., 476-5200 2 p.m. Sunday, Feb. 10: Treasure of Silver Lake. Regal Stadium 14 Broken City, Gangster Squad. Storyteller Wreck-It Ralph. ◀



What’s shoWing





1050 Old Pecos Trail, 982-1338, Amour (PG-13) Fri. to Sun. 10:30 a.m., 1 p.m., 3:30 p.m., 6 p.m., 8:30 p.m. Mon. to Thurs. 12:30 p.m., 3 p.m., 5:30 p.m., 8 p.m. Chasing Ice (PG-13) Fri. to Sun. 12 p.m., 5:15 p.m. Mon. to Thurs. 4:45 p.m. Searching for Sugar Man (PG-13) Fri. to Sun. 2:30 p.m., 7:30 p.m. Mon. to Thurs. 2:15 p.m., 7:30 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, Argo (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7 p.m., 9:45 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7 p.m. Beasts of the Southern Wild (PG-13) Fri. to Thurs. 4:40 p.m., 7:40 p.m. Hyde Park on Hudson (R) Fri. and Sat. 1:50 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m. Les Miserables (PG-13) Fri. to Thurs. 1 p.m., 4:15 p.m., 7:30 p.m. Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:10 p.m. Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. Stand Up Guys (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:20 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, Beautiful Creatures (PG-13) Wed. 10 p.m. Thurs. 1:30 p.m., 4:20 p.m., 7:15 p.m., 10:30 p.m. Broken City (R) Fri. to Wed. 4:05 p.m., 9:45 p.m. Bullet to the Head (R) Fri. to Wed. 2:30 p.m., 5:10 p.m., 7:40 p.m., 10:15 p.m. Django Unchained (R) Fri. to Wed. 1 p.m., 4:30 p.m., 8:15 p.m. Escape From Planet Earth (PG) Opens Thursday, call for showtimes Gangster Squad (R) Fri. to Wed. 1:30 p.m., 4:20 p.m., 7:10 p.m., 9:55 p.m. A Good Day to Die Hard (R) Wed. 10 p.m. Thurs. 2 p.m., 4:40 p.m., 7:30 p.m., 10:15 p.m. Hansel & Gretel:Witch Hunters 3D (R) Fri. to Wed. 2:05 p.m., 7:20 p.m., 9:40 p.m. Hansel & Gretel:Witch Hunters (R) Fri. to Wed. 4:45 p.m. The Hobbit:An Unexpected Journey in 3D (PG-13) Fri. to Wed. 1:15 p.m., 8:40 p.m. The Hobbit:An Unexpected Journey (PG-13) Fri. to Wed. 5 p.m. IdentityThief (R) Fri. to Wed. 1:20 p.m., 2 p.m., 4:50 p.m., 7 p.m., 7:30 p.m., 10:10 p.m. Life of Pi 3D (PG) Fri. to Wed. 1:15 p.m., 7:15 p.m. Life of Pi (PG) Fri. to Wed. 4:15 p.m., 10:15 p.m. Lincoln (PG-13) Fri. to Wed. 1:25 p.m., 5:15 p.m., 8:30 p.m. Mama (PG-13) Fri. to Wed. 1:50 p.m., 4:55 p.m., 7:50 p.m., 10:20 p.m. Parker (R) Fri. to Wed. 1:05 p.m., 4 p.m., 7 p.m., 10 p.m. Safe Haven (PG-13) Wed. 10 p.m. Side Effects (R) Fri. to Wed. 2:15 p.m., 5 p.m., 7:45 p.m., 10:25 p.m. Warm Bodies (PG-13) Fri. to Wed. 1:40 p.m., 4:25 p.m., 7:55 p.m., 10:25 p.m. Zero DarkThirty (R) Fri. to Wed. 1:10 p.m., 4:40 p.m., 8:35 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, Any Day Now (R) Fri. 1:15 p.m. Sun. 1:15 p.m. Lohengrin:Teatro alla Scala, Milan (NR) Sat. 11 a.m.

The Oscar Nominated Shorts:Animation (NR)

Fri. 7:40 p.m. Sat. 4 p.m. Sun. 11:15 a.m., 7:40 p.m. Mon. and Tue. 5:30 p.m. Wed. and Thurs. 7:30 p.m. The Oscar Nominated Shorts: Live Action (NR)

Fri. 3:20 p.m. Sat. 7:40 p.m. Sun. 3:20 p.m. Mon. and Tue. 3 p.m. Wed. and Thurs. 5 p.m. Teddy Bear (NR) Fri. to Sun. 5:45 p.m. Mon. and Tue. 7:30 p.m. Wed. and Thurs. 3:10 p.m.






Storyteller dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, Bullet to the Head (R) Fri. 3:50 p.m., 6:45 p.m., 9:15 p.m. Sat. 1 p.m., 3:50 p.m., 6:45 p.m., 9:15 p.m. Sun. 1 p.m., 3:50 p.m., 6:45 p.m. Mon. to Wed. 3:50 p.m., 6:45 p.m. Hansel & Gretel:Witch Hunters 3D (R) Fri. 7:25 p.m., 9:30 p.m. Sat. 1:35 p.m., 7:25 p.m., 9:30 p.m. Sun. 1:35 p.m., 7:25 p.m. Mon. to Wed. 7:25 p.m. Hansel & Gretel:Witch Hunters (R) Fri. to Wed. 4:35 p.m. A Haunted House (R) Fri. 4:10 p.m., 7:20 p.m., 9:35 p.m. Sat. 1:10 p.m., 4:10 p.m., 7:20 p.m., 9:35 p.m. Sun. 1:10 p.m., 4:10 p.m., 7:20 p.m. Mon. to Wed. 4:10 p.m., 7:20 p.m. IdentityThief (R) Fri. 4 p.m., 7 p.m., 9:25 p.m. Sat. 1:25 p.m., 4 p.m., 7 p.m., 9:25 p.m. Sun. 1:25 p.m., 4 p.m., 7 p.m. Mon. to Wed. 4 p.m., 7 p.m. Mama (PG-13) Fri. 4:20 p.m., 6:50 p.m., 9:05 p.m. Sat. 1:15 p.m., 4:20 p.m., 6:50 p.m., 9:05 p.m. Sun. 1:15 p.m., 4:20 p.m., 6:50 p.m. Mon. to Wed. 4:20 p.m., 6:50 p.m. Parker (R) Fri. 4:05 p.m., 7:05 p.m., 9:40 p.m. Sat. 1:05 p.m., 4:05 p.m., 7:05 p.m., 9:40 p.m. Sun. 1:05 p.m., 4:05 p.m., 7:05 p.m. Mon. to Wed. 4:05 p.m., 7:05 p.m. Side Effects (R) Fri. 3:55 p.m., 6:55 p.m., 9:45 p.m. Sat. 1:20 p.m., 3:55 p.m., 6:55 p.m., 9:45 p.m. Sun. 1:20 p.m., 3:55 p.m., 6:55 p.m. Mon. to Wed. 3:55 p.m., 6:55 p.m. Silver Linings Playbook (R) Fri. 4:30 p.m., 7:10 p.m., 9:20 p.m. Sat. 12:50 p.m., 4:30 p.m., 7:10 p.m., 9:20 p.m. Sun. 12:50 p.m., 4:30 p.m., 7:10 p.m. Mon. to Wed. 4:30 p.m., 7:10 p.m. Warm Bodies (PG-13) Fri. 4:15 p.m., 7:15 p.m., 9:50 p.m. Sat. 12:55 p.m., 4:15 p.m., 7:15 p.m., 9:50 p.m. Sun. 12:55 p.m., 4:15 p.m., 7:15 p.m. Mon. to Wed. 4:15 p.m., 7:15 p.m. Zero DarkThirty (R) Fri. 3:30 p.m., 6:40 p.m. Sat. and Sun. 12:25 p.m., 3:30 p.m., 6:40 p.m. Mon. to Wed. 3:30 p.m., 6:40 p.m.



Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room







-Joe Morgenstern



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rOONeY mara

catHeriNe Zeta-jONeS


cHaNNiNG tatUm

Storyteller CinemA

110 Old Talpa Canon Road, 575-751-4245 Hansel & Gretel:Witch Hunters 3D (R) Fri. 4:30 p.m., 7:15 p.m., 9:30 p.m. Sat. 2:15 p.m., 4:30 p.m., 7:15 p.m., 9:30 p.m. Sun. 2:15 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. IdentityThief (R) Fri. 4:35 p.m., 7:05 p.m., 9:55 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:55 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Mama (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Side Effects (R) Fri. 4:50 p.m., 7:20 p.m., 9:45 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:20 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. Silver Linings Playbook (R) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Warm Bodies (PG-13) Fri. 4:45 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:30 p.m., 4:45 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:30 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs. 4:45 p.m., 7:25 p.m. Wreck-It Ralph (PG) Fri. 4:30 p.m., 7 p.m., 9:35 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:35 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

directed BY SteVeN SOderBerGH

writteN BY ScOtt Z. BUrNS

StartS tOdaY Adar - ‫אדר‬

The Hebrew month of Adar begins on Monday, February 11. “When Adar comes in, our joy increases.” Adar is the happiest month of the Jewish calendar. The festive holiday of Purim falls on the 14th of the month, celebrating the deliverance of the Jewish people from a plot by Haman, minister to the King of Persia.

This year, Purim falls on Sunday, February 24. May your Adar be filled with blessing & success. (505) 216-6136 551 W Cordova Rd, Suite F Santa Fe, NM 87505 PASATIEMPO


moving images film reviews

He remembers mama Jon Bowman I For The New Mexican Teddy Bear, drama, not rated, in Danish and Thai with subtitles, The Screen, 3 chiles A giant, gentle hulk of a man struggles to find love and inner courage in the heartfelt Danish drama Teddy Bear. Outwardly, the awkward protagonist Dennis (Kim Kold) looks like he might be able to hogtie Arnold Schwarzenegger or at least earn a draw with him in an arm-wrestling contest. But even if Dennis’ biceps appear big enough to swallow pythons whole, he fumbles around hopelessly when he steps outside the gym. He’s especially at a loss around women. At 38, he still lives at home with his mother and appears to have never had a steady girlfriend — or perhaps even a sexual relationship. Occasionally, he snags a date, but those end disastrously. Dennis lacks the gift of gab. As he stutters and expresses himself in grunts and monosyllables, his impatient prospects can’t be faulted when they start glancing at their watches or making excuses to go home early. Dennis not only has a deeply rooted self-image problem and a bundle of fears to conquer, but he also must find a way to escape the long shadow cast by his domineering mother, Ingrid (Elsebeth Steentoft). Physically, she’s his polar opposite — petite, frail, sickly. But she uses an arsenal of emotional tricks and tactics to whip Dennis into submission, easily asserting authority over him in the cramped suburban flat they share outside Copenhagen. He wants his independence, but he is also genuinely a teddy bear at heart — so he defers to her demands and tends to her growing needs.


February 8 -14, 2013

Lamaiporn Hougaard and Kim Kold

Set inside the demimonde of professional bodybuilding, Teddy Bear opens as an unimposing, seemingly lightweight character study, but gradually the film builds into something deeper and more purposeful. Director and co-writer Mads Matthiesen doesn’t pump up the story using Rocky-style theatrics or the kind of narrative tricks so often seen in Hollywood movies. The picture is quiet and subdued, as simple and straightforward as its lonely hero. That said, the narrative carries its share of welcome surprises, twists that appear quite natural and in character as they unfold but can’t be foretold in advance. We root for Dennis to find romance, but we wonder if he has the intestinal fortitude to achieve his dreams. To put it crassly, will he ever show some cojones? And where can he go to turn around his bleak fortunes? The answer lies thousands of miles away. An uncle has returned from vacation with a beautiful Thai bride in tow. He takes Dennis aside for a little heart-to-heart chat and lets him in on a little secret — go east, young man, where the women are much easier to meet. Dennis books a getaway to the Thai beach resort of Pattaya, telling his mother he’s got a bodybuilding competition in Germany. In this exotic locale bursting with colors and teeming with people, a different story takes shape. Dennis finds he’s free as a bird. And just as his uncle promised, the women are looser, practically draping themselves around the brawny behemoth wherever he goes. There’s just one catch. Far from touching down in a matchmaking paradise, the naive Dennis discovers his uncle has set him up with the seedy proprietor of the Sugar Shack, who’s actually little more than a pimp. This go-between introduces Dennis to women who are drop-dead gorgeous and quick to get down to business. He would never deign to bring one of these hardened hookers home to meet his headstrong mother.

When he does eventually meet a nice woman, Toi (Lamaiporn Hougaard), a widow who runs the local gym, some sparks fly, but red flags also unfurl. She’s as shy and sensitive as Dennis and even shorter than his mother. They make an odd couple but share a genuine affection. But she’s still fixated on her dead husband, and Dennis’ thoughts drift toward Mom as the time comes for him to return to Denmark. Questions arise: Are Dennis and Toi a match made in heaven or distant strangers meant to part after a one-night stand? This picture earned Matthiesen a best directing award in the World Cinema: Dramatic category at the 2012 Sundance Film Festival. In all honesty, while Matthiesen’s direction is sure-handed, it’s a shade too slight to have won that top prize and adheres a bit slavishly to the Danish Dogme principles — featuring lots of close-ups and hand-held, documentary-style camerawork in tight quarters. It’s not the directing that distinguishes the film but rather the astute casting and original concept. Kold, as Dennis, and Hougaard, as Toi, might be the most visually intriguing misfit lovers presented on the screen since Sugar Baby, on a par with Ruth Gordon and Bud Cort in Harold and Maude. Neither is reportedly a professional actor, but they bask in the limelight of the camera, their every longing gaze, downward glance, or sharp recoil capturing the telltale rituals of love and courtship more powerfully than words ever could. These are faces and physiques you will remember. Perhaps Matthiesen’s award serves as recognition that he could show such sensitivity, stepping back, burying his ego, and giving these demure characters some room to breathe and grow on us. If so, I’m not inclined to fault the Sundance judges. Plenty of movies these days boast flashier direction but less engaging characters or the power to sustain our interest. Yes, Teddy Bear is understated, but it’s also undeniably warm, leaving a pleasant and lasting afterglow. ◀

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moving images film reviews

Till death do us join Jonathan Richards I For The New Mexican Amour, drama, not rated, in French with subtitles, Center for Contemporary Arts, 3.5 chiles Before taking in this movie, you may want to make sure your membership in the Hemlock Society is up to date. Austrian filmmaker Michael Haneke (The Piano Teacher) turns his unsparing lens on the indignities, humiliations, sufferings, and helplessness that can attend the end of a long life. If that sounds depressing, just wait till you see it. This is an exquisitely crafted film, a Palme d’Or winner at Cannes, beautifully played by a couple of legends of French cinema. Jean-Louis Trintignant — who rose to prominence at the time of the French Nouvelle Vague, worked with some of its great directors, and won Best Actor at Cannes in 1969 for Z — is Georges, a retired music teacher. Emmanuelle Riva, who played the unnamed woman in Alain Resnais’ 1959 classic Hiroshima, Mon Amour, portrays his wife, Anne, also retired from teaching music. Both characters (and actors) are in their 80s. Haneke opens with the image of a team of firemen, summoned by neighbors, forcing the door of a Paris apartment. They find a bedroom door sealed with packing tape. Inside the room, an old lady is laid out alone on the bed, dressed and coiffed, with her hands folded across her chest and flower petals strewn on the pillow. Our first thought: euthanasia or suicide by gas. But the window is standing open. The officer in charge asks a subordinate if he opened it. No, that’s the way he found it. The odor in the room is not gas but decay. There is no sign of anyone else in the apartment.

Emmanuelle Riva 52

February 8 -14, 2013

Isabelle Huppert and Jean-Louis Trintignant

Haneke makes no bones about where his story is headed. It ends in death. The questions are how and why. And the film dials back in time to show us. Georges and Anne have lived in a cultured, companionable, loving relationship for more than half a century. They don’t get around much any more, but they do attend the occasional concert, especially ones given by their former students. They come home after such a concert to find evidence of an attempted forced entry to their apartment. The world is pressing in; life grows fragile and risky. On a morning not long after this incident, Anne suffers a minor stroke at the breakfast table. She recovers, unaware and disbelieving that she tuned out for a matter of minutes. Surgery to alleviate the likelihood of another stroke goes wrong, and Anne is paralyzed on one side of her body. But her mind and her self-respect are still largely intact, and she exacts a promise from Georges: “Please,” she begs him, “whatever happens, don’t take me back to the hospital ever again.” Her deterioration continues, inexorably. Bit by bit Anne’s abilities, faculties, and awareness ebb, until all she is left with is the pain. Doggedly, fearfully, Georges holds on, feeding, bathing, wiping, diapering, and somehow coping as his beloved wife sinks into a living hell. Their middle-aged daughter Eva (Isabelle Huppert) comes home to take stock of the situation and is appalled. Mother must go to the hospital. Testily, Georges refuses. Eva isn’t especially insensitive, but an outsider, even a close family member, can’t begin to understand the commitment and the love that drives and

sustains this relationship. There’s an unthinking condescension that issues reflexively from everyone else, especially the visiting nurses with their firstperson-plural professional familiarity. (“Let’s just get this tangle out of our hair. Now don’t we look nice.”) Haneke, after that brief excursion to the concert, keeps the action claustrophobically confined to the apartment, where the camerawork of Darius Khondji (Midnight in Paris) prowls restlessly along the corridors and through book-lined rooms, the character of which is degenerating from home to prison to tomb. Haneke keeps the storytelling simple, austere, and unemotional, except for one digression into nightmare. There is no swelling music track to guide audience response. The temperature is cool. There is a peculiarly opaque twist at the end, which brings us back to the opening situation of firemen breaking in to find a single corpse arranged on the bed and the doors taped to retard the spread of the stench of death. It leads to some head scratching, which, no doubt, is just what Haneke intended. Amour is Haneke’s second consecutive feature, following 2009’s The White Ribbon, to win the top prize at Cannes. Riva has worked consistently in Europe over the decades. Trintignant gave up film work about 10 years ago and was lured out of retirement for this role. Both actors deliver exquisitely, excruciatingly human performances, unsentimental and uncompromising. This is a picture that deserves to be seen. All it needs is an audience steeled to watch it. ◀

Please see website for new class rates and extensive schedule.

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1st time drop-in class $8 Refer a friend & get $25 off next 10-Class Pass. Call for details! Jennifer Gallagher, Owner •


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Valentine’s Special

Bina Thompkins

Get a reading and we will do a free reading for your loved one. Or Simply come and find out if true love is in the stars for you. Call for Appointments 505 819 7220





-Manohla Dargis, THE NEW YORK TIMES







2013 Oscar Nominee for Best Documentary!!!

Fri-Sun Feb 8-10 10:30a - Amour 12:00p - Chasing Ice* 1:00p - Amour 2:30p - Sugar Man* 3:30p - Amour

5:15p - Chasing Ice* 6:00p - Amour 7:30p - Sugar Man* 8:30p - Amour

Mon-Thu Feb 11-14 12:30p - Amour 2:15p - Sugar Man* 3:00p - Amour 4:45p - Chasing Ice*

5:30p - Amour 7:30p - Sugar Man* 8:00p - Amour

* indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members



RESTAURANT REVIEW Susan Meadows I For The New Mexican

Azur thing

Azur 428 Agua Fría St., 992-2897 Dinner nightly from 5:30 p.m. Wine bar Noise level: calm to boisterous Vegetarian options Patio dining in season Handicapped-accessible Credit cards, local checks

The Short Order Chef Paul Hunsicker, former owner-chef of the long-running Paul’s restaurant downtown and recently of Quail Run, is now top chef at Azur. He replaces Xavier Grenet, who has gone back to focusing exclusively on Azur’s big sister, Ristra. Subtle changes to the menu have ensued, though the basic concept of a Tour de Mediterranean still holds. While a few dishes may leave you with a thirst, as after a day by the salty sea, an original menu, coupled with good service and good prices in a sophisticated atmosphere, could make it easy to become a regular here. Most appetizers are generously sized for sharing, and some main courses can be ordered as smaller appetizer portions. Recommended: sautéed calamari with preserved lemon, serrano ham croquettes, mussels with fries, braised pork shank with polenta, cheese ravioli, crème brûlée cheesecake, pear tarte Tatin, and almond briouats.

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.


February 8 -14, 2013

Once long ago in Paris, I witnessed a holiday parade on les Grands Boulevards, the northern arc of broad streets where ancient walls used to enclose the city. Near the end of the parade sauntered a ragtag collection of musicians in fedoras, treating the crowd to the unmistakable jazz of the Big Easy. I have no idea if Paul Hunsicker has any connection to New Orleans, but at Eric Lamalle’s Azur, where Hunsicker recently took over as executive chef, the parade of Mediterranean dishes now seems more loosely interpreted, with subtle hints of the Gulf Coast. When Azur opened in 2011, the menu showed more of a southern French influence from executive chef Xavier Grenet, now back exclusively at Lamalle’s original restaurant, Ristra, just down the street. Hunsicker is the former owner-chef of Paul’s, where jazz riffs on world cuisines were the norm for 15 years, until 2006, when he sold the space to James Campbell Caruso, who created La Boca there. Hunsicker most recently headed Quail Run’s kitchen before his move to Azur. Maybe it was the shrimp cakes with a roasted corn relish that made me think another continent had been added to Azur’s sailing route. They had a deep earthy flavor we couldn’t quite identify. Some breaded and fried croquettes of serrano ham seemed to speak a little of the excess of the American South — it took two of us to finish three large and salty croquettes, although we agreed they were delicious, especially with the dipping sauce, which was described as incorporating cilantro but tasted more like really good tartar sauce. Our server (who was spot on about everything he suggested) recommended the silky calamari with preserved lemons and tomatoes as “the best in town.” Some might think these tentacled beasts are born breaded and swimming in a fryer rather than the sea, but this dish of sautéed baby squid defies that impression with refreshing originality. The only disappointment among the starters was a large meaty Portuguese sardine that sadly reeked just a little more than is seemly even for a sardine (and I’m speaking as one who loves even the tinned variety). It rested atop an eggplant caponata that suffered from too little eggplant and too many olives and capers, masking with brine the agrodolce flavor of this classic from Sicily. I wanted more of the sauce perfumed with spices that came with my lamb tagine. The tender meat fell apart and rested on fluffy couscous with a hint of greens. A braised pork shank on creamy polenta with sautéed greens achieved winter-dish perfection. The cheese ravioli were light and tangy and included a blend of cheeses, in which creamy goat perhaps stars, and a refreshing tomato sauce with a dab of pesto brightened a cold night. Luscious, plump mussels swam in a briny, flavorful broth, while the cone of fresh hot French fries practically inspired begging from onlookers. The many standouts among

all the previously mentioned dishes more than balanced the thought that a lighter touch, especially with the salt, might be considered here and there. The must-order dessert is the crème brûlée cheesecake, which is just what it sounds like, only better. The pear tarte Tatin is a lovely pear tart tasting of honey but lacking the upside-down caramelized fruit of its namesake. A chocolate ganache pie was a little too cold and perhaps a little too long in the cooler. Briouats are the Moroccan cousin of baklava. Flaky pastry packets of almond paste perfumed with orange flower water, these exotic candylike treats would be perfect with espresso or Moroccan mint tea. Wines by the glass are mostly under $10. A Venetian pinot grigio our server recommended with seafood proved a seaworthy companion, and a Burgundy pinot noir was a good value. In fact, Azur is all about value. Dishes that are original or rarely encountered in these parts, a sophisticated contemporary ambience, good service that can be relied upon to steer you well, and prices typical of much more pedestrian restaurants make this a great place to eat whether you want just wine and appetizers, a light meal, or a three-course dinner. Regular weekly wine-by-the-bottle specials add even more value to an already pleasant dining experience. ◀

Check, please

Dinner for two at Azur: Calamari ............................................................$ 7.50 Shrimp cakes .....................................................$ 9.75 Lamb tagine .......................................................$ 19.75 Braised pork shank ............................................$ 17.75 Crème brûlée cheesecake ...................................$ 7.00 Chocolate ganache pie....................................... $ 7.00 TOTAL ...............................................................$ 68.75 (before tax and tip)

Dinner for two, another visit: Serrano ham croquettes .....................................$ 8.50 Sardine with caponata ........................................$ 8.75 Mussels and fries ...............................................$ 16.50 Cheese ravioli ....................................................$ 14.75 Almond briouats ................................................$ 7.00 Pear tarte Tatin ..................................................$ 7.00 Glass, pinot grigio .............................................$ 9.00 Glass, pinot noir ................................................$ 10.50 TOTAL................................................................$ 82.00 (before tax and tip)

Desert Academy Desert Academy is committed to providing financial aid to prospective students. More than 45% of our families receive tuition assistance. For full consideration, the application for need-based aid should be submitted by February 15. For complete information, visit

Now Enrolling for Grades 6-12 Shadowing dayS for Students Coffee with the head of SChool for Parents Call Isabelle at 501-7969 or email to schedule.

International Baccalaureate World School

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Hibernate in Style sunday, february 10 · 2:00 pm

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8001 Wyoming Blvd. Ste B 3/4 AlBuq nm 87113 505.856.5009 •

Chocolate Talk by Mark Sciscenti, Chocolate Historian and Chocolatier, Followed by a tasting. Limited spaces available! By museum admission. New Mexico Residents with i.d. free on Sundays. Youth 16 and under and mnmf members always free. Funded by the International Folk Art Foundation.

On Museum Hill in Santa Fe · · (505) 476-1200 PASATIEMPO


pasa week

compiled by Pamela Beach,

8 Friday gallery/museum openings

artservices gallery 557 W. Cordova Rd., 660-1456. Elephants and Buddhas, photographs by Will Buckley, reception 5:30-8 p.m., through February. Beals & abbate Fine art 713 Canyon Rd., 438-8881. Wholly, Holy Hearts, paintings by Carrie Lynn Korzak, reception 5-8 p.m., through Feb. 18. eggman & Walrus art emporium 130 W. Palace Ave., second floor, 660-0048. Pinupology, photographs and multimedia by Carolina Tafoya and Ungelbah Dávila, reception 6-11 p.m., through Feb. 23. lewallen Jewelry 105. E. Palace Ave., 983-2657. Group show of jewelry; prints by Jarrett West; books and CDs by Sid Hausman, reception 5-7 p.m. new mexico museum of art 107 W. Palace Ave. 476-5072. Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, reception 5 p.m., through Sept. 15 (see story, Page 42). santa Fe arts Commission Community gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Silver: 25 Years of Arts in the Community, group show and benefit auction for the gallery, reception 5-7 p.m., through Feb. 22. santa Fe university of art & Design Fine arts gallery 1600 St. Michael’s Dr., 473-6500. Al-Mutanabbi Street Starts Here, traveling group show of book art, reception 5-7 p.m., through March 22.

ClassiCal musiC

Chancel Choir Duruflé’s Requiem, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544. gustavus adolphus College Choir Choral works by Debussy, Mendelssohn, and Pärt; also, folk songs and spirituals, 7:30 p.m., United Church of Santa Fe, 1804 Arroyo Chamiso, $20 donation at the door, students $10, 988-3295.

in ConCert

the sound of the trio Brian Bennett on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m., part of the KSFR Music Café Series, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.


‘Beauty of the Father’ opening night Theaterwork presents Nilo Cruz’s drama, 7:30 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, teens $10, 471-1799, Friday-Sunday through Feb. 17.

Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60 56

February 8 -14, 2013

VaginaVan for V-Day, at the State Capitol 9 a.m., Feb 14, and on the streets of Santa Fe all day

‘Benchwarmers 12’ gala opening night Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets, 7:30 p.m., 142 E. De Vargas St., $25, 988-4262,, ThursdaySunday through March 3. ‘Coal: the musical’ Littleglobe presents a staged reading of its workin-progress on environmental issues, 7 p.m., the Lensic, $10, students no charge, 988-1234,, (see story, Page 30). ‘lost on Broadway’ Santa Fe School for the Arts & Sciences’ students ages 3-11, 6:30 p.m., National Dance Institute of New Mexico Dance Barns, 1140 Alto St., $8, children ages 5 and under $5, or 438-8585. ‘the Warriors: a love story’ opening night ARCOS Dance presents its multi-media performance, 7:30 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $20 in advance, student discounts available, 473-7434 or, Friday-Sunday, through Feb. 17 (see story, Page 34).

Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids ............................ 63 Sound Waves...................... 63


margaret Wrinkle The author reads from and signs copies of her debut novel Wash, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 16).


Family night at the plaza Café La Casita Preschool’s benefit dinner with The Balloon Man and local magician Xander Ware, 5-9 p.m., 54 Lincoln Ave., 982-1664. storyCorps mobileBooth tour The national nonprofit organization records interviews with residents through Saturday, Feb. 9, (look for the Airstream trailer parked on Palace Avenue on the Plaza) collecting stories to be archived at the American Folklife Center at the Library of Congress. Segments of interviews will air on KSFR 101.1 FM. Call 800-850-4406 or visit to make reservations. WorldQuest 2013 Santa Fe Council on International Relations hosts a college bowl-style game of international

trivia, 6-9 p.m., Santa Fe Community College, 6401 Richards Ave., $40 in advance (includes dinner), 982-4931,


(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Club 139 at milagro DJ Alchemy, sol therapy and Chicanobuilt, 9 p.m., $5-$7 cover. Cowgirl BBQ Indie folk singer Becky Alter, 5-7:30 p.m.; roots-rock guitarist Jono Manson, 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 Boom Roots Collective, reggae, 9 p.m.-close, $5 cover.

calendar guidelines Please submit information and listings for Pasa Week

no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to, 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 Follow Pasatiempo on Facebook and Twitter.

Evangelo’s Classic-rock band The Jakes, 9 p.m.-close, $5 cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 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 C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover. The Mine Shaft Tavern Open-mic night, 7-11 p.m., no cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., $2 cover. Second Street Brewery Ninja Star, dub-rock/reggae, 6 p.m., no cover. Second Street Brewery at the Railyard Bill Hearne Trio, roadhouse honky-tonk, 6-9 p.m., no cover. Vanessie Singer/songwriter Chris Chickering, 7-8 p.m., no cover. CD-release party for Country Blues Revue’s A Minor Bit Blue, 8:30 p.m.-close, $5 cover.

d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra nt & Bar ra au st Re i az anas Anasazi, the of Inn Rosewood 988-3030 e., Av 113 Washington h Resort & Spa nc Ra e Bishop’s Lodg 983-6377 ., Rd 1297 Bishops Lodge

9 Saturday oPERa In Hd

Performance at The Screen The HD broadcast series continues with Wagner’s Lohengrin at Teatro alla Scala in Milan, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.


Eric Bibb and Habib Koité The guitarists perform in support of their album, Brothers in Bamako, 7 p.m., the Lensic, $19-$39, 988-1234, (see story, Page 24). Tribute to nina Simone Vocalist Faith Amour and her quartet perform, 1-4 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $20, proceeds benefit the Santa Fe Branch of the NAACP, 603-5838.


‘Beauty of the Father’ Theaterwork presents Nilo Cruz’s drama, 7:30 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, teens $10, 471-1799, Friday-Sunday through Feb. 17. ‘Benchwarmers 12’ Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262,, Thursday-Sunday through March 3.

Café Café 6-1391 500 Sandoval St., 46 ón ¡Chispa! at El Mes 983-6756 e., 213 Washington Av uthside Cleopatra Café So 4-5644 47 ., 3482 Zafarano Dr gro Club 139 at Mila St., 995-0139 o isc nc Fra n Sa . W 9 13 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. dinner for Two , 820-2075 106 N. Guadalupe St. at The Pink The dragon Rooma Fe Trail, 983-7712 nt Sa d adobe 406 Ol lton El Cañon at the Hi 811 8-2 98 , St. al ov nd Sa 0 10 Spa 309 W. San Eldorado Hotel & 5 45 Francisco St., 988-4 l ro El Fa 3-9912 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 de La Posada e Ave., lac and Spa 330 E. Pa 0 986-000 at the The Legal Tender eum us M d oa Lamy Railr 466-1650 151 Old Lamy Trail, g arts Center in Lensic Perform o St., 988-1234 211 W. San Francisc e Lodge Th Lodge Lounge at Francis Dr., St. N. 0 75 Fe at Santa 992-5800 rider Bar Low ’n’ Slow Low 125 Washington ó at Hotel Chimay Ave., 988-4900 The Matador o St., 984-5050 116 W. San Francisc

‘The Warriors: a Love Story’ ARCOS Dance presents its multi-media performance, 7:30 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $20 in advance, student discounts available, 473-7434 or, visit for information, FridaySunday, through Feb. 17 (see story, Page 34).

Sweetheart auction Annual fundraiser for the Cancer Foundation for New Mexico; dinner buffet; cash bar; silent auction, live auction, and vacation raffle, 5-9 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $45, 955-7931, Ext. 1,


(See addresses below) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡Chispa! at El Mesón Bert Dalton Trio, jazz, 7-10 p.m., $10 cover. Club 139 at Milagro DJ Poetics, hip-hop/house/Latin, 9 p.m., $5-$7 cover. Cowgirl BBQ Santa Fe Chiles, traditional Dixie jazz, featuring Trey Keepin on clarinet, 2-5 p.m.; Americana band Boris & The Salt Licks, 8:30 p.m.-close; no cover. El Farol R & B singer/songwriter John Carey, 9 p.m., $5 cover. Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover.

Road Trip Through Western Turkey Slide presentation by Robert Mang, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418. Storytellers of new Mexico Tales From the Land of Enchantment, noon1 p.m., State Capitol Rotunda, Old Santa Fe Trail and Paseo de Peralta, no charge, 983-8266.


The Flea at El Museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia,, 982-2671, weekends through April. Santa Fe artists Market 8 a.m.-2 p.m., Saturdays through March at the Railyard plaza between the Farmers Market and REI, 310-1555. Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. Santa Fe Public Library book sale 10 a.m.-4 p.m., hardcovers $1, paperbacks 50 cents or 3/$1, Oliver La Farge Branch, 1730 Llano St., 955-4860, continues Sunday, Feb. 10.

The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at Garrett’s desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378 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


pasa week

continued on Page 61

Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 Secreto Lounge at Hotel St. Francis 210 Don Gaspar Ave., 983-5700 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 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Totemoff Lodge at the Santa Fe Ski Basin N.M. 475, 982-4429 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




A peek at what’s showing around town

Geoffrey Gorman: Chinese Man, 2013, drawing. The Santa Fe Arts Commission celebrates it silver anniversary (25 years) with Silver, a group exhibition to benefit the City of Santa Fe Community Gallery. Each artist submitted two works to the exhibit. All artwork had to fit within a 25-inch square. The gallery is at at 201 W. Marcy St., in the Santa Fe Community Convention Center. Call 955-6705.

Will buckley: Double Buddha, Bagan, Myanmar, 2011, archival pigment print. Elephants and Buddhas, an exhibition of Will Buckley’s large-format color photographs, opens Friday, Feb. 8, with a 5:30 p.m. reception at Artservices Gallery (557 W. Cordova Road). Buckley’s images of elephants and of sculptures of Buddhas in rural and urban environments are a glimpse into the cultures of Southeast Asia. Call 660-1456.

Donna Ruff: Rabii, 2012, silkscreen on book cloth, handmade abaca paper, satin ribbon, and acrylic. Al-Mutanabbi Street Starts Here commemorates the car bombing that destroyed a street of booksellers in Baghdad in 2007. The traveling show of work by international artists makes its only stop in New Mexico at the Fine Arts Gallery of the Santa Fe University of Art and Design (1600 St. Michael’s Drive). This exhibition of book art features pieces by Santa Fe artists Donna Ruff, Lauren Camp, and Suzanne Vilmain. Al-Mutanabbi Street Starts Here is part of the university’s Artists for Positive Social Change series. The exhibition opens Friday, Feb. 8, with a reception at 5 p.m. and a performance by the Balkan/ Mideast Ensemble. Call 473-6500.

Ungelbah Dávila: Six Pack, 2012, chromogenic print. Ungelbah Dávila and Caroline Tafoya have collaborated on a series of images that reference classic pinups of the past presented in a contemporary context. Pinupology, at Eggman and Walrus Art Emporium, includes an installation of the photographers’ props and handmade costumes used in the photo shoots. The opening reception, at 6 p.m. Friday, Feb. 8, includes live pinup models and music by The Shadow Men and Mr. Right and the Leftovers. The gallery is at 130 W. Palace Ave., second floor. Call 660-0048. 58

February 8 -14, 2013

Douglas Jones: Balance Hall Table, 2010, mixed media. Faculty and students in the Santa Fe Community College’s School of Art and Design fine-woodworking program present works that demonstrate the range of techniques and styles taught at the college. The exhibition is in SFCC’s Visual Arts Gallery (6401 Richards Ave., room 701). A gallery talk by faculty members is scheduled for 11:30 a.m. Feb. 20. The show runs through March 7. Call 428-1501.

At the GAlleries A Gallery Santa Fe 142 W. Marcy St., Suite 104, 603-7744. Abstract paintings by Vittorio Masoni, through March 16. Adobe Gallery 221 Canyon Rd., 955-0550. Paintings by Quincy Tahoma (1920-1956), through Thursday, Feb. 14. Cochiti Pueblo Figurative Pottery, through Feb. 25. Canyon Road Contemporary Art 403 Canyon Rd., 983-0433. The Heart Collective, group show, through February. Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Pixel Dust Renderings 2012, computer-generated 3-D work by Ronald Davis, through Feb. 25. David Richard Contemporary 130-D Lincoln Ave., 982-0318. Abstracted Landscapes, group show; Abstract Expressionism, group show; through Feb. 23. Independent Artists Gallery 102 W. San Francisco St., second floor, 983-3376. Watercolors, pastels, and mixed media by Mohini Rawool-Sullivan, through February. La Tienda Exhibit Space 7 Caliente Rd., Eldorado, 466-4211 or 466-6930. Plein Aire and More, group show, through Feb. 16. Manitou Galleries 123 W. Palace Ave., 986-0440. Wine, Chocolate & Jewelry, group show, through Feb. 15. Marigold Arts 424 Canyon Rd., 982-4142. Winter Shadows, landscape watercolors by Robert Highsmith, through March 14. Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Sid Avery: The Art of the Hollywood Snapshot, through March 24. Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Art of Devotion, 20th annual exhibit of art and objects from the Spanish Colonial Americas combined with an inaugural exhibit of European Old Master works of the mid-1500s to the 1800s, through March. Santa Fe Clay 545 Camino de la Familia, 984-1122. Ceramics by David Eichelberger, Donna Polseno, and Sam Taylor, through March 2. Santa Fe Community College, School of Arts and Design Visual Arts Gallery 6401 Richards Ave., 428-1501. Fine Woodworking Showcase, works by faculty, students, and program alumni, through March 7. Vivo Contemporary 725-A Canyon Rd., 982-1320. Giving Voice to Image, collaborative exhibit between New Mexico poets and gallery artists, through March 26. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Black Space, group show, through Feb.15.

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. $20 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. Alone Together, mixed-media paintings by Natalie Smith, through March 10, Spector Ripps Project Space • Making Light of It: 366 Days of the Apocalypse, paintings by Michelle Blade, Muñoz Waxman Gallery, through Feb. 17. Gallery hours available by phone or online at, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month.

Aerial Anatomy of an Unseen Event, by rebekah potter, in the exhibit Art on the Edge 2013, New Mexico Museum of Art

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. Thicker Than Water, lens-based group show • Summer Burial, mixed media by Jason Lujan; through May 12 • Spyglass Field Recordings: Santa Fe; multimedia work by Nathan Pohio • Images of Life, portraits by Tyree Honga • Moccasins and Microphones: Modern Storytelling Through Performance Poetry, documentary by Cordillera Productions; through March. Open 10 a.m.-5 p.m. Monday and Wednesday-Saturday, 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. Woven Identities: Basketry Art From the Collections • They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 • Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February • New World Cuisine: The Histories of Chocolate, Mate y Más, longterm • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. 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. Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro Labrador/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 Spanish Market youth 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. Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Sunday, Feb. 10 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, longterm • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, reception 5 p.m. Friday, Feb. 8, through Sept. 15 (see story, Page 42) • Alcove 12.8, revolving group show of works by New Mexico artists, through Feb. 24 • Art on the Edge 2013, Friends of Contemporary Art + Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through April 14 • It’s About Time: 14,000 Years of Art in New Mexico, through January 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. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Núuphaa, works by Pueblo of Pojoaque Poeh Arts Program students, through March 9. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. 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. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through April 14. 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

Peter Mulvey Singer/songwriter, 7:30 p.m., doors open at 6:30 p.m., Friday, Feb. 15, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, $22 at the door, The Hollands Folk revival quartet, 7 p.m. Saturday, Feb. 16, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10, youth $5, 983-5022. Lori Carsillo with Straight Up The vocalist and the local jazz ensemble in St. John’s College’s Music on the Hill Elevated series, 7:30 p.m. Saturday, Feb. 16, doors open at 7 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $25 in advance, 984-6199. New Shoots Trio Sandra Wong, Greg Tanner Harris, and Ross Martin, vibraphone, fiddle, and guitar, 7:30 p.m. Saturday, Feb. 16, Gig Performance Space, 1808-H Second St., $15 at the door,

Hilary Hahn in recital, 7:30 p.m. tuesday, Feb. 19, the Lensic, $20-$75,, 988-1234.

Serenata of Santa Fe The chamber music ensemble presents Sonic Genius, performers include oboist Pamela Epple, flutist Diva Goodfriend-Koven, and pianist Debra Ayers, music of Mozart, Riegger, and Kenji Bunch, 3 p.m. Sunday, Feb. 17, Scottish Rite Center, 463 Paseo de Peralta, $20 in advance, $25 at the door, discounts available, 988-1234, Santa Fe Symphony Orchestra & Chorus Birds & Brahms, featuring violinist David Felberg, 4 p.m. Sunday, Feb. 17, pre-concert lecture 3 p.m., the Lensic, $20-$70, 988-1234, Paper Bird Folk band; He’s My Brother, She’s My Sister opens; 7 p.m. Tuesday, Feb. 19, doors open at 6:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, Martin Sexton Singer/songwriter, 7:30 p.m. Thursday, Feb. 28, the Lensic, $22-$38, 988-1234, 60

February 8 -14, 2013

Brentano String Quartet Music of Haydn, Bartók, and Brahms, 7:30 p.m. Friday, March 1, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 988-1234, The Mavericks Country band on its reunion tour, 7:30 p.m. Wednesday, March 20, the Lensic, $34-$49, 988-1234, Santa Fe Pro Musica Orchestra Baroque Holy Week, featuring mezzo-soprano Deborah Domanski and trumpeter Brian Shaw, music of Bach, Telemann, and Leclair, 7:30 p.m. Thursday and Friday, 6 p.m. Saturday, March 28-30, Loretto Chapel; Spring Classic Weekend, featuring violinist Chad Hoopes, music of Brahms, Bach, Prokofiev, and Tchaikovsky, 7:30 p.m. Friday, April 12-14, Lensic Performing Arts Center; $20-$65, 988-1234, Awna Teixeira Roots music multi-instrumentalist (formally of Po’ Girl), 7:30 p.m. Friday, April 12, Gig Performance Space, 1808-H Second St., $15 in advance at Ozomatli The Los Angeles-based Latin fusion band performs as part of Santa Fe Art Institute’s Artists for Positive Social Change series, April 27, Santa Fe University of Art & Design Quad, 1600 St. Michael’s Dr., no charge, but tickets required, 424-5050. Sangre de Cristo Chorale The 45-member chorale presents Celebrating Our Past, Present and Future, 2:30 p.m. Sunday, May 12, Church of Santa Maria de la Paz, 11 College Ave., $20,, 988-1234.

Upcoming events performances and previews of works from its 2013 performance series titled Eventua, 7 p.m. Thursday-Saturday, 4 p.m. Sunday, March 15May 5, Center for Contemporary Arts — Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, Thursdays pay-what-you-wish, 474-8400. ‘Humble Boy’ Fusion Theatre presents Charlotte Jones’ comedy, 8 p.m. Tuesday and Wednesday, May 7-8, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$40, students $10,, 988-1234.


KSFR Radio benefit Is Democracy Over?, talk by Marty Kaplan, reception with wine and hors d’oeuvres 5:30 p.m. Saturday, Feb. 16, talk 6:30 p.m. followed by a discussion with Kaplan and Craig Barnes, Museum Hill Café, 710 Camino Lejo, Plaza, $75 in advance, 428-1527 or Project Party Santa Fe Farmers Market fundraiser with live music by jazz saxophonist Brian Wingard and rock band The Haiku Cowboys, 6:30 p.m. Saturday, Feb. 16, Pavilion, 1607 Paseo de Peralta, $25 includes dinner and one drink, tickets available during Saturday Farmers Markets and online at Let’s Dance! Santa Fe Community Orchestra’s annual swing and ballroom event including music by SFCO and Santa Fe Great Big Jazz Band, food and cash bar, silent auction, and other activities, 7 p.m. Saturday, Feb. 16, Santa Fe Community Convention Center, 201 W. Marcy St., $10 suggested donation, 466-4879.

Shepard Fairey lecture and Q & A The artist known for the Hope poster for Barack Obama speaks about his career as part of the Santa Fe University of Art & Design’s Artists for Positive Social Change series, 7 p.m. Sunday, Feb. 17, doors open at 6:30 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., tickets available at the theater box office, 473-6511. Lannan Foundation’s In Pursuit of Cultural Freedom series Climate scientist James Hansen in conversation with Subhankar Banerjee, 7 p.m. Wednesday, Feb. 20, Lensic Performing Arts Center, 211 W. San Francisco St., $6, discounts available,, 988-1234. Salaton Ole Ntutu The Maasai chief speaks at six public events from Wednesday-Sunday, Feb. 20-24 to benefit his Kenyan village; for details and tickets visit; call 467-6421 for ticketed dinners and concert. Bead Fest Santa Fe More than 150 booths; demonstrations; jewelry-making workshops; and book signings; Thursday-Sunday, March 14-17, Santa Fe Community Convention Center, 201 W. Marcy St., $12 4-day pass available in advance at, $15 at the door. Native Treasures Indian Arts Festival More than 200 artists showcasing traditional and contemporary works; opening-night party 5:30-7:30 p.m. Friday, May 24, shows Saturday and Sunday, May 25-26, Santa Fe Community Convention Center, 201 W. Marcy St., early birds $20, general admission $10, Sunday show no charge, all tickets available at the door, visit for more information.


The Met Live in HD Verdi’s Rigoletto, 11 a.m. and 6 p.m. Saturday, Feb. 16; Wagner’s Parsifal, 10 a.m. only Saturday, March 2; Zandonai’s Francesca da Rimini, 10 a.m. and 6 p.m. Saturday, March 16, the Lensic, $22-$28, discounts available, 988-1234, Bill Maher Political comedian, 7:30 p.m. Sunday, Feb.17, Santa Fe Community Convention Center, $47-$67,, 988-1234. ‘Dreamweaver: The Works of Langston Hughes’ David Mills’ one-man rendition of the writer’s poems and short stories, 7 p.m. Wednesday, Feb. 27, the Lensic, $3 and $6, 988-1234, ‘Documentary Theatre Project’ Santa Fe University of Art & Design Documentary Theatre Project students’ play about the demise of the Northern New Mexico village, Agua Fría, 7 p.m. Friday and Saturday, 2 p.m. Sunday, March 1-10, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ‘Exquisite Absurdity: 30 Years of Looking Forward’ Theater Grottesco celebrates its 30th anniversary with re-created scenes of past

the Hollands perform at the santa Fe center for spiritual Living saturday, Feb. 16.

pasa week

from Page 57

9 Saturday (continued) The Mine Shaft Tavern Paw & Erik Sawyer, alt. bluegrass, 3-7 p.m., no cover. Classic-rock band The Jakes, 8 p.m.-midnight; call for cover. Pranzo Italian Grill John Rangel and Faith Amour, piano and vocals, 6-9 p.m., $2 cover. Rouge Cat Sex on Vinyl with DJs Oona, Donovan, Reverend Mitton, Melanie Moore, and Sean Cusick, 9 p.m.-close, $10 cover. Second Street Brewery Mystic Lizard Band, bluegrass, 6-9 p.m., no cover. Second Street Brewery at the Railyard Todd Tijerina Trio, blues and rock ’n’ roll, 6-9 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. Totemoff Lodge at the Santa Fe Ski Basin Beats on the Basin series; roots-rock duo Man No Sober, noon-3 p.m., admission with lift tickets only. Vanessie Pianist Bob Finnie, 6:30 p.m.-close, call for cover.

10 Sunday In ConCeRT

Gabriela Montero Solo piano recital, 4 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, (see story, Page 32).


‘Beauty of the Father’ Theaterwork presents Nilo Cruz’s drama, 2 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, teens $10, 471-1799, Friday-Sunday through Feb. 17. ‘Benchwarmers 12’ Annual showcase of New Mexico talent presented by Santa Fe Playhouse; eight fully staged playlets, 2 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262,, Thursday-Sunday through March 3.

Talking Heads

‘The Warriors: a Love Story’ ARCOS Dance presents its multi-media performance, 2 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $20 in advance, student discounts available, 473-7434 or, visit for information, Friday-Sunday, through Feb.17 (see story, Page 34).


Chocolate tasting and lecture Santa Fe Community College instructor Mark J. Sciscenti speaks in conjunction with the Museum of International Folk Art exhibit, New World Cuisine: The Histories of Chocolate, Mate y Más, 2 p.m., 706 Camino Lejo, Museum Hill, by museum admission, 476-1200. Gifts of the Rose Slide presentation and discussion on the properties of roses with Khrista Obuchowski of Aroma Botanicals, 2-4 p.m., Traveler’s Market, 153-B Paseo de Peralta, DeVargas Center, 989-7667. ‘Read My Lips’ Institute of American Indian Arts’ students and faculty creative-writing readings, 2-4 p.m., second floor Conference Room, Museum of Contemporary Native Arts, 108 Cathedral Pl., no charge, 428-5907. The Río Grande: a River Guide to the Geology and Landscapes of northern new Mexico Author Paul Bauer and KSFR Radio host David Bacon in conversation, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.


The Flea at el Museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia,, 982-2671, weekends through April. International folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. Railyard artisans Market Shops 10 a.m.-4 p.m. weekly. Jazz saxophonist Brian Wingard 10 a.m.-1 p.m.; classical guitarist David William 1-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098, Santa Fe Children’s Museum 24th birthday party Noon-5 p.m., live music with Joe West, performances by Lovedeedoo the Clown; hands-on multicultural activities, and cupcake decorating, 1050 Old Pecos Trail, $2, 989-8359. Santa Fe Farmers Market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098. Santa Fe Public Library book sale 1-3:30 p.m., $3 per bag (furnished), Oliver La Farge Branch, 1730 Llano St., 955-4860.


Chocolate tasting and lecture Cacaophiles won’t want to miss this presentation by Mark J. Sciscenti at 2 p.m. Sunday, Feb. 10, at the Museum of International Folk Art (706 Camino Lejo, Museum Hill) in conjunction with the exhibit, New World Cuisine: The Histories of Chocolate, Mate y Más. By museum admission, 476-1200.

(See Page 57 for addresses) Cowgirl BBQ Singer/songwriter Phillip Giggs, 8 p.m., no cover. dinner for Two Classical guitarist Vernon de Aguero, 6 p.m., no cover. The dragon Room at The Pink adobe Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., call for cover. el Farol Nacha Mendez and guests, pan-Latin rhythms, 7 p.m.-close, no cover.

Absolute Passion, by Vittorio Masoni, A Gallery, 142 W. Marcy St., Suite 104

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda La Fonda Talent Showcase, 7-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover. The Mine Shaft Tavern Soulful blues band The Barbwires, 3-7 p.m., no cover. Vanessie David Geist’s Sing Your Lungs Out open-mic night, 5-7 p.m.; pianist Bob Finnie, 7 p.m.-close; no cover.

11 Monday TheaTeR/danCe

‘In the Tent of Rubies’ Mosaic Dance Company presents belly dancing, poetry, storytelling, and song, 7 p.m., doors open at 6:30 p.m., Pomegranate Studios, 535 Cerrillos Rd., $15, children no charge, 986-6164.


new Mexico on the eve of american occupation Lecture by author Don Bullis, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 982-2226. Southwest Seminars’ ancient Sites and ancient Stories lecture series End of a Golden Age: Changing Diets at the End of the Pleistocene in Southwest Europe, with Emily Lena Jones, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.


Weekly all-ages informal swing dances Lesson 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.


(See Page 57 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. La Casa Sena Cantina Singer/songwriter Matthew Andrae, 6 p.m., no charge. La Fiesta Lounge at La Fonda Singer/songwriter Zenobia and her band, R & B/gospel, 7:30-11 p.m., no cover. Vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.

12 Tuesday In ConCeRT

Gary Paul hermus Local folk singer/songwriter, 11:30 a.m.-12:30 p.m., Artisan Santa Fe, 2601 Cerrillos Rd., no charge, 954-4179.


annie Leibovitz: Pilgrimage Lecture and discussion with the photographer in conjunction with her upcoming exhibit at the Georgia O’Keeffe Museum, 6 p.m., the Lensic, $35-$75, discounts available, 988-1234,, proceeds benefit the museum (see story, Page 38). Lesley S. king and Robert Mayer The authors read from and sign copies of their respective books, The Baby Pact and Confessions of a Rain God, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Modern native Storytelling Students of Santa Fe Indian School’s Spoken Work Team recite their poetry, refreshments 2 p.m., program 2:30 p.m., Wheelwright Museum of the American Indian library, 704 Camino Lejo, Museum Hill, $10, 989-1777. ▶▶▶▶▶▶▶▶ PASATIEMPO


Sparks: Off-Beat New Mexico Lecture Series Acequias, Trails, Land Grants, and Early Twentieth-Century Urban Expansion: Archaeological and Historical Perspectives on Southeast Santa Fe, by Stephen Post, 3-4 p.m., School for Advanced Research Boardroom, 660 Garcia St., 954-7203, no charge. Write Out Loud — Speak Your Silence Creative-writing workshop led by Shebana Coelho over a six-week period, 4-6 p.m., Teatro Paraguas studio, 3205 Calle Marie, $150, 609-651-5840,, all levels.

the Mine Shaft tavern Patty Stephens with Latin Jazz Ensemble, featuring Pete Amahl on drums, 7 p.m., $5 cover. the underground at evangelo’s Singles Fetish Valentine’s/Birthday Party, 9 p.m.-1 a.m., call for cover. Vanessie Lori Michaels Trio, romantic songs, 6:30 p.m.-close, $5 cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.

▶ Elsewhere


(See Page 57 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover. Cowgirl BBQ Fat Tuesday with juke joint honky-tonk and biker bar rock band Broomdust Caravan, 8 p.m., and Albuquerque street band The Hill Stompers, 9:30 p.m., $5 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 Guitarist Ramon Bermudez Jr., contemporary Latin tunes, 6 p.m., no charge. La fiesta Lounge at La fonda Singer/songwriter Zenobia and her band, R & B/gospel, 7:30-11 p.m., no cover. the Mine Shaft tavern New Orleans jazz and funk band Pollo Frito celebrates Fat Tuesday, 7 p.m., call for cover. Second Street Brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Acoustic open-mic nights presented by 505 Bands, 7:30 p.m.-close, no cover. Vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.

13 Wednesday BOOkS/taLkS

Between art and artifact: archaeological Replicas and Cultural Production in Oaxaca, Mexico UNM anthropologist Ronda Brulotte speaks, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, 954-7203. transcendental Painting group: agnes Pelton Part of the New Mexico Museum of Art docent talks series, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.


(See Page 57 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover. Cowgirl BBQ Pray For Brain, Mustafa Stefan Dill on guitar and oud, Jefferson Voorhees on drums, and Chris Nelson on bass, sufisurf fusion, 8 p.m., no cover. el farol Salsa Caliente, 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 Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. La Posada de Santa fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. Second Street Brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover. 62

February 8 -14, 2013

albuquErquE Museums/art Spaces

Día de Mujer, in the exhibit Stitching Resistance: The History of Chilean Arpilleras, National Hispanic Cultural Center, Albuquerque

tiny’s 505 Jam hosted by Synde Parten, John Reives, and M.C. Clymer, 7:30 p.m., no cover. Vanessie David Geist and friends, Broadway showtunes, 6:30 p.m.-close, call for cover.

14 Thursday gaLLeRY/MuSeuM OPeNiNgS

axle Contemporary 670-7612 or 670-5854. VaginaVan for V-Day, installation by Shirley Klinghoffer; look for the van at the State Capitol, Old Santa Fe Trail and Paseo de Peralta, at 9 a.m., and on the streets of Santa Fe all day. Visit for van locations through Feb. 22. Santa fe time Bank 1219 Luisa St., Suite 1, 216-6590. Sacred Hearts & Vesica Piscis, V-Daythemed drawings, paintings, and monoprints by Margaret Kuhlen, reception 5-7 p.m.


trey keepin Valentine’s Day dinner show Jazz saxophonist, 7 p.m., El Farol, 808 Canyon Rd., $15, 983-9912.


‘Beauty of the father’ Theaterwork presents Nilo Cruz’s drama, special Thursday performance 7:30 p.m., James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, teens $10, 471-1799, Friday-Sunday through Feb. 17. ‘Benchwarmers 12’ Annual showcase of eight fully staged playlets by New Mexico playwrights, presented by Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 988-4262,, ThursdaySunday through March 3.

BOOkS/ taLkS

Nickel Stories Open five-minute prose readings, 6 p.m., Op. Cit. Books, 930-C Baca St., 428-0321.


at the artist table Three-course dinner and art event with chef Tracy Ritter and artist Ron Pokrasso to benefit

Partners in Education and City of Santa Fe Arts Commission programs, 6-9 p.m., Santa Fe School of Cooking, 125 N. Guadalupe St., $175, couples $300, cost of admission includes signed Pokrasso print and an accomodations package at the Eldorado Hotel, private artistled gallery tour and demonstration, 474-0240. One Billion Rising Rise At the Rotunda, flash mob of community testimonials in conjunction with the global movement calling attention to violence against women, 9 a.m. and noon, State Capitol, Old Santa Fe Trail and Paseo de Peralta; Rising March, 1 p.m., from the Capitol to the Santa Fe Farmers Market, Santa fe Music alliance Valentine’s Day party/membership drive Alliance members meeting 6 p.m., concert with local singer/ songwriter Liv Lombardi 7 p.m.; also, hard-rock/ country band Shurman and indie-space-rock band Treemotel, Garrett’s Desert Inn, 311 Old Santa Fe Trail, 982-1851, $10 donation at the door includes a raffle for a room for two at the inn, memberships available for $20.


(See Page 57 for addresses) anasazi Restaurant & Bar Classical guitarist Roberto Capocchi, 6-9 p.m., call for cover. ¡Chispa! at el Mesón Jim Almand Duet, blues/rock/soul, 7-9 p.m., no cover. Cowgirl BBQ Folk-rockers The Bus Tapes, with Heather Tanner on guitar and vocals, Case Tanner on bass guitar, David Gold on lead guitar, and Milton Villarubia on drums, 8 p.m., no cover. el farol Rockabilly band Rob-A-Lou, 9 p.m., no cover. La Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. La fiesta Lounge at La fonda Bill Hearne Trio, honky-tonk, 7:30 p.m., no cover. La Posada de Santa fe Resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 7-10 p.m., Staab House Salon, no cover. the Legal tender at the Lamy Railroad Museum Two-Step Thursday with Buffalo Nickel Two, 6-9 p.m.

National hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, longterm • ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m. Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge. tamarind institute gallery 2500 Central Ave. S.E., 505-277-3901. Good in the Kitchen, retrospective exhibit of lithographs created at the institute over the past 30 years that explore the impact of the women’s movement on artists, through March 14. uNM art Museum Center for the Arts Building, 505-277-4001. Friday, Feb. 8 openings: In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Seeking Pleasure In Books, group show • Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.


Sunday Chatter Cellist Mark Votapek and pianist John Milbauer perform music of Beethoven, Brahms, and Tortelier, 10:30 a.m. Sunday, Feb.10, poetry reading by Gary Jackson follows, Factory on 5th, The Kosmos, 1715 Fifth St. N.W., $15 at the door, first take trio In Love With Jazz, Michael Anthony on guitar, Michael Glynn on bass, and Cal Haines on drums; also, a tribute to multiwoodwind master Arlen Asher, featuring Asher, 7-9 p.m. Thursday, Feb. 14, Outpost Performance Space, 210 Yale Blvd. S.E., $18 in advance at, $20 at the door.


Bond house Museum 706 Bond St., 505-747-8535. De la Tierra y Cerca de la Tierra, group show, through March 22. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (18631945). Open noon-3:45 p.m. Monday-Thursday, no charge. Misión Museum y Convento 1 Calle de los Españoles, 505-747-8535. Elemental, group show of photographs, ceramics, prints, and paintings, through March 8. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598. Open noon-4 p.m. Wednesday-Friday, 11 a.m.-3 p.m. Saturday; no charge.

los alamos Museums/art Spaces

Bradbury Science Museum 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge.

Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; 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.

Second Annual Temple Beth Shalom Jewish Arts Festival Judaic art sought for festival held May 4-5; application due date Friday, Feb. 15; guidelines and details available online at; for more information email



Los Alamos Historical Society Lecture The Seven LANL Explosives Fatalities — Technical and Human Perspectives, by Cary B. Skidmore, 7:30 p.m. Tuesday, Feb. 12, Pajarito Room, Fuller Lodge Art Center, 2132 Central Ave., no charge, 662-6272.

taos Museums/Art Spaces

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, opening Saturday, Feb. 9, through May 5. 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. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. 11th Annual Miniatures Show & Sale, multimedia works of Taos County artists, through Feb. 24. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; no charge for Taos County residents with ID.

▶ People who need people Artists/Craftspeople/Photographers

2013 Children’s Water Conservation Poster Contest All students grades 1-6 are invited to participate in this year’s theme of Show Us Your Water Appreciation; entry deadline Friday, March 15; visit or call 955-4225 for prize details and more information. 2013 Governor’s Awards for Excellence in the Arts Nominate New Mexican artists, businesses, nonprofits/foundations, or individuals contributing to the arts; nominations may be mailed or hand-delivered no later than Friday, March 22, to New Mexico Arts, 407 Galisteo St., Suite 270, 87501; forms available online at, or call 827-6490. After Dark II National juried art show about all things nocturnal hosted by Greg Moon Art of Taos July 6-27; midnight Monday, April 15, deadline; visit for details. Photobook workshop scholarship Open to photographers and students ages 27 and younger for a workshop hosted by Radius Books (983-4068) Friday-Sunday, March 22-24; for details contact Alex Webb and Rebecca Norris Webb at or visit Santa Fe Society of Artists spring jury selection Garrett’s Desert Inn Saturday, Feb. 16; visit for instructions and membership applications; call 455-3496 for more information. Santa Fe Studio Tour Call for artists for the June 29-30 tour; email for applications and information; submission deadline Thursday, Feb. 28; $175 participation fee;

Santa Fe Independent Film Festival Film submissions sought for the Oct. 16-20 festival; early deadline Friday, March 1; regular deadline Wednesday, May 1; late deadline July 1; final deadline Aug. 1; rules and guidelines available online at Santa Fe Opera auditions Singers between the ages of 8 and 18 may apply for thirty-eight openings in the special family performances of Noah’s Flood (Aug. 10-11); call 986-5996 to schedule a time between 2-4 p.m. Saturday, Feb. 9. Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from artists who would like to direct; call 988-4262 or email for proposal packets by Sunday, March 31.


Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at, or call 428-1353. Kitchen Angels Cooking and driving shifts open; some as short as two hours, once a week; call 471-7780 or visit to learn more. Many Mothers Assisting new mothers/families, fundraising, event planning, becoming a board member, and more; requirements and details available online at; 983-5984.

▶ Under 21 St. John’s College Community Seminars Read and discuss seminal works; free to 11th-12th-grade students. Icelandic Sagas and Tales, 6:30-8 p.m. Tuesdays through Feb.19; Rabelais’ Gargantua and Pantagruel, 5-6:30 p.m. Wednesdays, through March 6, 1160 Camino de Cruz Blanca, call 984-6117 to register.

▶ Pasa Kids ‘Lost on Broadway’ Santa Fe School for the Arts & Sciences’ students ages 3-11, 6:30 p.m. Friday, Feb. 8, National Dance Institute of New Mexico Dance Barns, 1140 Alto St., $8, children ages 5 and under $5, or 438-8585. Storytellers of New Mexico Tales From the Land of Enchantment, noon1 p.m. Saturday, Feb. 9, State Capitol Rotunda, Old Santa Fe Trail and Paseo de Peralta, no charge, 983-8266. Santa Fe Children’s Museum 24th birthday party Noon-5 p.m. Sunday, Feb. 10; live music with Joe West; performances by Lovedeedoo the Clown; hands-on multicultural activities; and cupcake decorating, 1050 Old Pecos Trail, $2, 989-8359. Wise Fool New Mexico afterschool classes The circus arts and puppetry troupe’s Afterschool Fools spring session runs through March 14; 3:30-5 p.m. Tuesdays for ages 6 and up; 3:30-5 p.m. Wednesdays for ages 8 and up, register online at, 2778-D Agua Fría St., 992-2588. ◀

Spin cycle Right now, as community members across the U.S. watch their state representatives continue to wrangle with the issue of marriage equality, many of those opposed to it still insist on focusing on the morality of “the act,” the dirty deed, the bedsheet scenery, as if the concept of love, or the longing for it, was lost on an entire segment of the population. More disturbing to me is the insistence Sex on Vinyl crew, 2012 of some media outlets to obsess over the sexual behavior buried within the equal marriage argument rather than taking the time to understand the legislation and weed out the carefully crafted language that amounts to nothing short of fear and hate. To discover such ignorance and flippancy masquerading as news is not only disheartening, it’s disturbing — and sad. When I started DJ-ing at local gay clubs 20 years ago in Santa Fe, it was, in part, about the music. Looking back, however, I realize that the major draw for me was knowing that I had a safe place to go. My coworkers, bosses, and most listeners had my back, despite the slow evolution of LGBTQ acceptance here at the time. It would be disingenuous to deny the sexually charged atmosphere that blasting techno and diva house — with the aid of two Technics turntables and two first-wave Denon CD mixers — created. But it would also be a shame to deny the fact that, through this small community of turntablists, I learned how to love and accept myself more and to stop being so damn afraid. A great part of that budding fearlessness came from watching the personal and professional trajectory of people like DJ-producer Melanie Moore, whose Sex on Vinyl Valentine’s Day-themed parties have rocked Santa Fe for nearly a decade. At 9 p.m. Saturday, Feb. 9, Moore and her collaborators present the 8th annual Sex on Vinyl Valentine’s Show at Rouge Cat (101 W. Marcy St., 983-6603), and this year, they fly a banner reading, “Anything Is Possible.” Moore and her annual stable of DJs display the kind of camaraderie and creative syncopation that speaks to the power of being a good listener. Multiple DJs perform and play off each other on at least four turntables, and as the night progresses, the number of DJs and turntables fluctuates — five DJs on eight turntables! It’s like a beat-based game of Hot Potato, and the players are insanely talented. There’s Moore, of course, and her longtime co-conspirator Donovan, as well as Rouge Cat mainstay DJ Oona and Albuquerque dance-floor maven Reverend Mitton, who flips his switches at Burque’s Blackbird Buvette and Rouge Cat with regularity. This year, San Francisco-based DJ Sean Cusick makes his Sex on Vinyl debut. Cusick has a storied past: Sasha and Digweed, Josh Wink — he’s shared the stage with many, but he’s an artist who has come into his own and knows how to juggle the beat potato hard. “Anything Is Possible” is draped in tradition, as Moore rolls out a club-design motif from Sex on Vinyl of years past. Hundreds of birds hang from trees above the dance floor — an ode to a vintage New Mexico Valentine’s Day card that shows two ravens perched together on a branch. But the theme of “Anything Is Possible” holds much more meaning for Moore this year. On Tuesday, Dec. 11, 2012, Moore and her life partner Maggie welcomed their twin daughters into the world. You see, in the face of so much ignorance, fearlessness prevailed. Despite a handful of people who would deny Moore and her partner the legal validation they so deserve, a loving family was created nonetheless. Surrounding Melanie and Maggie and their brood now are the same people she came up with as a DJ. When a group of DJs shows more clarity of vision and compassion than those in power who pretend to have the community’s best interests at heart, it makes me wonder when that safe place will gain a little more acreage. In the meantime, I’ll have a lot of Sex. On Vinyl. Tickets for the 21-and-older event are $10 in advance with credit card by calling 920-1775, and $10 at the door. — Rob DeWalt Twitter: @Flashpan @PasaTweet

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.



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Pasatiempo, Feb. 8, 2013  

The Feb. 8, 2013 edition of Pasatiempo