Pasatiempo, March 1, 2013

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

March 1, 2013

Jazz at Lincoln Center Orchestra

PHOTO: BRIGITTA SCHOLZ

Gareth Armstrong’s

Lensic Presents L I V E

Starring Guy Masterson

Sunday, March 3; 7 pm, $15–$35

Shylock: Villain or victim? Gareth Armstrong’s witty one-man play explores the many ways Shakespeare’s famous Jew (from The Merchant of Venice) has been portrayed over the centuries.

Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

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Wedding dresses by Laura Sheppherd, Atelier Designers and Conscious Clothing. Jewelry by Jewel Mark and Jacqueline’s Place. Catering by Caffé Greco. Live music by DJ Zion and wedding cake tasting.

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Our Warehouse Showroom on Airport Road features over 8,000 sq. ft. of Southwestern Furniture.

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We offer Southwestern Style Furniture, Great one-of-a-kind Pieces, Wonderful Hand-Forged Iron Lamps, and Unique Handmade Lamp Shades.

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PASATIEMPO

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THE SANTA FE NEW MEXICAN

March 1 - 7, 2013

On the cOver 28 Wynton marsalis and the Jazz at lincoln center Orchestra “I remember sitting behind my uncle at a Quincy Jones session, and he played this beautiful solo,” saxophonist Ted Nash told Pasatiempo. “And I thought: That’s what I want to do.” For decades now, that’s what Nash has been doing, and he’s composing as well. On Wednesday, March 6, Nash and the other members of the Jazz at Lincoln Center Orchestra play the Lensic Performing Arts Center, with a virtuoso soloist at the fore: trumpet titan Wynton Marsalis. Cover photo by Frank Stewart.

bOOks

mOving images

14 in Other Words Scientology in the hot seat 16 a show of hands Kick your keyboard to the curb

40 Pasa Pics 44 Precious Life 45 Neighboring Sounds

mUsic and PerfOrmance 18 20 23 24 26 55

calendar

Pasa tempos CD Reviews terrell’s tune-Up Movie music Onstage this Week Shylock: totally Tubal-ar listen Up Brentano Quartet in recital making other arrangments Tin Hat sound Waves Faster Pussycat

48 Pasa Week

and 11 mixed media 13 star codes 46 restaurant review

art and PhOtOgraPhy 30 lens is more Karen Divine’s iPhonography 34 art in review June Wayne tapestries 36 Piece makers Amish quilts

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

Pasatiempo is an arts, entertainment & culture magazine published every friday

by The New Mexican. Our offices are at 202 e. marcy st. santa fe, nm 87501. editorial: 505-986-3019. fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina melcher 986-3044, kmelcher@sfnewmexican.com

detail of Windows and Openings (from the Not Just for Kids series) by karen divine

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art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com

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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

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chief copy editor — Jeff acker 986-3014, jcacker@sfnewmexican.com

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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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

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staff Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com rob deWalt 986-3039, rdewalt@sfnewmexican.com James m. keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntribUtOrs laurel gladden, robert ker, bill kohlhaase, Jennifer levin, James mcgrath morris, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan d. villela

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PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

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Ginny Sohn Publisher

Coming soon: www.pasatiempomagazine.com

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advertising directOr Tamara Hand 986-3007

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marketing directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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advertising sales 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

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                      

      EXPLORE DEMING

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PASATIEMPO

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Bodhi Bazaar Chapare Cost Plus World Market 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

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March 1-7, 2013

Play Pranzo Italian Grill/Alto Raaga Restaurant Ristra Restaurant Rock Paper Scissor Salonspa Santa Fe Pens SoulfulSilks Teca Tu – A Pawsworthy Emporium The Reel Life Wink Salon

Hosted by Santa Fe Pens Join us at Sanbusco Market Center Saturday, March 2, 10am - 6pm Sunday, March 3, Noon - 5pm

F R E E PA R K I N G

• Writing instruments from 20+ pen companies, including RETRO 1951.

• Santa Fe Edition XV Pen! • Vintage Pens (Buying and Selling), Fine Papers, Inks, Journals & Writing Accessories.

• See the New Santa Fe Pens race car.

• Free handwriting seminar for all ages.

Call for reservations. 989-4742

www.santafepens.com

500 Montezuma Avenue • www.sanbusco.com

Sponsored by

SFCA

The Santa Fe Concert Association presents

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JAZZ AT LINCOLN CENTER ORCHESTRA Wednesday, March 6, 2013

MUSTANG MADNESS March 1 - 30

MUSTANG MADNESS GivEAwAyS will bE hElD oN MARCh 16, 23 & 30.

Qualifying drawings at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm.

At 10:30 pm all the qualifiers will spin the prize wheel to see who will drive home in a brand new Mustang!

SOLD OUT!

Player receives one entry for every 30 points earned on their Lightning Rewards card, March 1 through March 30, 2013. Drawings will be simulcast at Cities of Gold.

Management reserves all rights.

7:30pm The Lensic Performing Arts Center $25-$95 Tickets: 505-988-1234 ticketssantafe.org santafeconcerts.org

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

BuFFalOThunderReSORT.com

877-Thunder

PASATIEMPO

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Photo Credit: Jill Wiseman Kumihimo Beyond the Basics

santa fe community convention center 201 w. marcy street march 14-17, 2013

Shop for all your jewelry supplies!

150 booths & tables • 90 workshops

Find all the beads, gems, finished jewelry and jewelry-making supplies you need to create stunning projects. Then try a workshop for new skills and inspiration!

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Find out more at www.BeadFest.com

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March 1-7, 2013

MIXED MEDIA

SFCA

The Santa Fe Concert Association

3RD BATTALION, THE ROYAL REGIMENTS OF SCOTLAND AND THE BAND OF THE SCOTS GUARDS

In the loops From Hawaii to Indiana, many states no longer include cursive handwriting as part of the mandatory curriculum. Instead of learning to trace the loops and curves of letters onto lined paper, students in these states move straight to writing in print — or in some cases typing. This is a shame, because not only is cursive handwriting aesthetically pleasing, when done right, it’s actually faster than printing.

Whether your handwriting is indecipherable or you just want to perfect the tricky uppercase cursive Z, you can attend a free handwriting seminar hosted by Santa Fe Pens as part of the 18th annual Santa Fe Pen Fair. Up to four people can participate in each 20-minute session, led hourly by handwriting and calligraphy teacher Sherry Bishop. As a bonus, each seminar participant gets a free fountain pen provided by the Yafa pen company.

The event also features pens for sale (priced from $10 to $10,000) and representatives from 20 pen companies. Other Pen Fair highlights include vintage fountain pen appraisal and fountain pen repair.

The fair takes place from 10 a.m. to 6 p.m. on Saturday, March 2, and from noon to 5 p.m. on Sunday, March 3, in Sanbusco Market Center, 500 Montezuma Ave. Reservations are required for the handwriting seminar; call Santa Fe Pens at 989-4742.

— Adele Oliveira

The Pipes & Drums of the

BLACK

WATCH NEW DATE!

Monday, March 11, 2013 7:30pm 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

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Yom Limmud: A Day of Jewish Learning, Arts, & Culture

Keynote Speaker: Alan Morinis

“Change Yourself, Change the World: The Jewish Spiritual Tradition of Mussar”

Sunday, March 10, 2013, 1-­‐4:30pm

St. John’s College, Petersen Student Center

Register at limmud2013.org • (505) 428-­‐9522 $18 (Early Registration $12 by Feb. 25) A Joint Project of the Jewish Communities of Northern New Mexico

Santa Fe Community Orchestra Oliver Prezant, Music Director 2012-2013 Concert Season

Mid-season Concert W.A. Mozart: Symphony #35 in D

SFPS District Collaborative Choir Concert Monday, March 4, 6:30 p.m.

170 Students, Grades 6-12 from Eight SFPS Secondary Schools Steven J. Carrillo, Member, SFPS Board of Education, will deliver opening remarks.

Event is free, suggested donation of $8

Samuel Barber: Violin Concerto, Op. 14 David Felberg, Violin

Side-by side: Mr. Felberg & Capital H.S. string players play various pieces

Einar Englund: Symphony #3 (Santa Fe Premiere)

Sunday

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March 1-7, 2013

2:30 pm

St. Francis Auditorium, 107 W. Palace Ave. Free admission Donations appreciated Sponsored in part by: The Flea and Stephen Ross

Call 505-467-2513 for more information.

Special Thanks to McGee Memorial Chapel.

March 10th

SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodger’s Tax.

Discount Home Supplies A fund raiser for Habitat for Humanity.

STAR CODES Heather Roan Robbins It’s a truly tough weekend to try and hammer out our country’s

budget. It is possible to work around any major astrological aspect, of course, but it’s so much easier when we go with the flow, and this week’s flow takes us into a dream time that can feel like fog over melting snow.

The edges of our lives may not feel clearly delineated.

With Mercury now retrograde in intuitive, creative Pisces, when we need to interface with the outside world, it will be helpful to go over our retrograde checklist. Check schedules twice, reread emails before responding, and measure three times if building or moving furniture. Scan the horizon for bills or deadlines creeping up. If we get stuck on a problem, it helps to pursue some creative endeavor, engage the creative right brain, and then reapproach the problem. Wherever possible, put off decisions until Mercury turns direct on March 17.

The past can feel too much with us as the weekend begins. A sun-Saturn conjunction can help us concentrate and clarify what happened, but a VenusNeptune conjunction encourages that mist of magical thinking and makes it hard to see where we’re going. A Scorpio moon brings our energies in, deep and personal, through Sunday. Early in the week we’re outgoing, funny, restless, and solution-oriented, if still escapism-prone.

Midweek we’re called to our hearts, to our artistic and caring selves, by several Venus aspects. Let’s enjoy our dreams but not get lost in them or project them onto romantic expectations. Instead, let’s water what we want to grow, praise and fertilize good habits, and let people feel the love.

Moving? Buying or selling your home?

Keep us in mind and donate your gently used furniture, appliances, books, new and used building materials to the Santa Fe Habitat for Humanity

WE PICK UP! Call 505-473-1114 to schedule a pick up.

2414 Cerrillos Road  Hours: Monday - Saturday 9:00 a.m. - 5:00 p.m. www.santaferestore.org

Songwerks Voice Studio Classical and Contemporary

All Ages and All Levels Welcome!

Dr. Karen Hall, voice teacher, soprano, author, editor, music researcher 30 Years Teaching Experience 607 Cerrillos Road, Studio F-2, Santa Fe, 919-8818 • www.karenshall.com

Friday, March 1: The day is broody, swimming with subconscious material.

Our inner voice whispers. Listen, but question murmurs of dark things.

Use a midday window to complete work. Dinnertime warms up, but watch emotional expectations. Interesting conversation grows sharp edges.

Saturday, March 2: Morning is thoughtful and productive but solitary and individualistic. Accept eccentricities as the Scorpio moon conjuncts serious Saturn. Find a healthy obsession. Afternoon flows if we choose connection, but people need to arrive when they’re ready. Evening is magical, opinionated, communicative, and laced with fateful moments.

Sunday, March 3: Our tails twitch if we feel pressured this moody, disjointed morning. Process memories and feelings, but don’t get stuck on the sore points. Afternoon is forward-thinking and humorous as the moon enters Sagittarius. Take some real rest and relaxation and avoid careless drivers.

Tonight has an aimless, celebratory note.

Monday, March 4: Expect plentiful feelings and bountiful goodwill but sparse objectivity. We know (if we’re honest) what we feel and can express as the sun conjuncts Mercury. Much gets communicated accidentally. Listen to what’s said on the periphery, and think while speaking.

Tuesday, March 5: Watch tempers and traffic this morning as the moon squares Mars. Midday on, make repairs as Venus conjuncts Chiron. Clean up broken pieces and stitch them back together. Get more organized and make short-term plans tonight as the moon enters Capricorn.

Wednesday, March 6: The agenda changes minute by minute. Pay attention to the microclimate, the conditions of each moment. Engage design work and architecture, reorganize personnel, and set healthy relationship ground rules as Venus conjuncts Mercury, sextiles Pluto, and trines Saturn.

Thursday, March 7: Watch a manipulative trend on this importantly communicative day. Be conscious of what signals are sent and received as Mercury trines Saturn and sextiles Pluto under a durable Capricorn moon.

Work on old problems with both heart and mind. Take a more philosophical overview and share with the team tonight as the moon enters Aquarius. ◀ www.roanrobbins.com

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In Other wOrds Going Clear: Scientology, Hollywood, and the Prison of Belief

by Lawrence Wright, Alfred A. Knopf, 432 pages Off a two-lane highway in Mora County, 50 miles east of Las Vegas, is Trementina Base, New Mexico’s connection to the Church of Scientology. At Trementina, two enormous interlocking circles are carved into the desert floor — a landmark for visiting aliens, or for the wandering soul of Lafayette Ronald Hubbard, the church’s founder. Underground is, reportedly, a network of tunnels, including a vault encased in titanium. Rumors about the vault’s contents vary, but many say that it houses the entire doctrine of Scientology, engraved on titanium plates. It’s impossible to determine whether or not this is true because Scientology girds itself against outsiders. Trementina is emblematic of the secrecy that surrounds the religion.

Ask most Americans what they know about Scientology and you’re likely to hear references to Tom Cruise calling Matt Lauer “glib” on The Today Show (during a discussion of the merits of psychiatric medication, which Scientology opposes) and the John Travolta vehicle Battlefield Earth, which is based on Hubbard’s writings and may be the worst sci-fi flick in history. Lately, these references might include Going Clear: Scientology, Hollywood, and the Prison of Belief, which in February climbed to number five on The New York Times’ combined hardcover/e-book nonfiction bestseller list.

In Going Clear, author Lawrence Wright looks at the core tenets of Scientology and attempts to explain the appeal of the religion to its adherents, even as he claims that it saps their finances, indulges in pseudoscience, and commits humanrights violations against some of its members. He explores the church’s ties to celebrity — the ways in which it recruits famous followers and entices wannabes with promises of high-level Hollywood connections. Wright is a staff writer for The New Yorker. The Looming Tower, Wright’s book about al-Qaeda and 9/11, won the Pulitzer Prize.

Wright’s study is exhaustive. He explains Scientology’s doctrine in detail, interviews dozens of former Scientologists, examines the church’s battles with the outside world (including FBI investigations, the faith’s ongoing PR nightmare, and a decades-long conflict with the IRS), and provides extensive biographies of Hubbard and David Miscavige, Scientology’s current leader. The book also profiles several other figures in the church, some of whom have “blown,” or left the religion.

While exact numbers are not available, Wright estimates that the church has about 30,000 members worldwide, though it claims to have 8 million. According to Wright’s sources, Scientology controls about $1 billion in liquid assets.

Scientology has one hell of an origin story, which Wright describes in the book’s second chapter, “Source.” Hubbard’s life is almost too fantastic to be believed: he was married three times, fathered seven children, apparently lied about injuries incurred during his Navy service to earn a pension, lived as an aristocrat in England, planned to conquer Rhodesia, and appointed himself commodore of a private fleet that sailed around the world for several years. Hubbard moved throughout his life, never staying in one place for long. Perpetual dissatisfaction marked his personal life and career. In part, he 14

March 1-7, 2013

book reviews decided to found a religion because “That’s where the money is.” Hubbard died in 1986 while traveling around California in a massive mobile home called the Blue Bird.

The doctrine of Scientology evolved as the religion grew.

Before founding Scientology, Hubbard made a fortune as a science-fiction writer. “Science fiction invites the writer to grandly explore alternative worlds and pose questions about meaning and destiny,” Wright explains. “In that respect, science fiction and theology have much in common. Some of the most closely guarded secrets of Scientology were originally published in other guises in Hubbard’s science fiction.”

The religion is also based on Dianetics, a self-help technique Hubbard developed in the 1950s. In practicing Dianetics, Scientologists clear mental blocks through a process called auditing, which is somewhat similar to psychotherapy. During auditing, the subject grasps an electropsychometer, or E-meter, which purportedly measures his or her thoughts in response to a series of questions. The aim of auditing, Dianetics, and eventually “going Clear” is to gain control over one’s life, both in terms of daily minutiae and fate itself. As with many religions, the ultimate goal is immortality, called the Bridge to Total Freedom in Scientology.

The most disturbing aspect of Going Clear is its account of the church’s treatment of its members, including high-ranking officials of the Sea Organization. The “Sea Org” is a relic from Hubbard’s seafaring days and forms the church’s clergy. Most Sea Org members sign up as children, agreeing to dedicate 1 billion years of life (factoring in reincarnation) to the church.

According to Wright, during Hubbard’s tenure in the 1970s, dozens of high-ranking church members were charged with, as he put it, infractions of church doctrine, imprisoned in a basement, and forced to do manual labor at Scientology’s Advanced Org building in Los Angeles. Wright says that after Hubbard died, Miscavige continued isolating and punishing those who questioned or offended him.

In chapter eight, “Bohemian Rhapsody,” Wright discusses the past two decades, during which many top Scientology executives were confined to Watchdog Committee headquarters — two double-wide trailers at the church’s Gold Base in California. There, according to Wright, offenders were incarcerated for weeks or months. They were fed rice and beans, allowed to go outside only for hose showers, and made to sleep on the floor. Miscavige routinely patrolled the trailers, tape recorder in hand, forcing “confessions” about the imprisoned members’ “crimes and failures.”

Going Clear includes a robust index, a bibliography, and a host of footnotes, but a glossary would have been helpful.

When you’re reading about a subculture mired in terminology, it’s easy to forget what various acronyms stand for. In addition, an organizational “Who’s Who in the Church of Scientology” chart would have helped. Wright is so fully immersed in his topic that he occasionally leaves us behind.

Still, Wright’s absorption and meticulousness build our fascination and our horror. Members of all religions have faith in things that are difficult to believe, but Scientology’s control over its members — and the ways it exerts that control — is depicted as deplorable. In the epilogue, Wright defines the stakes plainly: “They have the right to believe whatever they choose. But it is a different matter to use the protections afforded a religion by the First Amendment to falsify history, to propagate forgeries, and to cover up human-rights abuses.”

— Adele Oliveira

SubtextS Shelf life

Local bookstores carry a diverse selection for the discriminating readers of Santa Fe. Below are the recent top-selling titles from a variety of merchants.

Collected Works Bookstore and Coffeehouse (202 Galisteo St., 988-4226) 1. Thrill of the Chase by Forrest Fenn 2. Storms of My Grandchildren: The Truth About the Climate Catastrophe and Our Last Chance to Save Humanity by James Hansen 3. Death Comes for the Archbishop by Willa Cather 4. Useless Landscape, or A Guide for Boys by D.A. Powell 5. The Time in Between by María Dueñas Alla (102 W. San Francisco St., 988-5416) 1. El Llano en llamas by Juan Rulfo 2. Mafalda inedita by Quino 3. Diccionario de la Lengua Española Esencial (Larousse) 4. Woes of the True Policeman

by Roberto Bolaño 5. Los hijos de los días by Eduardo Galeano The Ark (133 Romero St., 988-3709) 1. Fear: Essential Wisdom for Getting Through the Storm by Thich Nhat Hanh 2. Proof of Heaven: A Neurosurgeon’s Journey Into the Afterlife by Eben Alexander 3. Unlikely Friendships: 47 Remarkable Stories From the Animal Kingdom by Jennifer S. Holland 4. Law of Divine Compensation: On Work, Money, and Miracles by Marianne Williamson 5. Real Happiness: The Power of Meditation: A 28-Day Program by Sharon Salzberg Bee Hive Kids Books (328 Montezuma Ave., 780-8051) 1. The Borrowers by Mary Norton 2. History of a Pleasure Seeker by Richard Mason 3. Olivia and the Fairy Princesses by Ian Falconer 4. Bad Kitty Meets the Baby by Nick Bruel 5. This Moose Belongs to Me by Oliver Jeffers Garcia Street Books (376 Garcia St., 986-0151) 1. The Red Book: A Reader’s Edition by C.G. Jung, edited by Sonu Shamdasani 2. Vampires in the Lemon Grove by Karen Russell 3. Tenth of December by George Saunders 4. The World Until Yesterday: What Can We Learn From Traditional Societies? by Jared Diamond 5. A Thousand Mornings by Mary Oliver Big Adventure Comics (801-B Cerrillos Road, 992-8783) 1. The Hound of the Baskervilles by Martin Powell and Jamie Chase 2. Saga Volume 1 by Brian K. Vaughan and Fiona Staples 3. Fatale Volume 2 by Ed Brubaker and Sean Phillips 4. Batman: Night of the Owls by Scott Snyder and Greg Capullo 5. King City by Brandon Graham — Jennifer Levin

Astrology Santa Fe

Week Days are named after the 7 planets.

Monday- Moon Tuesday – Mars Wednesday – Mercury Thursday – Jupiter Friday – Venus Saturday – Saturn Sunday – Sun

Come and find out where your strengths are Bina Thompkins

Call for Appointments 505 819 7220

Faust design by Susan Willmington

ADDDDDDDDDDDDDDDDDDDDDF H H H H H H H You Are WhAt You WeAr: Costume And ChArACter in operA H H Join us as Dorothy Baca, and Emilee McVey Lee team up to share their H insights on the psychology of clothes and costuming; their knowledge of H tools, crafts, and techniques of the trade; and a behind-the-scenes view of H H the costume design process.

H H Saturday, March 9: 9:30am to Noon H H Stieren Hall at The Santa Fe Opera—Refreshments served at 9am H $10 per person—limited to 100 participants H H To register on line go to www.guildsofsfo.org/SF or call 505-629-1410 ext.

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MICHAEL JACKSON

James McGrath Morris I For The New Mexican

CHRIS

A SHOW OF HANDS RUMINATIONS ON THE LOST ART OF HANDWRITING

TOPH E

R CO

LUMB

US

AMELIA EARHART

Is anything lost when we give up pen and paper? Does some part of our humanity disappear as well?

requently I find an indecipherable item on one of the many lists I make for myself each day. Am I supposed to pick up melons at Albertsons for tonight’s dinner or write a memo to Albert about the contest winner?

After 29 years of pecking out words on a computer and 14 years before that on a typewriter, my handwriting has become so illegible that it might double as secret code for CIA messages. If I can’t read it, it’s unlikely al-Qaida could, either. Our state secrets would be safe.

Twice in the last decade, along with resolving to lose weight, I have made resolutions to improve my penmanship. The fact that my to-do list is now a typed document tells you how well I did with that pledge. The weight one was a tad more successful.

I worry about the loss of this skill in others as well.

It turns out I’m not alone. British novelist and critic Philip Hensher realized that he hadn’t a clue as to what his good friend’s handwriting looked like. “He had left messages for me, e-mailed me, sent text messages galore,” Hensher writes. But as far as he could remember, his friend had never sent a handwritten note or even a postcard. “I had no idea whether his handwriting was bold or crabbed, sloping or upright, italic or rounded, elegant or slapdash.”

More remarkable, Hensher thought, was that it never struck him as strange. “We could have gone on like this forever, hardly noticing that we had no need of handwriting any more.” So Hensher did what most writers do when faced with a moment 16

March 1-7, 2013

like this — he wrote a book, though probably not in longhand. The result, The Missing Ink: The Lost Art of Handwriting, is an old-fashioned, discursive, entertaining, and memorable paean to a victim of the modern age.

Why is handwriting dying? “The simple answer is the dominance of the keyboard,” Hensher concludes.

Schools have tossed out the instruction of penmanship along with slide rules and memorizing the Gettysburg Address. In 2011, according to Hensher, the Indiana Department of Education deemed that pupils needed to learn typing but not handwriting.

(If, for some reason, an Indiana school wanted to continue instruction in handwriting, it could do so.)

In Hensher’s native country it is no better. “Children do need to have a little more pride in their penmanship,” a British schoolteacher said, “but if you look down the road, will it make any difference when everything is typed?”

It may not be as dismal a picture in schools as Hensher paints. An alliance of educators, researchers, and handwriting advocates (who knew there were such people?) held a summit last year and produced something called “Written-Language Production Standards.” (They may want to work on the skill of titling reports next.) The report highlighted research showing that handwriting has educational value beyond enabling one to take notes, and it said that some states were restoring requirements for the instruction of cursive to their teaching standards.

An incentive of the kind that often catches the eyes of education bureaucrats is that bad handwriting apparently has its economic costs. For example, in

2000 a U.S. court awarded $450,000 to the family of a Texas man who died after a pharmacist misread the doctor’s handwriting on a prescription. And in 1994, 38 million letters with indecipherable addresses went undelivered, while 400,000 rolls of film never got returned to customers because Kodak employees couldn’t manage to read their names and addresses.

But these pecuniary concerns are of lesser interest to Hensher as he asks, Is anything lost when we give up pen and paper? Does some part of our humanity disappear as well? To the delight of most readers, before getting to his answers, the author takes a meandering tour of penmanship, its history, its uses, and its pedagogy and mixes in an assortment of tales only tangentially connected to his subject but so good that he kept them anyway.

Although it’s a fraction of the size of Moby-Dick, The Missing Ink uses Herman Melville’s trick of devoting the odd chapter to general information on the subject at hand, in this case free-standing interviews, essays on ink and pens, and even an abbreviated history of handwriting, which includes what the author calls the “depressing realization” that writing was not invented by human beings but by accountants. “Most of the early writing systems are records of how much crap people own, how much money they have, how much money they owe, and other lowering/boastful facts of human life,” Hensher writes.

Hensher follows handwriting wherever it takes him. Chapters offer an examination of Charles Dickens’ writing, filled with energy and fury; Marcel Proust’s somewhat erotic fascination with illegible

ADO LF H ITLE R

QUEEN VICTORIA AY DS LIN

VIRGINIA WOO

LF

N HA LO PRESIDENT

OBAMA

SYLVIA PLATH

AMY WINEH OUS

E

WILLIAM S. BURROUGHS

handwriting; and the postmortem life of Adolf Hitler’s handwriting — resulting in a famous forgery of diaries that left many handwriting experts red-faced.

Nearing the end of the book, the gems that Hensher has uncovered about such a seemingly simple thing as handwriting, his wry humor, and his shaggy-doglike tales are all so distracting that one has forgotten his initial question: What might be lost with the disappearance of handwriting?

A lot, it turns out, if one believes Hensher.

Handwriting is good for us, he says. “It involves us in a relationship with the written word which is sensuous, immediate, and individual. It opens our personality out to the world, and gives us a means of reading other people.” But he is quick to point out that he is not suggesting we walk away from our keyboards and smartphones and pick up a quill.

Rather, he finds a parallel in the way we make use of modern conveniences. Sometimes we pop a frozen meal into the microwave, but other times we slice, dice, and cook up a dish. Sometimes we fly across oceans, board trains, and ride in cabs; other times we walk out our front doors for an enjoyable stroll. One exists with the other. “Perhaps,” he writes, “that is the way to get handwriting back into our lives — as something which is a pleasure, which is good for us, and which is human in ways not all communication systems manage to be.”

To that end, Hensher offers a set of practical suggestions and closes with a moving account of reading the handwritten work of a student who had died suddenly. “It was just full of her,” he wrote. “I only taught her, but I was moved by it, and felt a

connection with the poor girl, whom I had liked a great deal.”

When I read this passage I froze. Then I went to my study and searched through my in-box, where for eight years I have kept a handwritten essay by an endearing and brilliant high school student I once taught. In 2005 she went off to Virginia Tech and was among the 32 killed in the April 16, 2007, massacre there. The essay was a culminating exercise in the government classes I taught to seniors. The students had to write their own political philosophies to guide them in making decisions as citizens. Her work was brimming with hope and included a pledge to play an active and constructive role in society. At the end of her essay, she added a personal note. “And if you are ever down at Tech, look me up,” she wrote in crisp, distinct, animated blue print. “Or come see me in the library — that dimly lit room above the arch.

That’s where I’ll be.”

Even these many years later, my eyes welled up with tears reading these words. I went back to Hensher’s book to learn of his reaction when he held his late student’s work. “Her humanity and her hand overlapped,” he said, “and something remained, indelibly, in these physical traces.”

Hensher is right. We will all lose something irreplaceable if our technology replaces the mark of the hand in all instances of human communication. ◀

CHARLES DICKE NS

“The Missing Ink: The Lost Art of Handwriting” by Philip Hensher was published by Faber and Faber/ Farrar, Straus & Giroux in 2012.

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PASA TEMPOS

album reviews

PSyChiC illS EmanuEl ax One Track Mind (Sacred Variations (Sony Classical) Bones Records) Going down?

In the 18th and 19th centuries, Here’s an album that always seems composers wrote sets of keyboard variato be descending. The notes slink tions by the furlong, and 99 percent of away like a dog that’s been yelled at. them are thoroughly forgettable. That The guitar tones sound like you’re cannot be said of the three sets chosen in quicksand that’s up to your

by Emanuel Ax: each of them is unquesankles, then your knees, and then tionably ensconced in the 1 percent. He your hips. The lyrics are a back alley reveals in a program essay that Beethoven’s in a crime novel. The album never “Eroica” Variations “have long been one rebounds; the most it does is spin of my favorite pieces — I find them truly in a holding pattern, like a society astounding in their excitement and origicircling the drain or — true to the band’s name — a person in a cycle nality.” Beyond that, they are filled with bumptious pranks, and Ax of depression. Remarkably, One Track Mind is not depressing. It lulls seems natively well attuned to music that displays a sense of humor. you in with pop hooks and sleazy classic-rock affections hung on dronMuch of joke-telling success resides in the timing, of course. Ax has a way ing, repetitive riffs. After spending seven years splaying psychedelic jams of highlighting an idea with a microsecond’s emphasis, and he isn’t above across drum machines in search of their voice, Psychic Ills sounds relaxed. making a rude sound or two when it helps make Beethoven’s point. The other There’s plenty of open space here, allowing for a catchy song like two works rate at least as high on the masterpiece scale. Haydn’s “FBI” to dig its claws in or for the bass of “Might Take a While” F-Minor Variations figure among the finest treasures of his to reveal its sly funk. The album may sound too “samey” output, and they are particularly welcome here, Haydn having for some — the tempo settles into that space between the been Beethoven’s teacher for a while. In the generation seventh and eighth bong hit, singer Tres Warren’s spacedfollowing Beethoven, Schumann was one of the most invenout vocals don’t offer much charm, and the guitars tive composers of variations, and his Symphonic Études ‘The Man Who Died often sound like they’re grinding out a tough work day. tower within the genre. Ax played little Schumann until But there is a hypnotic flow to the work as a whole, four or five years ago but has taken to it admirably. He even in His Boat’ is awash and going down sounds pretty good. — Robert Ker restores two variations the composer excised, arguing that “they are too beautiful to leave out.” — James M. Keller in whooshes of guitar reverb GRouPER The Man Who Died in His Boat (Kranky) that sound like they Liz Harris is no stranger to provocative album titles.

TooTS ThiElEmanS 90 Yrs (Challenge) The harmonica Dragging a Dead Deer up a Hill is the name of her 2008 is somewhat of an unusual lead voice in jazz, but in the were recorded inside a breakthrough CD. Yet Grouper, as Harris is known on hands of Toots Thielemans, it’s definitely a good thing. stage, delivers the goods, creating a spate of compositions Thielemans was born in 1922 in Brussels, and his early conch shell. as gothic as their names. On this sophomore effort, she musical influences were the Belgian jazz guitarist Django mines a teenage reverie of exploring a wrecked ship whose Reinhardt and American bebop innovator and saxophonist sole passenger had recently disappeared into the ocean, Charlie “Bird” Parker. He broke onto the jazz scene big-time in creating a lush, surreal seascape of melodic drone effects. The the 1950s as a member of Benny Goodman’s band, Charlie Parker’s album is awash in whooshes of guitar reverb that sound like they were All Stars, and the George Shearing Quintet. He has recorded countless recorded inside a conch shell. A nautical dread haunts “Vital” and “Cover albums and is also known for commercials featuring his whistling. On 90 Yrs the Long Way” — songs that conjure up a slow-motion film of a squid he plays with his stellar European quartet: pianist Karel Boehlee, bassist Hein shooting its ink in self-defense to cloud the waters. On “Vanishing Point,” Van de Geyn, and drummer Hans van Oosterhout. “There are lots of ‘wrong distorted plucks of piano can be heard over tape delays and hisses; notes,’ ‘non-existing chords,’ and ‘elastic rhythm’ in the music on this CD,” each strike of the keys feels deliberate and confused, like a senile Van de Geyn writes in the liner notes. “In the desire to improvise, the woman trying to play the love songs of her youth before they vanish well trodden paths become slippery.” The disc opens with “Waltz for forever. The internet may be full Sonny,” an easy, swinging tune Thielemans of bedroom ambient artists, but wrote in tribute to sax star Sonny Rollins.

Harris is cut from a different cloth.

There are softly swaying Brazilian The CD is a one-woman show of flavors on “Wave,” the first of two Antônio minor-key melodies. Grouper’s Carlos Jobim songs on the album. Another muffled sound isn’t half-formed. highlight is Dave Brubeck’s “In Your She splits her songs into shards, Own Sweet Way.” What a great set! The reconstructing them into mosaics package also contains a concert DVD greater than the sum of their parts. with six additional tunes, including Enjoy them now before they end Thielemans’ well-known “Bluesette” up in a Volkswagen commercial. and “Midnight Cowboy.”

— Casey Sanchez — Paul Weideman

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March 1-7, 2013

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Barbara Ehrenreich, writer and long time political activist, is the author of 21 books including New York Times best sellers Nickel and Dimed: On (Not) Getting By in America (10th anniversary edition issued 2011 with a new afterword) and This Land is Their Land: Reports from a Divided Nation. In may 2012 she founded, with the Institute for Policy studies, the economic Hardship reporting Project, a website designed to place the U.s. crisis of poverty and economic insecurity at the center of the national political conversation.

So what is the solution to the poverty of so many of America’s working people? Ten years ago, when this book first came out, I often responded with the standard liberal wish list—a higher minimum wage, universal health care, affordable housing, good schools, reliable public transportation, and all the other things we, uniquely among the developed nations, have neglected to do . . .

Maybe, as so many Americans seem to believe today, we can’t afford the kinds of public programs that would genuinely alleviate poverty — though I would argue otherwise. But at least we should decide, as a bare minimum principle, to stop kicking people when they’re down.

— From Nickel and Dimed: On (Not) Getting By in America by Barbara ehrenreich © 2011.

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TERRELL’S TUNE-UP Steve Terrell

Tinseltown rebels In honor of the Academy Awards, held last week, here’s a couple of lists I’ve compiled pertaining to music and the movies.

My favorite songs about movies ▼ “Celluloid Heroes” by The Kinks. The ghosts of Mickey Rooney, Bela Lugosi, Marilyn Monroe, and other stars rise from the sidewalks of Hollywood Boulevard while Rudolph Valentino merely looks up ladies’ dresses in this Kinks classic. It’s obvious Ray Davies loves the glitter and glamour, but the song ends on a cautionary note: “And those who are successful, stay always on your guard/Success walks hand-in-hand with failure along Hollywood Boulevard.” ▼ “Touch of Evil” by Tom Russell. In this haunting song, Russell invokes the 1958 Orson Welles noir classic of the same name. The narrator, thrown out of his home by a longtime lover, identifies with Welles’ character, the drunken, obese, and corrupt Hank Quinlan. He’s sinking into alcoholic despair in a border-town whorehouse, and like Quinlan, nobody will read his fortune.

His future’s all used up. ▼ “New Age” by Velvet Underground. This is a love song about a tryst between a wide-eyed fan and a “fat blond actress” (Shelley Winters?) who’s “over the hill … and looking for love.” ▼ “Beloved Movie Star” by Stan Ridgway. This song about a sad, aging actress was inspired by Gloria Swanson in Sunset Boulevard (1950). There are two versions on the album Holiday in Dirt — the “Billy Wilder Mix” and the “C.B. DeMille” mix. Both are beauties. ▼ “It’s All in the Movies” by Merle Haggard. A slow, sad Hag tune from 1975 in which the singer declares happily-ever-afters to be a cruel Tinseltown illusion. ▼ “Burn Hollywood Burn” by Public Enemy. Aided by Ice Cube and Big Daddy Kane, the prophets of rage take on racial stereotypes in the movies and drive Miss Daisy into the ocean. ▼ “Martin Scorsese” by King Missile. Here’s a crazy ode to one of the great directors. It’s profane, violent, and ultimately endearing. Frontman John S. Hall shouts the entire lyrics: “If I ever meet him I’m gonna grab his [expletive] neck and just shake him/And say ‘thank you thank you for makin’ such great [expletive] movies …’ ” And so on. ▼ “Tiffany Anastasia Lowe” by June Carter Cash. On this song, Cash warns her granddaughter, an aspiring actress, not to get involved with a certain director. She cracks up while trying to sing, “Now Quentin Tarantino’s women sometimes gets stuck with a hypodermic needle/They dance a lot and lose a lot of blood.”

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March 1-7, 2013

“Cheepnis” by Frank Zappa. This is Zappa’s loving homage to cheesy low-budget monster movies of the 1950s. ▼ “Act Naturally” (versions by Buck Owens, The Beatles and — in a late-’80s remake — Buck Owens with Ringo Starr). Dang, I wish they had put Buck in the movies — maybe a country-fried version of A Hard Day’s Night co-starring Ringo as a big Hollywood producer.

▼

My favorite soundtrack albums Man. With a snarling title song by Iggy Pop, this various-artists soundtrack includes some classic Los Angeles punk bands like Fear, Circle Jerks, and Suicidal Tendencies. But the best songs were The Plugz’ Spanish version of “Secret Agent Man” (retitled “Hombre Secreto”) and Black Flag’s immortal “TV Party Tonight.” ▼ O Brother, Where Art Thou? The Coen Brothers’ 2000 reconstruction of The Odyssey in a Depression-era Deep South setting is one of my favorite films, and one of the key elements is the music. Highlights are Ralph Stanley’s powerful a cappella “O Death”; the sexsational “Didn’t Leave Nobody but the Baby” by Gillian Welch, Alison Krauss, and Emmylou Harris; and the classic old record “Big Rock Candy Mountain” by Harry McClintock. ▼ Superfly. With “Freddie’s Dead,” “Pusherman,” and the title song, Curtis Mayfield’s album is, hands down, the best of the 1970s blaxploitation movie soundtracks. ▼ Wild at Heart. I enjoy most of the soundtrack albums for David Lynch movies, but this is the best. It’s got a long Bizarro World blues, “Up in Flames” by Koko Taylor; two dreamlike, reverb-heavy Chris Isaak songs (including his hit “Wicked Game”); high-testosterone ’60s garage rock from Them; some speed metal from Powermad; the original “Be-Bop-a-Lula” by Gene Vincent; and two Elvis songs sung by Nicolas Cage. ▼ The Harder They Come. Who could imagine back in 1972 that a Jamaican action flick about a gun-toting antihero would make reggae a household name in the U.S.? Jimmy Cliff, who had the starring role, sang several of the songs, including “Many Rivers to Cross” and the title song. But even better are some of the songs by lesser-known artists — “Rivers of Babylon” by The Melodians, “Johnny Too Bad” by The Slickers and “Pressure Drop” by Toots & The Maytals. ▼ Ocean’s Eleven. An Irish composer named David Holmes is responsible for this snazzy collection. In addition to Holmes’ jazzy, spacey tracks, there’s a tasty remix of Elvis Presley’s “A Little Less Conversation.” ▼ Purple Rain. I tried to avoid concert movies in this list, and even though technically Purple Rain had a plot, it was basically a concert movie. But what music! There are so many Prince classics here — “Let’s Go Crazy,” “When Doves Cry,” “I Would Die 4 U.” And Prince gets extra points for his “Darling Nikki,” which helped inspire Tipper Gore’s crusade against “porn rock.” ▼ One From the Heart. Tom Waits and country-pop crooner Crystal Gayle were indeed one of the oddest of odd couples ever. But they created magic for this 1982 Francis Ford Coppola musical. The duet on “Picking Up After You” is hilarious, while Gayle’s stunning “Old Boyfriends” is a thousand times more intense than any of her radio hits. ▼ Walk Hard: The Dewey Cox Story. Actor John C. Reilly is good at parodying various styles of music, from rockabilly to disco. But it took a true mad genius to pull off a satire of Brian Wilson’s Smile era with his psychedelic-baroque “Royal Jelly.” ▼ Crossroads. Ry Cooder was responsible for a variety of rootsy soundtracks in the ’80s. This one’s a bluesy doozy. The movie is seeped in the Robert Johnson legend and Mississippi blues culture. Cooder captures the spirit.

Especially impressive is his spooky version of J.B. Lenoir’s “Down in Mississippi.” ◀ ▼ Repo

NA TI O NA L

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SFCA

The Santa Fe Concert Association

UR

Fiddler on the Roof

PUBLIC OPENING Sunday, March 3 · 1:00 – 4:00 PM 1:00 “The Amish in America: Old Orders in the Modern World” Lecture by Steven M. Nolt, Ph.D., Professor of History, Goshen College, Indiana 2:00 – 4:00 Reception by the Women’s Board of the Museum of New Mexico

See it for the first time, see it again, or better yet, introduce a member of the next generation to the glorious

TrAdiTion!

SundAy, MArCh 10, 2013 • 7:30

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 InternationalFolkArt.org 505 476-1200

The Lensic Performing Arts Center • $20 - $55 Lensic box office: 988.1234

www.santafeconcerts.org

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

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.com Coming Soon

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March 1-7, 2013

ON STAGE Brodies of March: The Surf Lords

Agua, por favor!

Albuquerque band The Surf Lords brings its Latin/ Caribbean-tinged surf-rock sound and go-go-girl stage show to the Cowgirl BBQ (319 S. Guadalupe St., 982-2565) at 8:30 p.m.

Saturday, March 2. Vocalistguitarist Tom Chism, drummer Mike Fleming, and bassist Joe Silva have been riding the wave of beached-up, blissed-out instrumental rock à la Dick Dale since 2001, and with three albums (Voodoo Surf Fever, Shark Attack!, and Makin’ Waves)) under their belts, they know how to do it with style. Besides covering surf-rock mainstays, The Surf Lords have a knack for taking more contemporary pop tunes, such as ’Til Tuesday’s “Voices Carry” and Chris Isaak’s “Wicked Game,” and turning them on their heads. There’s no cover for the show. — RDW

The village of Agua Fría has faced its share of challenges since it was first settled in the late 1680s: loss of water rights, land-grant conflicts, appearances by ghostly La Llorona, and neighbor-versus-neighbor disagreements over any and all of the above. Yet through it all, the villagers have persevered and held on to their traditional way of life, even if the riverbed often remains dry. College students at the Santa Fe University of Art and Design pay homage to them with the original documentary theater piece Cold Water, with performances at 7 p.m. on Fridays and Saturdays, March 1, 2, 8, and 9; and at 2 p.m. on Sundays, March 3 and 10, in the school’s Greer Garson Theater (1600 St. Michael’s Dr.).

Tickets are $12 to $15. Call 988-1234 or visit www.ticketssantafe.org. — R.N.

THIS WEEK

Green light: Irish music from Randal Bays

Music has always been in Randal Bays’ blood. Before becoming a master of the Irish fiddle, he took up the trumpet (at age 8), jammed in rock bands, and developed a highly melodic fingerstyle technique for classical guitar.

A self-taught musician, Bays released Oyster Light, an album of solo guitar works, in 2010, and his arrangements are enchanting. Irish music inhabits Bays’ soul, and his command of it affects audiences profoundly. It’s no wonder that Celtic guitar virtuoso Tony McManus praised Bays’ technique on Oyster Light. At 7:30 p.m. Saturday, March 2, Bays presents original and classic Irish guitar music at Gig Performance Space, 1808 Second St., Suite H, www. gigsantafe.com. Tickets, $20, are available at the door beginning 30 minutes before showtime. — RDW

Shylock and company: Jewish villains and victims

At 7 p.m. Sunday, March 3, the Lensic Performing Arts Center (211 W. San Francisco St.) presents Guy Masterson in playwright Gareth Armstrong’s provocative two-act solo performance piece Shylock, a study on the Shakespeare character of the same name — one of only two Jewish characters in the works of The Bard. (Shylock and Shakespeare’s other Jewish character, Tubal, both appear in The Merchant of Venice.)

Masterson (left) plays Tubal, and as he connects the dots between the Shylock character and the history of comic-villain Jews in theater (such as the moneylender demanding a pound of flesh), he also presents an emotionally captivating yet darkly humorous distillation of the treatment of Jews through time, from the Crucifixion to blood libel to the Holocaust and beyond. Tickets, $15-$35, are available through www.ticketssantafe.org, 988-1234.

— RDW

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LISTEN UP

James M. Keller

Left-brain listening Hilary Hahn is now 33 years old, and for all but the first three of those years she has been playing the violin. She burst onto the musical scene half her life ago, when at the age of 16 she received an exclusive recording contract from Sony Classical. The label audaciously introduced her to the world with a CD of unaccompanied works

by Johann Sebastian Bach, the holiest destinations of the violin repertoire. Many listeners responded with shock: the chutzpah of Sony, introducing such a young artist through pieces that require a lifetime to fathom! But even the doubters had to acknowledge that Hahn had serious chops, that even in a concert world populated by not a few violin prodigies, she was an impressive player.

On Feb. 19, Santa Fe Concert Association sponsored Hahn in a recital at the Lensic Performing Arts Center, and she demonstrated that her skills as a technical violinist have only grown. But the evening also revealed a characteristic that has surfaced with troubling regularity in the intervening years: her interpretations do not always reach deep. Every piece she performed displayed superb violin playing, but in the end, her concert did not nourish on an emotional or spiritual plane.

It did engage on an intellectual level. In fact, Hahn’s program was unusually confrontational in that it included works by eight contemporary composers, most of whom would have been unfamiliar to nearly everyone in attendance.

Distributed through the course of the program, these works were drawn from In 27 Pieces: The Hilary Hahn Encores, a commissioning project through which she has urged into being that number of short items from as many composers working in a variety of modern styles. Most of them ran about five minutes, and few made a lasting impression. Of those that did not, Jeff Myers’ The Angry Birds of Kauai bristled with tremolos in fractured phrases, Michiru Oshima’s Memories combined French lyricism of a century and a quarter ago with sappy New Ageism, and Richard Barrett’s Shade emitted mousy noises. Antón García Abril’s First Sigh refracted breezy Latin bits as if through a prism, and James Newton Howard’s Hilary Hahn

133 ... At Least (no, I cannot explain the title) drew on traditional string technique to chart an appealing course whose lyricism landed somewhere between Korngold and Prokofiev. Stronger impressions came via the remaining three composers. Kala Ramnath, an Indian violinist, provided a captivating piece in Aalap and Tarana, sending the accompanist inside the piano to intone a bronzen drone in imitation of the Indian tambura and providing the violin with a sinuous line evocative of South Asia. Elliott Sharp’s Storm of the Eye exhibited its composer’s noisy, brutalist tendencies; Hahn’s violent bowing became almost a cartoon parody of violin playing, but the piece made its point effectively. So did Mark-Anthony Turnage’s Hilary’s Hoedown, a madcap dance number that was oddly steeped in gestures from Victorian popular song.

Less stimulating, however, were the repertoire classics that, one assumes, were intended to anchor Hahn’s program. Fauré’s Violin Sonata No. 1 has sometimes been proposed as the work that masquerades as “Vinteuil’s Sonata” in Proust’s In Search of Lost Time, with the character of Vinteuil being based on Fauré.

The latter may be true, but rather strong evidence suggests that the piece itself alludes to Saint-Saëns’ First Violin Sonata rather than Fauré’s. In any case, this sonata does have a Proustian flavor, its lines interpenetrating each other with poised seductiveness, alluring yet cryptic. “A magic floats above everything, encompassing the whole work, causing the crowd of usual listeners to accept the unimagined audacity as something quite normal,” wrote Saint-Saëns, reviewing Fauré’s sonata when it was new.

Not in this performance, though. This rendition was perfervid but lacked a sense of purpose. One appreciated Hahn’s technical finesse but wanted more.

The scherzo movement, for example, was assuredly clean and precise, but should it not also convey a measure of charm? It cannot be said that Hahn was alone in failing to fill in the music’s core. Pianist Cory Smythe was a firm and fluent accompanist, but he, too, tended toward efficiency rather than emotional commitment; notwithstanding his nice solo moment in the slow movement, he did not infuse Fauré’s sonata with any overriding sense of style. One was left wondering why the musicians chose to program this piece, since they seemed to have so little to say about it.

Hahn revisited the immense Ciaconna from Bach’s D-Minor Partita for Unaccompanied Violin, again with essentially faultless playing. I suppose her interpretation was individualistic in occasional details — an aspect of mournfulness at the beginning, double-stops with unusually wide vibrato when the piece shifts into the major mode — but it did not add up to a distinctive reading.

Corelli’s F-Major Sonata (op. 5, No. 4) was an exercise in stylistic anomaly, with the piano constantly rippling in precious arpeggios. Hahn’s virtuosity was unmistakable, with the pristine sense of a figure skater tracing absolutely perfect figure eights ... but to what end? Even one further piece from her encore project, David Del Tredici’s Farewell — played as an actual encore — was rendered entirely without sentiment, which seemed to miss the point of a piece so unabashed in its melodic appeal, so forthright about reflecting the well-known Meditation from Massenet’s Thaïs.

I

f Hahn left listeners hungry, the Atrium String Quartet served a satisfying feast on Feb. 22 at St. John’s College. Formed in 2000 at the St. Petersburg Conservatory and now based in Berlin, the group is not yet famous in the United States, but that should change. They are, after all, young by string-quartet standards. Their performance was the opposite of Hahn’s; notwithstanding their technical proficiency, these players were there to take a stand on musical masterpieces. They opened with Beethoven’s F-Major Quartet (op. 18, No. 1), displaying excellent ensemble skills that fell perfectly into place during the repeat of the first movement’s exposition, applying slight elasticity to phrasing to underscore musical points. They brought a broad emotional scope to the Adagio movement, responding to the composer’s marking of “affectionately and passionately”; the sforzando outbursts by second violin and viola in unison achieved fierceness without overstepping the bounds of musicality.

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????. ? - ?, 2012

The group continued with Debussy’s String Quartet, a work so overexposed that it can easily putter past without making much of an impression. No chance of that here. Rather than focus on lovely blend in homophonic chords, which is what we usually hear, the Atrium Quartet made the opening movement commanding, sultry, and dangerous: think of Bette Davis in The Letter. The group’s tone was carefully blended, though the performing space (in which no seat was empty) did not provide much resonance, and many listeners will have experienced an unaccustomed immediacy of close-up string sound.

This worked to the ensemble’s further advantage in Shostakovich’s String Quartet No. 3. Shostakovich is a specialty of the group, which has recorded several of his chamber works and is programming all 15 of his quartets from now through 2015. The Third, from 1946, is the first really breathtaking entry in his register of quartets. Although the movements as published look innocent enough in their dispassionate movement headings — just tempo markings, actually — Shostakovich was said to have attached descriptive headings to each of them: “Calm unawareness of the future cataclysm” for the first, “Rumblings of unrest and anticipation” for the second, “The forces of war are unleashed” for the third, “Homage to the Dead” for the Adagio, and for the finale, “The eternal question — Why, and for what?” He was probably wise to omit them from the published score, since Soviet officials made a habit of lighting into him at the slightest provocation. Indeed, the authority of this much-repeated lore has been questioned by scholars. But the fact remains that this quartet does sound as if it involves an aspect of programmatic narrative, and the Atrium four proved to be captivating storytellers. They were specific in conveying moods: naiveté in the first movement, edginess in the second, terror in the third. The foursome subtly adjusted its sound to achieve specific effects. One appreciated how the cello, after assuming a slightly reticent stance in the Beethoven, took on a velvety timbre in the slow movement of the Debussy and still greater richness in the somber fourth movement of the Shostakovich. After the last bars of the finale sounded, the audience sat long in stunned silence before acknowledging the performers with a standing ovation that was, for a change, deserved.

A

ficionados of chamber music will have another opportunity to hear string quartet masterpieces Friday evening, March 1, at 7:30 p.m., when the Brentano String Quartet lays claim to the St. Francis Auditorium at the New Mexico Museum of Art, courtesy of Santa Fe Pro Musica. (The museum is at 107 W. Palace Ave.; tickets are $20-$65; call 988-4640.) Three repertoire classics are again on the docket: Haydn’s “Joke” Quartet, Bartók’s Fourth Quartet, and Brahms’ imposing Quartet No. 2. Founded in 1992, the Brentano String Quartet has long since earned a place among America’s most admired chamber groups, but it has been catapulted to sudden celebrity thanks to the feature film A Late Quartet, which was released this past November.

Popular movies about classical-music groups have a way of hitting the wrong notes with people who spend a lot of time with classical music. A Late Quartet isn’t a great movie, to be sure, though it’s certainly a darn sight better than the abomination The Basileus Quartet, which was unleashed on the world in 1983.

A Late Quartet is a soap opera set in the claustrophobic world of a string quartet, in this case a group named (ever so improbably) the Fugue Quartet, in which the second violinist and the violist are unhappily married to each other, the senior-statesman cellist faces a health crisis, the first violinist can’t keep his pants on, and everyone spouts platitudes. At least it boasts impressive acting from Christopher Walken (as the cellist), Philip Seymour Hoffman (second violinist), and Catherine Keener (violist). It also benefits from a musical score that focuses on Beethoven’s Quartet in C-sharp Minor (op. 131), played on the soundtrack by the Brentano foursome. What’s more, one of the quartet’s members, cellist Nina Lee, gets an acting role in the film — greatly appreciated, since it’s nice that somebody in a movie about a string quartet looks like she has a clue how to play the instrument she is holding. If you would like to zero in on the Brentano Quartet’s performance of op. 131, you can find it complete (not just the bits and pieces used in the movie) on a newly released soundtrack album from Decca, paired with more forgettable morsels from the film score. Or you can acquire it as released on the Aeon label, where the Brentanos pair it with Beethoven’s supernal Quartet in A Minor (op. 127). I recommend going the Aeon route. ◀ PASATIEMPO

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Christian Steiner; opposite Peter Miller

Brentano String Quartet

Bill Kohlhaase I For The New Mexican

From left, Ben Goldberg, Mark Orton, Carla Kihlstedt, and Rob Reich; photo Kimberly Warner

TIN

HAT

PUTS

E. E . C U M M I N G S

he eclectic acoustic ensemble Tin Hat has done something on its latest recording that seems almost impossible. It’s put the poetry of E.E. Cummings to song. The unpredictable structure and line breaks of Cummings’ poetry, the lack of punctuation, and the unexpected juxtaposition of words seem a difficult fit for music, especially music from a harmonically astute, melodically attuned group whose sound, with occasional additions and variations, comes from guitar, violin, accordion, and clarinet. You’d think the poems required drums to get the unpredictable rhythms across or synthesizers to mimic the various shades and textures of Cummings’ language. But listen to Carla Kihlstedt sing Cummings’ poem “so shy shy shy,” and the words and melody flow together as though Cummings wrote the music himself. And in a way, at least for that one tune, he did.

Tin Hat violinist-vocalist Kihlstedt explained in a phone call from Maine, “I was getting ready for the project, listening to recordings of Cummings reading his work, and [on ‘so shy shy shy’] in particular, his delivery was so musical you could assign pictures to it. So I transcribed it, note for note, exactly how he recited it.”

Kihlstedt then sang the melody and overdubbed it on the Cummings’ recording (you can hear it on YouTube), singing an octave above the poet, following his every rhythmic cue. “I sent it to Rob [Reich, the group’s accordionist], and he wrote this three-part clarinet piece that Ben [Goldberg, the clarinetist] played, dubbing all three parts.” The result, without Cummings’ voice, is heard on Tin Hat’s latest collection, The Rain Is a Handsome Animal: 17 Songs From the Poetry of E.E. Cummings.

A program of tunes inspired by 20th-century experimental poetry doesn’t seem so strange coming from a group — formed as the Tin Hat Trio in 1997 — that has recorded a collection of music inspired by the Polish surrealist writer Bruno Schulz and has seen guest appearances on other recordings from Tom Waits and Willie Nelson. Tin Hat’s music touches on bluegrass and American folk traditions as well as Eastern European and klezmer sounds. Waltz and tango rhythms frequently 26

March 1-7, 2013

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MUSIC

surface in the compositions; improvisation plays a part; and just when one piece seems straight from European classicism, the next features jazz figures or avantgarde leanings. This is one band that truly has a sound of its own.

“We’ve never been a traditional ensemble,” said founding member and guitarist Mark Orton, calling from a Seattle studio where he was recording string passages for an upcoming film he has scored. “We’re not a string quartet, not a jazz trio.

We don’t have a rhythm section. That’s the thing that stands us apart: no rhythm section. We don’t play with that strict hybrid beat that people can identify. That’s why we’re often given the label ‘chamber jazz.’ We never think about covering a tango or a samba or anything like that. It all just happens organically.”

Orton, Kihlstedt, and original member Rob Burger knew each other and played music together as teenagers. In the mid-’90s they assembled a caravan and moved from the East Coast to California, settling for a while on Orton’s grandmother’s ranch. “We only had acoustic instruments, so we played together in motel rooms along the way and outdoors the weeks we were at my grandmother’s ranch,” recalled Orton. Their 2002 recording The Rodeo Eroded, with guest vocalist Nelson and percussionists Jon Fishman of Phish and Billy Martin of Medeski Martin & Wood, was inspired by the slow decay of the ranch and by Orton’s grandmother’s advancing dementia.

In 1999 the group, then a trio, recorded its first album, Memory Is an Elephant, for the Angel classical label. Its second Angel release, the 2000 recording Helium, with gravelly voiced Waits making an appearance on one cut, brought the group a cult following. Guests made frequent contributions to the trio’s sound. By the time The Sad Machinery of Spring, with harpist Zeena Parkins and multiinstrumentalist Ara Anderson (playing everything from trumpet to toy piano), was released by Hannibal/Rykodisc in 2007, the group had dropped trio from its name. Burger left the group in 2004 and was eventually replaced by accordionist Reich. Clarinetist Goldberg joined in time for The Sad Machinery of Spring and gave the album a distinctly art-music feel.

details ▼ Tin Hat

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The Girl Scout Cookie Caper

March 7, 6:00-8:00pm

Inn & Spa at Loretto, Santa Fe

The Cookie Caper is an adult event for parents and supporters of the Girl Scouts. This delicious night helps raise money to support Girl Scouts across New Mexico. Local chefs will create tasty desserts made with Girl Scout cookies and compete for the coveted People’s Choice Award.

Tickets are on sale for $50.

For more information or for tickets: www.NMGirlScouts.org 505.343.1040 CKalbfell@GS-NMTrails.org

Heather Roan Robbins Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.”

Readings by phone and Skype.

30-plus years experience in NM, MN, NYC. Your chart is a map, a brilliant navigational tool.

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

© Jennifer Esperanza

Kihlstedt’s voice made infrequent appearances on Tin Hat’s earlier recordings. Her velvety treatment of Harry Dacre’s 1892 composition “Daisy Bell” (better known as “A Bicycle Built for Two”), done in a wobbly, minor-key arrangement, implies both an obsessive love and an impending tumble. The Cummings collection brings her voice center stage. “Carla can sing anything you throw at her,” Orton said. “She has an ability and a sense of pitch that comes out of contemporary classical music — not operatic by any means, but a wonderful modern style of expression. She has this beautiful natural voice quality. When we were picking the material [for the Cummings recording], we could hear she had the same sense of breath as Cummings, whose work could be quite plain-spoken or quite avant-garde.”

“I’ve been working with Mark since I was 14,” said Kihlstedt, “and he knows my voice, knows where I’m comfortable. He and Ben would send sketches of what they were writing for Cummings’ poems and ask, ‘Does this fit your range?’ And they would tweak the arrangements as I needed or do what I suggested. It was a very collaborative process.”

Orton cites “diminutive,” a poem that’s diced like an onion (“dim/i/nu/ tiv/e this park is e/mpty (everyb/ody’s elsewhere/e”), as an example of the challenge they faced finding a rhythmic context for the music. “Each composer (all four members contribute a handful of compositions) had to spend a decent amount of time figuring it out. Yes, we had recordings of [Cummings] reading. But the [lyric] was open to interpretation; the words aren’t in any natural meter. They could be taken together in a number of ways.” Despite the disjointed line breaks, Orton’s take on “diminutive,” framed in moody strings, flows across the instrumental accompaniment like the fallen rain it describes.

Why take on such a difficult project in the first place? “There are very few people today who actually read poetry in the course of their daily lives,” Kihlstedt said. “And those few people are in the band. We sometimes joke about the Tin Hat Book Club.” “Maybe it’s a little bold to compare us [to Cummings],” Orton said, “but I think what he did was something like what we do. He had this broad appeal, yet his poetry can be abstract and still have this beat appeal, even as it leans to this folksy quality. His writing is purely profound, but it’s playful, especially as it’s seen on the page.”

“It’s funny the way his poetry fits into the American psyche,” Kihlstedt added. “Everyone had to read it in middle school and high school, so in a sense it references our childhoods. Even though it’s very sophisticated, it has that innocence. He’s always had a spot in my heart.”

Both Orton and Kihlstedt find that working outside Tin Hat helps keep their music fresh. Orton spent the years before Tin Hat as a sound engineer at New York’s progressive music venue The Knitting Factory and went on to scoring films, including the Jennifer Aniston-Jake Gyllenhaal vehicle The Good Girl and the 2012 documentary The Revisionaries about a creationist’s run for the Texas Board of Education. He performs with Imaginary Icebergs, an improvisational string and woodwinds ensemble, for which he plays guitar and field organ. He also plays lap steel guitar in The Steel Trio.

Kihlstedt participates in a host of projects, including the avant-garde metal band Sleepytime Gorilla Museum and her performance piece Necessary Monsters, inspired by author Jorge Luis Borges’ Book of Imaginary Beings. She and her husband, percussionist Matthias Bossi, have recently released the album Still You Lay Dreaming: Tales for the Stage II. “I really don’t relate to the idea of having a single aesthetic,” she said. “On the other hand, you can’t escape who you are. You always bring a kind of stamp to what you do, no matter what kind of project you’re doing.

I used to try to run away from my identity as far as I could get every once in a while. Now I’m not trying to run away.” ◀

www.roanrobbins.com

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PASATIEMPO

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Bill Kohlhaase I For The New Mexican

e d i s n i Thme an

Wynton Marsalis and Jazz at Lincoln Center Orchestra; below, Ted Nash

Jazz at Lincoln Center saxophonist Ted Nash shakes up the band.

W

hen saxophonist Ted Nash joined the Jazz at Lincoln Center Orchestra — then known as the Lincoln Center Jazz Orchestra — he had already worked with several famous big band leaders, many from generations that preceded his own. At age 15, in 1976, he spent a couple of weeks with the orchestra of swing-era vibraphonist Lionel Hampton, who worked with Louis Armstrong and Benny Goodman before forming his own group in 1940. In his early 20s, Nash spent a brief period with Goodman himself, a man who was not known as the most benevolent bandleader. On his blog, Nash documents Goodman’s directing technique, an evil stare that Nash calls “the ray — the beam of hatred and dissatisfaction that would come from his eyes when he wasn’t thrilled with how you were playing.” More positive experiences came with the big bands of trumpeter Don Ellis (when Nash was 17), drummer Mel Lewis, and baritone saxophonist Gerry Mulligan — and now, since 1998, with Wynton Marsalis’ JLCO. In a phone call from his home in New York, ahead of the orchestra’s Wednesday, March 6, appearance at the Lensic Performing Arts Center, as part of its 25th anniversary tour, Nash said that before he was tapped for the orchestra, playing with Marsalis was just a fantasy. “It’s funny, the parallels in our lives. Wynton and I are about the same age. We have kids that are the same ages. Our fathers were both musicians. But there’s a big difference. In the early ’80s he became extremely successful. I was still a sideman with the Mel Lewis Orchestra, playing every Monday night at The Village Vanguard.

I’d met him a couple of times, but I was actually afraid of him. I respected him so much.”

Nash, whose tradition-anchored yet thoroughly modern sound was much in demand, had been pegged by Marsalis crony and pianist Marcus Roberts in 1995 to record Roberts’ Portraits in Blue, a date that included a remake of George Gershwin’s “Rhapsody in Blue.” The writer and jazz critic Stanley Crouch “was a friend who used to come by the Vanguard to hear us play, and he brought Wynton to the session. He’d never heard me play before. Wynton asked me to do some gigs with his [quintet], and that really excited me. And when a position opened up in the orchestra, he invited me in.”

Working with so many big band leaders over the course of his career has given Nash perspective on Marsalis’ role as an orchestra leader. “Wynton is always inspiring when he performs. He’s always playing at his very best, he’s very committed, and he’s always looking to motivate those around him. He’s like Mulligan and [Louie] Bellson were, in that he really reveres the people that came before him. There was a time early in his career that he wasn’t into big bands and didn’t think about the great band leaders. But at some point he

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March 1-7, 2013

All photos Frank Stewart

realized the depth of the form, all the history and all the possibility it holds.

Wynton’s given up a lot to lead the JLCO. He could be out there with his small group and probably make five times the money he makes now. But he’s there championing the orchestra.”

Nate Chinen of The New York Times and other journalists have noted that Nash’s participation in the orchestra has had a considerable influence on its direction, especially since the 2007 premier of Nash’s Portraits in Seven Shades, a work commissioned by Jazz at Lincoln Center and inspired by art pieces found in New York’s Museum of Modern Art. The suite was the first Lincoln Center commission from someone other than Marsalis to be recorded by the orchestra. That recording earned Nash a Grammy nomination for Best Jazz Instrumental Arrangement.

Marsalis once described Nash’s role in the ensemble as “the wild-card chair.” “I think he didn’t know what to expect from me at first,” Nash explained. “When he started to get know my sound, and that I could also play the clarinet and the flute and piccolo, he started to orchestrate a little differently. Also, I think he said that because I kind of push the envelope and play in a freer direction than what the orchestra was used to with its repertoire.”

Nash is a bit modest when it comes to his influence on the group. “We have so many great composers and arrangers in the band,” he said. “Our direction has changed a lot in the last five years. It’s a lot more personal. Most of the concerts now feature work from guys in the band rather than being all repertory pieces. We play a lot of new music, but it’s balanced with pieces that go all the way back to the ’20s. Our shows cover the history, but they also present the future.”

Nash’s career is representative of the generational changes jazz has seen in the last half century. The son of Hollywood studio trombonist Dick Nash and the namesake nephew of longtime Les Brown Orchestra saxophonist Ted Nash, he took up the piano at age 7, the clarinet at 12, and the alto saxophone at 13.

“I went to a lot of sessions with my dad and uncle when they got off the road and were no longer doing steady jazz gigs. I remember sitting behind my uncle at a Quincy Jones session, and he played this just beautiful solo. And I thought: That’s what I want to do.”

Jazz performance snatched his attention sometime in his teens, and at the age of 18 he left Los Angeles for New York and a long stint with Mel Lewis.

His early recordings showed a taste for unusual orchestration. Sidewalk Meeting, from 2000, combines Nash’s tenor sax and clarinet with accordion, violin, and rollicking tuba from Marsalis associate Wycliffe Gordon. His 2003 release Still Evolved is a strong contemporary blowing session with two

trumpeters, Marcus Printup (another longtime JLCO member) and one who rarely makes sideman appearances, band leader Marsalis. Marsalis also appears on Nash’s 1999 double quartet recording Rhyme & Reason, a chamber-jazz outing that includes vibraphone and string quartet. Nash’s latest is The Creep, a quartet date that allows him to show some of that outside-the-envelope play.

Nash has also played a major role in the Jazz Composers Collective, a group that celebrated its 20th anniversary last year. The nonprofit collective formed to highlight the work of its various members and to serve as a repertory band for less well-known but deserving jazz composers.

The organization’s Herbie Nichols Project recordings, especially Strange City, brought attention to an often overlooked genius of jazz.

Nash said that today’s musicians, with collectives, musical institutions, and fan-financed recording organizations, have more choices than musicians did in his father and uncle’s generation. “All this stuff exists today. There’s so many ways to pursue the music. If you’re capable of doing some bigger works, go in that direction. Now I’m making choices that are broader and have more impact on people as well as on my growth as a musician. Wynton and I talked about this recently. He’s achieved so much already. But me — I’ve got a lot to do in the next ten years.”

To that end, Nash has taken another commission from Jazz at Lincoln Center, “The Presidential Suite,” based on the words of U.S. presidents and scheduled to premiere next January. He’s also working on a television program in which he travels around the country giving exposure to musicians who are still under the radar. And he’s working on music for what he hopes will become a Broadway show based on the life of swingera trumpeter Valaida Snow, a woman known as Little Louis (Armstrong) in her day. “I could sit in the saxophone chair of the Jazz Orchestra,” he declared, “and just be satisfied with that. Or I can use that position, be a part of its development, and continue to make the most impact on the music and the people around me that I can.” ◀

details ▼ Wynton Marsalis and the Jazz at Lincoln Center Orchestra ▼ 7:30 p.m. Wednesday, March 6 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $25-$95; 988-1234, www.ticketssantafe.org

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Paul Weideman I The New Mexican

LENS IS MORE

THE iPHONE ARTWORK OF KAREN DIVINE

he remarkable images produced by Karen Divine simply do not remind you of photography. Featuring odd assemblages of fantastic creatures, shapes, and colors, they look more like surrealist paintings. It is easy to picture the artist creatively constructing these oodles of oddness on nice, big canvases. But Divine does it all on the 2-by-3.5-inch display of an iPhone.

The Boulder, Colorado, resident, who has worked in photography for four decades, said her conversion to “iPhonography” was a gradual progression.

“I started using Photoshop in 2001. Then I figured out the iPhone and started adding those [photos] to the Photoshop images, and when I realized I could just composite on the phone, I completely switched.” Divine offers a free Santa Fe Photographic Workshops slide presentation on Wednesday, March 6, and teaches a fee course in Creative iPhone Photography March 6 to 9 and June 19 to 22.

She grew up in Texas and worked as a model in New York. It wasn’t long before she decided she would much rather be behind the camera instead of in front of it, although there were not many woman photographers at that time, in the early ’70s. She studied art at Atlanta College of Art in Georgia, Penland School of Crafts in North Carolina, and Anderson Ranch Arts Center in Colorado.

A self-taught photographer, she has broadened her knowledge and techniques, including with classes in alternative processes at Santa Fe Photographic Workshops.

In a talk with Pasatiempo in February, she said that she no longer uses film technology and that it had been a while since she even picked up her Canon digital camera. Divine still sometimes makes digital negatives to make prints using alternative processes. She doesn’t enjoy dealing with the chemicals, but she appreciates that experimenting with those processes “can help you think a little differently.”

She dove into iPhonography a couple of years ago in England; those images are in her Strange Things Are Happening in Barbara Hepworth’s Bed portfolio. “That series was the first. I was in Cornwall, and I did not bring my big camera, and I decided to just shoot with the phone. I took this one shot of [sculptor] Barbara Hepworth’s outdoor daybed, and I don’t know, I think she possessed me, because I suddenly started creating all these things that had occurred in that room.

Really they were just metaphors for things that were going on with me, but the series went on and on and on. I couldn’t stop myself.” continued on Page 33 Top, Karen Divine: A Pig’s Dream (from iPhone Photography 2 series); right, Composite and Alternative Sketch 15; images courtesy the artist 30

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t just for me r a p e ke o t h e r e. t t u d o e t ti id u c p e d ot n d an t people’s opinions, n wa to be influence t n a w d. t ’ n id — Karen Divine d I d

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In addition to their fee sessions, many Santa Fe Photographic Workshops instructors also give free presentations.

These are held at 8 p.m. on Wednesdays in the Sunmount Room at Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Road. Call 983-1400 for more information.

MARCH 6: Douglas Merriam, Eddie Soloway, Karen Divine, and Jennifer Spelman MARCH 13: David X. Tejada, Jennifer Spelman, and R. Mac Holbert MARCH 20: Peter Yang, Aline Smithson, and Bobbi Lane MARCH 27: Jay Maisel, Norman Mauskopf, Brenda Tharp, and Rick Allred APRIL 3: David Robin, Michael Clark, Cig Harvey, Carlan Tapp, and Bill Ellzey

Karen Divine, continued from Page 30 Many of the Strange Things images include curiously flattened humanoids.

They look like space people or deformed (but not necessarily unhappy) Earthlings, sometimes with quite tall striped hats and with small cows as companions. “I’ve created those characters using photographs that I took.

I make them up. I also like to just shoot crazy random things that people wouldn’t think of using in photography, but I look at it as a palette, as a texture or shape I can add to an image.” Her images boast an interestingly pasty or waxy-looking palette that she said is “totally mood-related” and that can incorporate smudgy, blurry, or scratchy effects.

It’s remarkable that any artist or photographer would want to make such rich images on such a small screen. “I know, but it isn’t that small after a while,” she said. “A lot of people use the iPad because of that, but I thought it was so clunky. I felt like I was cheating. You know: you’re either going to do it on the phone or you might as well get on the computer.

“And it’s the convenience of having it with you no matter where you are.

And of course you can sit down and start compositing and creating when you have a few minutes, anywhere, which is so incredible. Plus the iPhone has some apps and textures and things that I suppose you could probably get in Photoshop, but they’re so sweet as they are.”

Divine uses the iPhone applications Camera Plus, Hipstamatic, Image Blender, PhotoCopier, ScratchCam, and Snapseed. She recently bought an iPad just to use the Procreate painting app. “The apps I’m going to teach in Santa Fe and the ones that I use you can pretty much do anything with.

Some of the new apps are a little cheeky: they do these circles or figures or shapes that are recognizable, and you can say that came from that app, and I don’t like that. I like to create something so it looks more like a painting.”

One limitation of the iPhone is that you can’t do much involving layers.

“If you have two items and you add a third one, it flattens the first two, and you can’t go back. Procreate has ‘undo,’ and you can have 11 layers and smudge tones around, but I’ve gotten so used to working in the iPhone scale.

It’s very comfortable. You can use an eraser, and you can put things on top, and you can change opacities. It’s almost like working with watercolors.”

Occasionally she takes a single image to remind herself that she can still do that. “I’ve been doing this for 40 years, and I don’t want to lose that skill.

Because you can get really lazy with digital, and certainly lazy with the iPhone.

“One thing about the iPhone is, I wish it was a little faster. My thought process is still faster than the phone is, and that’s frustrating. But the image size is fine. I made one print 30 by 30 inches, and it was beautiful. That was a Hipstamatic shot, one of my nudes, and it was a little grainy anyway, but when I enlarged it it was stunning.”

In her Santa Fe workshops, Divine teaches the apps that she uses, but her real focus is on helping the student figure out what he or she wants to say. “You can’t really express things that you can’t formulate in your mind, what moves you, what emotional things trigger you, what makes you want to look at a piece of art? It’s important to narrow down and refine those qualities about yourself. I think there has to be something uniquely said in the image. When I go look at work, I want something to make me think, that will make me ask, What the heck is that? What is that doing for me?

So I think about creating work that says something about me.

“Early on I decided to keep art just for me and not put it out there. I didn’t want people’s opinions, and I didn’t want to be influenced. I wanted it to be a refuge for myself: sort of art therapy is what it was. Now 40 years later my work’s out there, and it’s great. I can enjoy it now without worrying about anything.” ◀

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PASATIEMPO

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ART IN

REVIEW June Wayne: The Tapestries — Forces of Nature and Beyond, David Richard Gallery, 544 S. Guadalupe St., 983-9555; through March 23 June Wayne (1918-2011) co-founded the Tamarind Lithography Workshop in Los Angeles in 1960 with Clinton Adams in an effort to revitalize the art form in the United States, where interest in lithography was flagging. Ten years later, Tamarind became part of the College of Fine Arts at the University of New Mexico under the name Tamarind Institute.

After the move, Wayne began working on a series of large tapestries based on her original lithographs. They were made in collaboration with three separate weaving studios in France and first exhibited in the Galerie la Demeure in Paris in 1974. She continued to create tapestries until late in the decade.

According to David Eichholtz, curator of The Tapestries, Wayne was known for her exacting demands, matching the textiles’ colors to the original lithographs as closely as possible and throwing out works that were not up to her standards. Photographs of Wayne and the French weavers are included in the exhibit, and one image shows Wayne working on a textile that no longer exists. Eichholtz said that, of the original body of work, only 18 tapestries remain. David Richard Contemporary managed to procure all but two of them for this show. That’s five more than were on view at the Art Institute of Chicago’s 2010-2011 exhibition June Wayne’s Narrative Tapestries: Tidal Waves, DNA, and the Cosmos.

The tapestries are essentially abstract works that blend rich color and overlapping patterns with figurative imagery, and each is unique. Today’s Jacquard looms are computer programmable and can develop textiles from digital files, allowing for faithful reproductions and editions, as with prints, but Wayne fabricated her textiles using older loom techniques. Nubby, built-up sections stand out from flatter material with a pronounced textural component.

The imagery in the exhibit falls along the same three themes as in the Chicago show.

Verdict, for instance, contains abstract renditions of genetic material. A chromosomelike X motif runs through the lower portion of the piece. Wayne was fascinated by the idea that our genetic makeup predetermines aspects of who we are. Fingerprintlike imagery, apparently made from rubbings of a patterned floor, appears in several of the tapestries. One, called Visa, has an image of Wayne’s thumbprint, floating like a celestial body above a horizon. Below that line is a suggestion of water.

Wayne’s bold imagery references landscapes, too. The horizon line is suggested in several pieces through Wayne’s use of banded colors. It is more explicit in the tidal-wave imagery, some of which is reminiscent of the stylized ocean waves in prints by 18thto 19th-century Japanese artist Katsushika Hokusai. The Japanese woodblock-print influence is evident in Grande Vague Bleue, for example, and in Grande Vague Noir. More cosmic visuals are suggested in the galaxylike imagery of At Last a Thousand and La Cible.

Wayne’s black-and-white textile La Journée des Lemmings appears, at first glance, wholly abstract, but a grouping of human figures (apparently the lemmings) lends it another interpretation, and it resolves itself into a landscape.

The Tapestries is shown in conjunction with Judy Chicago’s Woven and Stitched, also a series of textiles. Though advertised as solo exhibitions, the two are arranged to complement one another. The gallery mixes it up rather than presenting the exhibitions in separate spaces. Both artists employed different techniques in their textile work, but the imagery, across the board, is graphically strong, and both bodies of work relate to each other, especially with regard to the linear patterning. The photo documentation of the artists’ processes while creating the textiles reveals the collaborative nature of what, particularly for Wayne, was a departure from her earlier work. That Wayne’s imagery transitioned successfully from lithography to tapestry is evident, but still one wonders what gems may have been lost because of the artist’s dissatisfaction with the result. Forces of Nature is a rare opportunity to see these tapestries. It’s unlikely that so many of the surviving works will be exhibited together again any time soon.

— Michael Abatemarco Left, top to bottom, June Wayne (1918-2011): Cinquième Vague, 1972, 86 x 78 inches; Grande Vague Bleue, 1973, 86.5 x 63 inches; opposite page, top to bottom, Lame de Choc, 1973, 118 x 79 inches, La Journée des Lemmings, 1978-1979, 98 x 130 inches

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March 1-7, 2013

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Jennifer Levin I For The New Mexican

Piece makerS The Amish quilting tradition

r

eality TV programming about Amish mafias notwithstanding, many people’s impressions of the Amish come from Hollywood, with images of bearded men in hats driving horse-drawn buggies and women in plain-colored clothing tending to large households, speaking a German dialect called Pennsylvania Dutch. These images are only partially accurate.

Amish communities are not all alike, though the differences may be subtle to outsiders.

The first Amish in America came from Switzerland around 1730 and settled near Lancaster, Pennsylvania. Over time, Amish communities grew in Ohio, Indiana, Illinois, and elsewhere. The modern-day Amish choose to remain humble before God. They don’t use electricity. They don’t wear patterned fabric, because patterns are considered too fancy. But this simplicity doesn’t always extend to the quilts made by Amish women, some of which feature bold colors, intricate stitching, and patterned fabric.

The Museum of International Folk Art displays a range of Amish quilts in Plain Geometry: Amish Quilts, opening Sunday, March 3. The exhibit, curated by Bobbie Sumberg, the museum’s curator of textiles and costumes, highlights the diversity among modern Amish communities as reflected in their quilts.

Sumberg explained that the Amish came to quilting late as compared to other Europeans: they didn’t take up the practice until after their arrival in America. Though Amish quilters became quite skilled, they were conservative in their aesthetic choices. They adopted certain styles and patterns decades after they’d become popular in other quilting traditions, often in an effort to remain humble.

There are many steps to making a quilt: the initial cutting and arranging of fabric for the top of the quilt; sewing the cut pieces together into a pattern; sewing the back of the quilt to the front; stuffing feathers or ticking between the layers; and then, finally, the actual quilting, which involves stitching through the front, the back, and the ticking to make specific patterns with thread. “People often think of a quilt as an object rather than quilting as an activity on a particular part of the [blanket],” Sumberg said.

Quilting can be done simply, by tying off sections with yarn, usually in a grid pattern, or it can be complex. The first Amish quilts were whole-cloth quilts: two large sheets of fabric filled with ticking and sewn together and then intricately quilted with patterns of feathered scrolls and wreaths done in row upon row of tiny, perfect stitches. Wholecloth quilts are rare, and none are included in the exhibit. In the 20th century, Amish quilters moved on to pieced quilts — what the layperson might call patchwork quilts — with pieces of fabric arranged in patterns on the background fabric.

The 34 quilts in the exhibit include many recognizable quilting patterns, including the diamond in square, bar, log cabin, block star, bow tie, and double Irish chain. The exhibit also includes crib quilts and doll quilts, displayed under a clear covering that allows visitors to get very close to the material. Most of the full-sized quilts on display are known as “best quilts,” which are made as wedding gifts or put on beds when guests come over. Visitors to the exhibit will note regional differences between quilts. For instance, quilts from Ohio often feature a black continued on Page 38

Bowties, c. 1930, Ohio, cotton, 82.5 x 68 inches; courtesy Museum of International Folk Art 36

March 1-7, 2013

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Amish quilts, continued from Page 36

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background, which makes the deep, saturated colors of the pieced fabric look brighter. Black is never seen on quilts by Old Order Amish from Pennsylvania.

The exhibit is not arranged chronologically or geographically but unfolds according to the shapes in the quilts. One of the most classic patterns is diamond in square, so the exhibit hall is set up in a diamond shape, with diamond-shaped views into other parts of the room.

An interactive feature allows visitors to create their own quilt on a provided iPad; the image is then projected onto a wall. While some might argue that this technology seems antithetical to Amish culture, there is a counterargument to be made. The Amish disavow electricity not to be aggressively old-fashioned but because they prefer not to be wired into society via the electrical grid. They do, however, depend on outsiders — whom they call the English — to buy their quilts. The English connect to much of the world via technology, so virtual iPad quilting might ultimately generate interest in owning a real quilt, which in turn might generate real revenue for Amish quilters.

Although in the Amish tradition women are not allowed to make decisions regarding the community or the church and must defer to their husbands on all matters, their work is considered equally valuable to men’s. The Amish tradition has little use for “art for art’s sake,” but Amish women might certainly use quilting as a creative outlet. In addition, quilting has become increasingly important to the Amish as a source of income. Most Amish make a living by farming — without the assistance of modern technology. But as land prices have risen, it’s gotten harder and harder for Amish farmers to make a profit. “Quilting is very much an industry now in the Amish communities. It’s really become an income stream,” Sumberg said.

The lack of electricity doesn’t slow the production of quilts: the Amish adopted treadle sewing machines quite readily when they were invented and continue to use them. Generally, Amish quilters use machines to do the piecing and the binding of the back of the quilt to the front, but the quilting has always been done by hand.

Quilts dating to the early 20th century as well as some just a few decades old are included in the exhibit. Sumberg notes a difference in quality between the older quilts, which were made for Amish use, and the newer quilts, which were made with a buyer in mind. “It’s in the quality and patterns of the quilting,” she said. “There aren’t as many stitches per inch [in new quilts]. It’s not as perfect.” (She also pointed out that a lessening of quality isn’t specific to the Amish but to the quilting tradition in general.)

Collecting Amish quilts became popular in the late 1960s and early ’70s. Some attribute this interest to an arts and crafts revival coming out of the hippie-identified back-to-the-land movement. Others attribute it to the nationalistic fervor around the U.S. bicentennial, which inspired people to seek out their pioneer roots — in a cultural group that conveniently looks something like the Pilgrims we learned about in elementary school but is actually quite different.

Some Amish quilters have branched out into a new business model.

You can send them your pieced quilt top, and they will quilt it for you.

“It’s not very expensive to get that done,” Sumberg said. “And now, this is just my own conjecture, not something I’ve read, but because the community deliberately sets itself apart by what they wear, how they get around in buggies, the religion they practice, and the quilts are so recognizable, that it’s almost like a brand — and the brand conveys quality merchandise with an interesting story.” ◀

details ▼ Plain Geometry: Amish Quilts ▼ Opens Sunday, March 3; 1 p.m. lecture by Goshen College history professor Steven Nolt: “The Amish in America: Old Orders in the Modern World”; 2 p.m. reception; exhibit through Sept. 2, 2013 ▼ Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 476-1200 ▼ By museum admission (no charge on Sundays for N.M. residents)

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March 1-7, 2013

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PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert B. Ker

THE LAST EXORCISM PART II This film, which boasts the most perplexing title since Final Destination 5, centers on Nell Sweetzer (Ashley Bell), whose demon wasn’t exorcised the last time around.

That’s health care in America for you. This time, she tries to get it done right. Rated PG-13. 89 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE LOST MEDALLION: THE ADVENTURES OF BILLY STONE This Christian movie tries to get the most out of its meager budget by staging an Indiana Jones-like adventure — if Indiana Jones were a kid, the bad guys all godless Asian people, and the special effects done for a few grand on a laptop. Rated PG. 103 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE MET LIVE IN HD: PARSIFAL Jonas Kaufmann, Katarina Dalayman, Peter Mattei, and Evgeny Nikitin star in director François Girard’s rendition of Wagner’s opera. Broadcast live from the Met. 10 a.m. Saturday, March 2. Lensic Performing Arts Center, Santa Fe. (Not reviewed) About a beanstalk: Nicholas Hoult in Jack the Giant Slayer, at Regal Stadium 14 in Santa Fe

opening this week HALF THE SKY: TURNING OPPRESSION INTO OPPORTUNITY FOR WOMEN WORLDWIDE This documentary centers on Santa Fe International Folk Art Market artist Rebecca Lolosoli at her home in Kenya. Screens for no charge as part of an International Women’s Day celebration. Followed by a panel discussion moderated by Ali MacGraw. 7 p.m.

Thursday, March 7, only. Not rated. 40 minutes. Lensic Performing Arts Center, Santa Fe. (Not reviewed) HAPPY PEOPLE: A YEAR IN THE TAIGA Werner Herzog’s documentary deals with both beauty and hardship as it follows a community of Russian fur trappers based in the Siberian wilderness village of Bakhtia. The footage is taken from a four-hour made-for-television Russian documentary. The focus is on the male trappers, whose most important relationship, apart from that with the land, is with their dogs. The conditions these isolated people face can be fierce. But acts of simple industry — the basic ritual chores required to survive — grant contentment. These people are, Herzog tells us, content to be on their own, self-reliant, and “truly free.” Not rated. 94 minutes. In Russian with subtitles. The Screen, Santa Fe. (Bill Kohlhaase) 40

March 1-7, 2013

HARVEST OF EMPIRE Based on journalist Juan Gonzáles’ book of the same name, Harvest of Empire examines how U.S. interventions in Latin America contribute to immigration to this country. The film features interviews with ordinary people (including a Salvadoran torture survivor) and public figures, such as the Rev. Jesse Jackson and Dominican American author Junot Díaz.

The film touches on Puerto Rico, Mexico, Guatemala, Nicaragua, and Cuba, among other nations. While the information in the film is essential, Harvest of Empire’s presentation is cursory and disorienting.

The film does not adequately elucidate the story of each country’s complex relationship with the U.S. Gonzáles appears in person at the 7:15 p.m. Saturday, March 2, screening. Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira) JACK THE GIANT SLAYER With Hansel & Gretel: Witch Hunters still fresh in audiences’ minds, here comes another fairy tale that’s been amped up and made more awesome for moviegoers weaned on Harry Potter and ads for Mountain Dew. Nicholas Hoult stars as Jack, while Stanley Tucci, Ian McShane, Bill Nighy, and Ewan McGregor play some of the giants and other slayers. Bryan Singer (The Usual Suspects) directs. Rated PG-13. 115 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

NEIGHBORING SOUNDS This ensemble drama follows a few residents of a neighborhood of high-rises in Recife, Brazil. Sound plays a vital role in the movie, symbolizing at every turn just how on top of each other these people are.

Washing machines, footsteps, car tires, televisions, snippets of conversation — everything overlaps and yet is kept distinct. A nefarious, mysterious security company represents tension, though the film doesn’t ultimately deliver much drama. Not rated.

131 minutes. In Portuguese with subtitles. The Screen, Santa Fe. ( Jennifer Levin) See review, Page 45.

PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with “An Evening with León and Lightfoot,” a dance performance with music by Philip Glass and choreography by Sol León and Paul Lightfoot, from Nederlands Dans Theater in The Hague. 11 a.m. Sunday, March 3, only. Not rated.

145 minutes (including intermission). The Screen, Santa Fe. (Not reviewed) PHANTOM Ed Harris and David Duchovny make no effort to feign Russian accents in this submarine thriller about a captain (Harris) of a Soviet-era nuclear sub who must engage with a rogue KGB group (led by Duchovny’s character). If the good guys lose, the world goes kaboom. Rated R. 97 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed) A PLACE AT THE TABLE With the help of impassioned food-policy experts and celebrities such as Jeff Bridges and

chef/restaurateur Tom Colicchio, filmmakers Kristi Jacobson and Lori Silverbush present an in-yourface documentary about hunger in a new-recession America. In the U.S., one in every four children doesn’t know where his or her next meal will come from. The answer, unfortunately, is that that meal is usually made up of processed ingredients that simply add to the growing childhood obesity epidemic. In this unapologetic exposé, the troubling food insecurity of the nation is revealed, as are a number of people ultimately responsible for it. Rated PG. 95 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) PRECIOUS LIFE Israeli filmmaker and TV news personality Shlomi Eldar uses an Israeli hospital’s fight to save the life of a Palestinian infant born without an immune system to shine a light on the agonizing rifts between Israelis and Palestinians and the possibilities of rapprochement.

The drama revolves around the effort to find a bone marrow donor and to perform a transplant on the baby as well as the attitudes of the parents and others involved. Precious Life starts off with the earmarks of a heartwarming feel-good story. But matters take an unexpected turn with the Palestinian mother’s painful reflection on the relative value of life in Gaza and Israel. Screens as part of the Santa Fe Jewish Film Festival on Sunday, March 3, only. Not rated. 82 minutes. In Hebrew, Arabic, and English with subtitles.

Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 44.

21 AND OVER The writing team of Jon Lucas and Scott Moore made their names in Hollywood by penning 2009’s The Hangover. This, their directorial debut, focuses on the 21st birthday of Jeff Chang ( Justin Chon) and the outrageous antics that occur over the course of his big night out. Apparently if you go drinking with Lucas and Moore, you’re in for one wild evening. Rated R. 93 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos.

(Not reviewed)

now in theaters AMOUR This exquisitely crafted film 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 turns his unsparing lens on the indignities, sufferings, and

helplessness that can attend the end of a long life.

Depressing but riveting. Winner of the Academy Award for best Foreign Language Film. Not rated.

127 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) ARGO Ben Affleck takes a true story by the throat and delivers a classic seat-squirming nail-biter that won the Oscars for Best Picture, Film Editing, and best Adapted Screenplay (thanks to writer Chris Terrio).

In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans were rescued by the CIA, who pretended to be making a sci-fi film and disguised them as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck, Alan Arkin, and John Goodman.

Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BEASTS OF THE SOUTHERN WILD Benh Zeitlin’s debut feature transports viewers to a magical world conjured up by its 6-year-old 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.

Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. ( Jon Bowman) BLESS ME, ULTIMA In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been cloyingly precious magical realism. But Bless Me, Ultima, directed by Carl Franklin, was shot in and around Santa Fe, which imbues the story of murder and witches in World War II-era Northern New Mexico with authenticity. Antonio (Luke Ganalon) is six years old when his grandmother Ultima (Miriam Colon), a curandera, comes to stay with his family. Performances are mostly strong, and the dialogue moves quickly, as does the action. Rated PG-13. 105 minutes. In English and Spanish, no subtitles. DreamCatcher, Española; Storyteller, Taos. ( Jennifer Levin) DARK SKIES When aliens phone a family (with parents played by Keri Russell and Josh Hamilton) and target them for invasion, their home starts to resemble a haunted house. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) ESCAPE FROM PLANET EARTH This film about aliens who try to escape from an aggressive planet comes from Rainmaker Entertainment. The animation looks strong, but the jokes look to be the

The Last Exorcism Part II

usual wisecracks and burps. Rated PG. 95 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española; Storyteller, Taos. (Not reviewed) A GOOD DAY TO DIE HARD In 1988, Die Hard raised the action bar when John McClane (Bruce Willis) got stuck in a building with baddies. The title then referred to McClane’s grit; in 2013, it may refer to the franchise itself. 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) LES MISÉRABLES The stage version of Victor Hugo’s novel is the longest-running musical of all time. In the hands of director Tom Hooper, who guided The King’s Speech with subtlety and grace, this screen adaptation is garish, shrill, and over the top. The songs are up close and personal like you’ve never seen or heard them. The continued on Page 42

PASATIEMPO

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MOVING IMAGES pasa pics

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cast — headed by Hugh Jackman, Russell Crowe, and Anne Hathaway (who won the Oscar for Actress in a Supporting Role) — performs bravely, if not always wisely or too well Rated PG-13. 158 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) LIFE OF PI Ang Lee won the Oscar for Best Director for his adaptation of Yann Martel’s bestselling novel, which 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. The lead-in sets it up with a promise of a story that “will make you believe in God.” The real star is the Academy-Award winning visual effects that will make you believe in tigers, at least. It also won Oscars for Best Original Score and Best Cinematography. Rated PG. 127 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. ( Jonathan Richards) MASQUERADE South Korean director Choo Chang-min takes a familiar plot, the look-alike who stands in for a ruler and does a more enlightened job of things, and plugs it into a mystery from 17th-century Korea, where a strange two-week gap in court records coincides with aberrantly humane behavior from the king.

It’s essentially the plot of Dave (1993) retold with great style and color by Choo, and its echoes of the mysterious chapter in Korean history give it a special resonance. Lee Byung-hun is wonderful in the dual role of king and look-alike. Not rated. 131 minutes.

Regal DeVargas, Santa Fe. (Jonathan Richards) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material. 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. Rated PG-13. 98 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards)

spicy bland

medium

mild

heartburn

Send comments on movie reviews to pasamovies@sfnewmexican.com.

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March 1-7, 2013

SAFE HAVEN You know what to expect in this film based on a Nicholas Sparks novel: a woman learns to love again, everything takes place in the golden light before sunset, and nobody is far from a secluded beach.

Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the musician Sixto Diaz Rodríguez follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding him. It won the Oscar for Best Documentary Feature. Rated PG-13. 85 minutes.

Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SIDE EFFECTS Steven Soderbergh claims to be taking a sabbatical from making movies. He’s leaving us with a nifty psychological thriller starring Jude Law as an earnest shrink who prescribes a new drug to a depressed patient (Rooney Mara) and gets caught up in a maelstrom when a murder rears its head. Catherine Zeta-Jones is smooth as a professional colleague, and beefy Channing Tatum is agreeable as the husband of Mara’s character. The movie revels in its twists and turns, and most of them work. Rated R. 105 minutes.

Regal Stadium 14, Santa Fe. ( Jonathan Richards) 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 and befriends Tiffany ( Jennifer Lawrence, who won the Best Actress Oscar), who also has a couple of screws loose. The finely honed dialogue, attention to detail, and impressive performances make the movie a near-perfect oddball comedy. Rated R. 122 minutes.

Regal DeVargas, Santa Fe. (Laurel Gladden) SNITCH Dwayne Johnson plays John, a dad who will do anything for his son. When the son is imprisoned for drug trafficking, John becomes an informant to spring him. If that sounds improbable, wait till you see the tractor-trailer chase. Rated PG-13. 95 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) 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. Rated R. 95 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) TABU This story explores a torrid love affair between a handsome adventurer and a pregnant married heiress living in the African savanna circa 1960. It’s a familiar subject, but it doesn’t receive the usual treatment in Miguel Gomes’ subversive film from Portugal. He inverts time, beginning his story at the end, to cast the past in gauzy perspective. We’re left to wonder what’s real, what’s imagined, and how to assemble this puzzle box of a movie into a coherent whole. Film buffs will enjoy Gomes’ playful experiments with film techniques, although the elliptical structure might put off casual viewers. Not rated. 118 minutes. In Portuguese with subtitles. The Screen, Santa Fe. ( Jon Bowman) 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. (Robert Ker) WEST OF MEMPHIS In 1993, three boys were found murdered in a ditch in West Memphis, Arkansas. Three teenagers were convicted of the crime in a sensational trial that linked the murders to satanic ritual. Damien Echols, Jason Baldwin, and Jessie Misskelley served 18 years before being released in 2011. Director Amy Berg builds West of Memphis with the gripping suspense of a police thriller, detailing the tireless efforts of outside activists to expose the flaws and misconduct in the original trial. Rated R. 145 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards)

other screenings Center for Contemporary Arts 2 p.m. Wednesday, March 6: Chasing Ice. 7 p.m. Wednesday, March 6: Lady Windermere’s Fan. Presented by the Santa Fe Opera with live accompaniment by pianist Hank Troy.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, March 3-5: Anna Karenina. ◀

irresistibLe!”

“

What’s shoWing

Maggie Smith

Call theaters or check websites to confirm screening times.

CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, ccasantafe.org Amour (PG-13) Fri. 11:30 a.m., 2 p.m., 4:30 p.m., 7:15 p.m. Sat. 11:30 a.m., 2 p.m., 4:30 p.m.

Sun. 1 p.m., 7:15 p.m. Mon. and Tue. 2 p.m., 4:30 p.m., 7 p.m. Wed. 12:30 p.m., 3 p.m.

Thurs. 2 p.m., 4:30 p.m., 7 p.m.

Chasing Ice (PG-13) Wed. 2 p.m.

Harvest of Empire (NR) Fri. 12 p.m. Sat. 12 p.m., 7:15 p.m. Sun. 12 p.m. Mon. and Tue. 5 p.m.

Thurs. 5 p.m.

Lady Windermere’s Fan (NR) Wed. 7 p.m.

A Place at the Table (PG) Fri. to Sun. 5 p.m.

Mon. and Tue. 2:45 p.m. Thurs. 2:45 p.m.

Precious Life (PG) Sun. 4 p.m.

Searching for Sugar Man (PG-13) Fri. to Sun. 2:45 p.m., 7:45 p.m. Mon. and Tue. 7:30 p.m.

Wed. 4:30 p.m., 7:30 p.m. Thurs. 7:30 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, fandango.com Argo (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:30 p.m., 5:20 p.m., 8:20 p.m.

Mon. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m.

Beasts of the Southern Wild (PG-13) Fri. and Sat. 1:50 p.m., 4:30 p.m., 7:40 p.m., 9:55 p.m. Sun. 2:50 p.m., 5:30 p.m., 8:40 p.m. Mon. to Thurs.

1:50 p.m., 4:30 p.m., 7:40 p.m.

Les Misérables (PG-13) Fri. and Sat. 3:40 p.m., 6:50 p.m. Sun. 4:40 p.m., 7:50 p.m. Mon. to Thurs.

3:40 p.m., 6:50 p.m.

Masquerade (NR) Fri. and Sat. 1 p.m., 10 p.m.

Sun. 2 p.m. Mon. to Thurs. 1 p.m.

Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:40 p.m., 5:10 p.m., 8:30 p.m. Mon. to Thurs. 1:40 p.m., 4:10 p.m., 7:30 p.m.

Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 7:10 p.m., 10:05 p.m. Sun. 2:10 p.m., 4:50 p.m., 8:10 p.m. Mon. to Thurs. 1:10 p.m., 3:50 p.m., 7:10 p.m.

Stand Up Guys (R) Fri. and Sat. 1:20 p.m., 10:10 p.m. Sun. 2:20 p.m. Mon. to Thurs. 1:20 p.m.

West of Memphis (R) Fri. and Sat. 4 p.m., 7 p.m.

Sun. 5 p.m., 8 p.m. Mon. to Thurs. 4 p.m., 7 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, fandango.com 21 and Over (R) Fri. and Sat. 2:15 p.m., 4:45 p.m., 7:10 p.m., 9:40 p.m. Sun. 3:15 p.m., 5:45 p.m., 8:10 p.m., 10:40 p.m. Mon. to Wed. 2:15 p.m., 4:45 p.m., 7:10 p.m., 9:40 p.m.

Dark Skies (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7:55 p.m., 10:25 p.m. Sun. 2:10 p.m., 5 p.m., 8:55 p.m., 11:25 p.m. Mon. to Wed. 1:10 p.m., 4 p.m., 7:55 p.m., 10:25 p.m.

Escape from Planet Earth 3D (PG) Fri. and Sat. 4:50 p.m., 7:05 p.m. Sun. 5:50 p.m., 8:05 p.m.

Mon. to Wed. 4:50 p.m., 7:05 p.m.

Escape from Planet Earth (PG) Fri. and Sat. 2:20 p.m., 9:30 p.m. Sun. 3:20 p.m., 10:30 p.m.

Mon. to Wed. 2:20 p.m., 9:30 p.m.

A Good Day to Die Hard (R) Fri. and Sat. 2 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. Sun. 3 p.m., 5:40 p.m., 8:40 p.m., 11:15 p.m. Mon. to Wed. 2 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m.

Identity Thief (R) Fri. and Sat. 2 p.m., 4:50 p.m., 7:35 p.m., 10:10 p.m. Sun. 3 p.m., 5:50 p.m., 8:35 p.m., 11:10 p.m. Mon. to Wed. 2 p.m., 4:50 p.m., 7:35 p.m., 10:10 p.m.

Jack the Giant Slayer 3D (PG-13) Fri. and Sat. 1 p.m., 1:30 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10:30 p.m. ; Sun. 2 p.m., 2:30 p.m., 5:30 p.m., 8 p.m., 8:30 p.m., 11:30 p.m. ; Mon. to Wed. 1 p.m., 1:30 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10:30 p.m. ; Jack the Giant Slayer (PG-13) Fri. and Sat. 4 p.m., 10 p.m. Sun. 5 p.m., 11 p.m. Mon. to Wed. 4 p.m., 10 p.m.

The Last Exorcism Part II (PG-13) Fri. and Sat. 2:25 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m. Sun. 3:25 p.m., 6:15 p.m., 8:50 p.m., 11:20 p.m. Mon. to Wed. 2:25 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m.

Life of Pi 3D (PG) Fri. and Sat. 1:15 p.m., 7:15 p.m.

Sun. 2:15 p.m., 8:15 p.m. Mon. to Wed. 1:15 p.m., 7:15 p.m.

Life of Pi (PG) Fri. and Sat. 4:15 p.m., 10:15 p.m.

Sun. 5:15 p.m., 11:15 p.m. Mon. to Wed. 4:15 p.m., 10:15 p.m.

The Lost Medallion (PG) Fri. and Sat. 2:30 p.m., 5 p.m., 7:25 p.m., 9:50 p.m. Sun. 3:30 p.m., 6 p.m., 8:25 p.m., 10:50 p.m. Mon. to Wed. 2:30 p.m., 5 p.m., 7:25 p.m., 9:50 p.m.

Phantom (R) Fri. and Sat. 2:40 p.m., 5:30 p.m., 8 p.m., 10:30 p.m. Sun. 3:40 p.m., 6:30 p.m., 9 p.m., 11:30 p.m. Mon. to Wed. 2:40 p.m., 5:30 p.m., 8 p.m., 10:30 p.m.

Safe Haven (PG-13) Fri. and Sat. 1:25 p.m., 4:20 p.m., 7:45 p.m., 10:30 p.m. Sun. 2:25 p.m., 5:20 p.m., 8:45 p.m., 11:30 p.m. Mon. to Wed. 1:25 p.m., 4:20 p.m., 7:45 p.m., 10:30 p.m.

Side Effects (R) Fri. and Sat. 1:40 p.m., 7:55 p.m.

Sun. 2:40 p.m., 8:55 p.m. Mon. to Wed. 1:40 p.m., 7:55 p.m.

Snitch (PG-13) Fri. and Sat. 1:50 p.m., 4:35 p.m., 7:20 p.m., 10 p.m. Sun. 2:50 p.m., 5:35 p.m., 8:20 p.m., 11 p.m. Mon. to Wed. 1:50 p.m., 4:35 p.m., 7:20 p.m., 10 p.m.

Warm Bodies (PG-13) Fri. and Sat. 4:25 p.m., 10:25 p.m. Sun. 5:25 p.m., 11:25 p.m. Mon. to Wed. 4:25 p.m., 10:25 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com An Evening with León and Lightfoot (NR) From nederlands dans theater Sun. 11 a.m.

Happy People:A Year in theTaiga (NR)

DirecteD by

Dustin hoffman Weinsteinco.com/Sites/Quartet

based on the play by ronald harwood screenplay by ronald harwood

ARTWORK©2013 The WeinsTein cOmpAny. ALL RiGhTs ReseRVeD.

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Fri. to Thurs. 2 p.m., 6:15 p.m.

Neighboring Sounds (NR) Fri. 8 p.m. Sat. 11:20 a.m., 8 p.m. Sun. to Wed. 8 p.m. Thurs. 4 p.m.

Tabu (NR) Fri. to Thurs. 3:50 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 and U.S. 84/285, 505-753-0087 21 and Over (R) Fri. 4:25 p.m., 7:20 p.m., 9:50 p.m.

Sat. 2:20 p.m., 4:25 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:25 p.m., 7:20 p.m. Mon. to Thurs.

4:25 p.m., 7:20 p.m.

Bless Me, Ultima (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m.

Mon. to Thurs. 4:50 p.m., 7:25 p.m.

Dark Skies (PG-13) Fri. 4:40 p.m., 7:35 p.m., 9:40 p.m. Sat. 2:35 p.m., 4:40 p.m., 7:35 p.m., 9:40 p.m. Sun. 2:35 p.m., 4:40 p.m., 7:35 p.m.

Mon. to Thurs. 4:40 p.m., 7:35 p.m.

Escape from Planet Earth (PG) Fri. 4:40 p.m., 7:05 p.m., 9:25 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:05 p.m., 9:25 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:05 p.m. Mon. to Thurs. 4:40 p.m., 7:05 p.m.

IdentityThief (R) Fri. 4:45 p.m., 7:10 p.m., 9:35 p.m.

Sat. 2:15 p.m., 4:45 p.m., 7:10 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:10 p.m. Mon. to Thurs.

4:45 p.m., 7:10 p.m.

Jack the Giant Slayer 3D (PG-13) Fri. 4:30 p.m., 7 p.m., 9:45 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:45 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

Jack the Giant Slayer (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:30 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:30 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.

The Last Exorcism Part II (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m.

Safe Haven (PG-13) Fri. 4:50 p.m., 7:15 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:15 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:15 p.m.

Mon. to Thurs. 4:50 p.m., 7:15 p.m.

Snitch (PG-13) Fri. and Sat. 5 p.m., 7:40 p.m., 9:45 p.m. Sun. to Thurs. 5 p.m., 7:40 p.m.

Written for the screen and directed by

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43

moving images film reviews

Occupational hazard Jonathan Richards I For The New Mexican Precious Life; documentary; not rated; in Hebrew, Arabic, and English with subtitles; 4 p.m. Sunday, March 3, only (Santa Fe Jewish Film Festival screening); Center for Contemporary Arts, 3 chiles Precious Life starts off with the earmarks of a heartwarming feel-good story about an Israeli hospital’s heroic attempt to save the life of a Palestinian baby born without an immune system. But matters take an unexpected turn. Raida, the baby’s mother, confronted and pressed by the filmmaker, Israeli TV journalist Shlomi Eldar, admits she would be happy if her little Mohammad survived and grew up to be a shahid — a suicide bomber for the cause of a Palestinian Jerusalem.

“For you, life is precious, but not for us,” she tells Eldar when he corners her with his camcorder in the tiny anteroom of the baby’s quarantined hospital room. “After Mohammad gets well, I will certainly want him to be a shahid. If it’s for Jerusalem, then there’s no problem. From the smallest infant, even smaller than Mohammad, to the oldest person, we will all sacrifice ourselves for the sake of Jerusalem.

We feel we have the right to it. You’re free to be angry. So be angry.”

Eldar, unsurprisingly, is angry, and Raida is anything but comfortable. She wears an oddly disconcerting smile on her face throughout this exchange, but it is not the smile of someone amused. The pain and the internal conflict of this scene are remarkable.

But consider the situation. Eldar is arranging and making possible this mission of mercy, and he reasonably expects some gratitude. Raida is grateful, but

Raida Abu Mustafa with her son Mohammad 44

March 1-7, 2013

Mohammad Abu Mustafa

if Mohammad does survive the desperate procedure, he and his parents will return to Gaza, where he will grow up amid the hellish hostilities of unending war.

And Raida and her husband, Faozi, will have to live with the suspicions of neighbors who question why they accepted Israeli help in the first place.

Even Eldar, somewhat shamefacedly, comes to understand this. “Why didn’t I notice the impossible realities she faced?” he muses. “Why did I push her into a corner?”

At the heart of this movie is Dr. Raz Somech, a pediatric oncologist at the Sheba Medical Center at Tel Hashomer. He is tirelessly dedicated and deeply likable. When, in the middle of the period this documentary covers (2008), war breaks out and Dr. Somech is called up to his reserve unit to go on Israel’s retaliatory offensive, this man whose life is all about saving life is appalled at what he sees. “We’re responding with excessive force,” he laments. “It will come back to bite us.”

The procedure that could save Mohammad is a bone marrow transplant. It’s expensive, and Eldar uses his television platform to appeal for donations.

The entire sum of $55,000 is donated by an anonymous Israeli whose soldier son has been killed in battle and who wants nothing now but an end to hostility and violence.

None of Mohammad’s three living siblings is a perfect match for the transplant. But the doctors find one in Sausan, the daughter of Raida’s brother.

Strings must be pulled to get her through the checkpoint from Gaza during a moment of heightened tension from a car bomb. At last the transplant is performed. Then comes the agonizing period of watching and waiting.

“After the transplant, the graft reacts adversely to the patient,” Dr. Somech explains. “And the body, on the other hand, also tries to reject the graft

because it’s perceived as a foreign body. So there’s a struggle between the two elements, which must live side by side. And each has its hopes and ambitions.

But if they coexist, they’ll survive.” It’s clear he is consciously describing the tensions that envelop this region like a toxic fog.

The terrible irony of this whole saga is the intense effort to save one tiny life while outside the hospital lives on both sides are being snuffed out wholesale.

During the conflict, an Israeli shell hits the house in Gaza of a Palestinian doctor on the hospital staff and kills three of his daughters.

Mohammad’s transplant does not go entirely smoothly. There are triumphs and setbacks. And you come to realize, as if there had really been any doubt, that despite her posturing “to prove I’ve kept my Arab identity and principles,” her baby’s life is indeed as precious to this young Palestinian mother as it would be to any other mother.

When Sausan, the cousin who is the donor, arrives in Israel for the transplant, she is awed by what she sees. The green grass of the hospital lawns amazes her. The lights, the cleanliness, the bustling life of the place are another world from the dusty, grimy, devastated area in which she lives.

Eldar gets some footage from the Gaza side, and the contrast is bleak.

What Eldar wants us to see is that when you remove the “us against them” mass identities that divide us and put people together on a human basis, humanity trumps ideology. These are good, decent people who are, on both sides of the divide, in an impossible situation. “Shouldn’t our children just live in peace?” Raida asks.

Dr. Somech believes in a better future. “If he doesn’t play with my son,” he says of the baby he is fighting so hard to save, “then his son will. I’m an optimist.” ◀

moving images film reviews

Couch sufferers: Maeve Jinkings, center

Keep it down Jennifer Levin I For The New Mexican Neighboring Sounds, drama, not rated, in Portuguese with subtitles, The Screen, 2.5 chiles This strange award-winning ensemble drama with thriller overtones follows a few members of a neighborhood in Recife, Brazil. The area has changed from a wealthy family enclave of palatial homes with courtyards to a street of high-rises with rooftop gardens. Sound plays a vital role in the movie, symbolizing at every turn just how on top of one another these people are and just how little privacy they have. Washing machines, footsteps, car tires, televisions, snippets of conversation — everything overlaps and yet is kept distinct. It is a superior feat of ambient storytelling, given that no act of listening turns the viewer into a voyeur, which often happens when the ear is forced to focus on the specifics of chewing, breathing, or sex (there is sex here, mutual and onanistic).

One young mother, Bia (played by Maeve Jinkings), is so fed up with an incessantly whining guard dog under her apartment window that she doesn’t sleep. Much of her energy is spent silencing the dog and trying to relax. There are hints that her home life, prior to her marriage, was tumultuous, and that she would rather not deal with life outside her apartment. Bia is continually trying to cope with a world that overwhelms her, but it’s difficult to empathize with her because she doesn’t have much personality to latch on to. No one in the movie has much personality, even though the acting is superb.

At the center of the film is João (Gustavo Jahn), the grandson of the area’s landowning patriarch Francisco (W.J. Solha). João has just met and fallen in love with Sofia (Irma Brown), who has sad eyes and is somewhat noncommittal about her feelings. He doesn’t like his job; for unexplained reasons he’s forcing his maid, who has worked for his family for decades, to retire; and he is troubled by the fact that his grandfather ignores his younger cousin’s low-level criminal activity, which is disrupting the neighborhood. In general, the neighbors are very concerned with having adequate security for themselves, even though, at least by urban American standards, the neighborhood seems rather safe. Car stereos go missing, but no violent crime is in evidence. A “security company,” consisting of a few guys who don’t seem licensed or bonded, offers its services to the neighborhood and, with the blessing of Francisco, the men set themselves up with walkie-talkies, plastic lawn chairs, and a tiny party tent to keep out the rain. They seem very serious but very bored. The movie takes pains to make their presence ominous, but they come off a bit absurd in their self-appointed self-importance. Ultimately, their role is revealed as sinister, but because the important action happens off-screen and is referenced only in the past tense, with some truly awkward expositional back story thrown in during the film’s final minutes, the reveal leaves a bit to be desired. ◀

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45

RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

Do-re-mi-pho

Saigon Vietnamese Kitchen 501 W. Cordova Road, 988-4951 Lunch & dinner 11 a.m.-8 p.m. MondaysFridays, 11 a.m.-9 p.m. Saturdays No alcohol Takeout available Vegetarian options Noise level: quiet to tolerable Credit cards, no checks

•

The Short Order Saigon Vietnamese Kitchen is a popular lunch destination offering a number of Vietnamese and Chinese-influenced noodle dishes with the usual pork, chicken, or tofu. The spring rolls are just OK; the egg rolls with pork a bit better. Big bowls of noodle soup are soothing, if not densely flavored. Stir-frys, especially the chow fun, are decently prepared and generously portioned. Get the pork, the shrimp, or the combo and enjoy the smoky flavor. Grilled, fried, or steamed catfish is another specialty.

Evenings here are dreary; the place could stand better lighting. Need a sweet pick-me-up? The Vietnamese coffee, slow-brewed at your table, will deliver enough caffeine to zip you through the longest afternoon. Recommended: banana cakes appetizer, pho thit (pork soup), catfish cooked in a clay pot, chow fun with grilled pork, lo mein combo, and iced Vietnamese coffee.

Ratings range from 0 to 4 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

46

March 1-7, 2013

Vietnamese restaurants were once my lunchtime staple.

Vietnamese immigrants had opened up storefront restaurants along the margins of L.A.’s Chinatown, sometimes taking over once-favorite chop suey houses or changing entire sleepy bedroom communities — most prominently Westminster, California — into lively destinations for Asian cooking liberally influenced by French cuisine. Best were the pho houses. In those days, we still pronounced that restorative soup’s name incorrectly — like the giant in “Jack and the Beanstalk” (fe, fi, fo ... ) — when it’s more like fa, as in do-re-mi. Most shops were simply named pho with a number (Pho 75 or Pho 78, for instance, with the number indicating the year the owners arrived in America or the year the place opened or a grandmother’s age or a lucky number).

My colleagues and I would escape the deadline pressure of our jobs at lunch and slurp noodles out of broth made from “beef tendon,” as various cow parts were described, backed with extra-strong cups of sweet, tediously brewed Vietnamese coffee.

At lunch at Saigon Vietnamese Kitchen, if you’re patient enough to wait for a table or willing to sit at one of the two large community tables, you can get a big bowl of pho or another noodle soup. But most of the noon-hour diners dig into plates of chow fun, lo mein, and rice noodle stir-frys, with only the occasional bowl of pho steaming in booths around the room.

The tables are crowded with the desk set from nearby offices, groups of friends crushed six to a booth, and, during one visit, firefighters with their truck parked just outside. They come for generous portions of decently, if not exquisitely, prepared dishes offered at relatively fair prices. Regulars are here in abundance. I’ve heard more than one person say to a server, “See you tomorrow.”

Saigon may be the most venerable of our cuisine-crazy town’s Vietnamese restaurants, but it’s not the best.

Chinese influences — Americanized Chinese at that — trump French influences here. The pho is certainly aromatic, but the broth isn’t as rich as you can find elsewhere. And the various soups — the term pho has lost its specificity and is now generically applied to pork, chicken, and even vegetarian bowls — aren’t generously filled with meat, herbs, and vegetables.

Which to order? The pho bo (beef) has the richest broth, but the sliced beef has had its flavor cooked away, and the slices of sausage might as well be boiled franks. The pork broth is not as rich, but the slices of grilled pork are extra tasty. The chicken pho is mundane; the vegetable with tofu the same. (We didn’t try the shrimp.) All carry a nest of rice vermicelli, some green-onion spears, and a few lonely green peas hanging lazily in the broth. You’ll pay an extra $2 for the traditional garnish of bean sprouts, Thai basil, sliced peppers (in this case, jalapeños), and lime slices — unless you order the beef pho, which includes garnish.

Saigon also offers soups with egg noodles, mung bean noodles, won tons, and curried meats or tofu. Go crazy.

Catfish is another staple of Vietnamese restaurants, and you can get it here fried or steamed or cooked up

flaky and tender in a soy and chile broth, all served in a clay pot set over a Sterno flame. Stir in the accompanying white rice and you’ve got a meal that’s spicier and more satisfying, though smaller, than the pho. (Make sure your server extinguishes the flame before the broth starts to boil hard and overcooks the fish.)

You can get plates of rice vermicelli served hot or cold with a variety of grilled meats or shrimp, either peeled or not. Not much oil is used, which in dishes such as the egg noodle lo mein combo (pork and shrimp) allows the grilled meat’s heady flavors to come through. Best were the chow fun noodles in a light, sweet sauce, though the accompanying tofu was rubbery.

The spring rolls and egg rolls were both undistinguished, and the mustard dip had less personality than your brother-in-law. The steamed banana cakes may be the best — and most unusual — dish that Saigon offers.

The perfect balance of sweet and savory; the texture; and the surprisingly complementary flavors of mashed black beans, rice, and banana were all delightful.

At lunch, when the place is at its busiest, the dishes come up surprisingly fast, though your partner might get her stir-fry before your pho comes out. The servers manage to keep everyone happy, filling waters, clearing dishes, and just generally checking in despite the crowd.

Evenings are different. The place is dark, even dreary, and the service is tired and occasionally clueless. We asked a question about the banana cakes and expected our server to take our query to the kitchen after admitting she didn’t know. But no, she left it at that.

The slowest thing at Saigon? The lazy drip of coffee as it brews into a cup holding condensed milk so sweet that it’s sticky. Now that’s worth the wait. ◀

Check, please

Lunch for three at Saigon Vietnamese Kitchen: Vegetarian spring rolls ......................................$ 4.95 Banana cakes ....................................................$ 4.95 Pho bo (beef soup) ...........................................$ 9.95 Pork with rice noodle soup ..............................$ 8.95 Garnish .............................................................$ 2.00 Vegetarian chow fun with tofu .........................$ 9.50 Vietnamese coffee .............................................$ 3.50 TOTAL ..............................................................$ 43.80 (before tax and tip) Dinner for two, another visit: Egg noodle lo mein combo ...............................$ 10.95 Catfish cooked in a clay pot ..............................$ 15.95 Jasmine tea ........................................................$ 2.00 TOTAL ..............................................................$ 28.90 (before tax and tip)

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125

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7:00p Wednesday, March 6 $10/$8 for CCA or Opera Guild Members, with live piano accompaniment by Hank Troy!!

Juan González (Democracy Now! co-host and author) IN PERSON for post-film Q&A! 7:15p Saturday, March 2 • $10

FRI & Sat at 8:00; SUn at 6:30; Mon-Wed at 8:00; tHURS at 4:00

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Fri March 1 11:30a - Amour 12:00p - Harvest of Empire* 2:00p - Amour 2:45p - Sugar Man* 4:30p - Amour 5:00p - Place at the Table* 7:15p - Amour 7:45p - Sugar Man*

2013 Oscar Winner for Best Documentary!!!

Sat March 2 11:30a - Amour 12:00p - Harvest of Empire* 2:00p - Amour 2:45p - Sugar Man* 4:30p - Amour 5:00p - Place at the Table* 7:15p - Harvest of Empire (w/Juan Gonzales) 7:45p - Sugar Man*

Sun March 3 12:00p - Harvest of Empire* 1:00p - Amour 2:45p - Sugar Man* 4:00p - SFJFF: Precious Life 5:00p - A Place at the Table* 7:15p - Amour 7:45p - Sugar Man*

Mon-Tues March 4-5 2:00p - Amour 2:45p - A Place at the Table* 4:30p - Amour 5:00p - Harvest of Empire* 7:00p - Amour 7:30p - Sugar Man*

Wed March 6

Thurs March 7

12:30p - Amour 2:00p - Chasing Ice* 3:00p - Amour 4:30p - Sugar Man* 7:00p - Santa Fe Opera: Lady Windermere’s Fan 7:30p - Sugar Man*

2:00p - Amour 2:45p - A Place at the Table* 4:30p - Amour 5:00p - Harvest of Empire* 7:00p - Amour 7:30p - Sugar Man*

FRI-Wed at 3:50; tHURS at 8:00

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Bargain Matinees Monday through Thursday (First Show ONLY) All Seats $7.50 PASATIEMPO

47

pasa week 1 Friday

‘Cold Water’ opening night Santa Fe University of Art & Design Documentary Theatre Project students’ play about the Northern New Mexico village of Agua Fría, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, ticketssantafe.org, 988-1234, Friday-Sunday through March 10.

gallery/museum openings

Black Box Theater Warehouse 21, 1614 Paseo de Peralta, 989-4423. Klang! Sound and Light, continuous loop of 24 short videos by Molly Bradbury, screening 4-9 p.m., through March 16. eggman & Walrus art emporium 130 W. Palace Ave., second floor, 660-0048.

Modbo, works by Brett Andrus, Lorelei Beckstrom, and Nina Peterson, reception 5-9 p.m., through March 30. el museo Cultural de santa Fe 555 Camino de la Familia, 992-0591. Challa: Fiesta Carnaval del Valle de Codpa, photographs

by Rodrigo Villalón Ardisoni, reception 5 p.m., through April 5. independent artists gallery 102 W. San Francisco St., 983-3376. Water colors and giclées by Ginny Tape, through March 28. manitou galleries 123 W. Palace Ave., 986-0440. New Mexico Landscape Group Show Featuring Jurgen Wilms, reception 5-7:30 p.m., through March 15. new mexico museum of art 107 W. Palace Ave., 476-5072. Alcove 12.9, group show of works by New Mexico artists Jeff Deemie, Teri Greeves, Joanne Lefrak, James Marshall, and Mary Tsiongas, reception 5-8 p.m., through April 5. pareidolia gallery 66-70 E. San Francisco St., Plaza Galeria, 631-495-9062. Grand opening group show, reception 3-6 p.m. santa Fe arts Commission Community gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Art is Core: Second Annual ArtWorks Works, pieces by elementary school students, reception 5-6:30 p.m., through March 9. santa Fe public library Southside Branch, 6599 Jaguar Dr., 955-2820. Photography As Fine Art, work by Lee Manning, through March 30.

Wade Wilson art 409 Canyon Rd., 660-4393. From Lack: Finding Form at Its Vanishing, works by Lucinda Cobley, Michael Crowder, and Joan Winter, reception 5-7 p.m.

Books/Talks

J. paul Taylor The former Rep. J. Paul Taylor signs copies of his biography, noon-2 p.m., New Mexico House of Representatives Lounge, State Capitol, Old Santa Fe Trail and Paseo de Peralta.

Jamie Chase The illustrator signs copies of The Hound of the Baskervilles, 5-7 p.m., Matthews Gallery, 669 Canyon Rd., 992-2882.

Jennifer B. hudson The photographer signs copies of Medic, 5-7 p.m., Photo-eye Bookstore, 376-A Garcia St., 988-5159. stanley Berne The author signs copies of Body & Soul: How Death Is Defeated and the World Is Made Better, 2:30-4 p.m., Kingston Residence of Santa Fe, 2400 Legacy Ct., 471-2400.

Visions remembered Memoir-writing workshop with Sara Eyestone, 9:30-11:30 a.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., $25 for the two-part series, 946-1039.

eVenTs

pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

nighTliFe

ClassiCal musiC

Brentano string Quartet Violinists Mark Steinberg and Serena Canin, violist Misha Amory, and cellist Nina Lee perform music of Haydn, Bartók, and Brahms, 7:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 988-1234, ticketssantafe.org (see Listen Up, Page 24).

TgiF vocal recital Singers include Luana C. Berger, Toni Fuge, and Mardi Wood, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext. 16.

Pasa’s Little Black Book......... 49 Exhibitionism...................... 50 At the Galleries.................... 51 Libraries.............................. 51 Museums & Art Spaces........ 51 In the Wings....................... 52 48

March 1-7, 2013

compiled by Pamela Beach, pambeach@sfnewmexican.com

The New Mexico Museum of Art shows work by Teri Greeves (shown) and other New Mexico artists in the exhibit Alcove 12.9.

TheaTer/danCe

Benchwarmers 12 Annual showcase of eight fully staged playlets by New Mexico talent presented by Santa Fe Playhouse; 7:30 p.m., 142 E. De Vargas St., $20, santafeplayhouse.org, 988-4262, final weekend.

Elsewhere............................ 54 People Who Need People..... 55 Under 21............................. 55 Pasa Kids’............................ 55 Sound Waves...................... 55

‘The Birds & the Bees’ Presented by Zircus Erotique Burlesque Company, doors open at 8 p.m., curtain 9 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., 992-5800, $15, VIP $20, advance tickets available online at zeburlesque.com.

(See Page 49 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.

Cowgirl BBQ Singer/songwriter Jim Almand, 5-7:30 p.m.; blues band Hello Dollface, 8:30 p.m.-close; no cover. dinner for Two Classical guitarist David Briggs, 7 p.m., no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol C.S. Rockshow, Don Curry, Pete Springer, and Ron Crowder, 9 p.m.-close, $5 cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

calendar guidelines Please submit information and listings for Pasa Week

no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. Follow Pasatiempo on Facebook and Twitter.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda R & B band The Pleasure Pilots, 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 Legal Tender Buffalo Nickel Band, country honky-tonk, 6-9 p.m.

The Mine Shaft Tavern Open-mic night with Jason, 7-11 p.m., no cover.

The Palace Restaurant & Saloon Funk and R & B band Soulstatic, 9:30 p.m.

Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover.

Second Street Brewery Folk singer/songwriter Monica Taylor and her trio, 6 p.m., no cover.

Second Street Brewery at the Railyard Americana duo Todd & The Fox, 6-9 p.m., no cover.

The Underground at Evangelo’s Don Martin and Brotherhood Sound, dancehall reggae, 9 p.m.-close, call for cover.

2 Saturday GaLLERy/MUSEUM oPEnInGS

Museum of Spanish Colonial art 750 Camino Lejo, Museum Hill, 982-2226.

Stations of the Cross, works by New Mexico artists, through Sept. 2.

d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa nt & Bar anasazi Restaura Anasazi, the of Rosewood Inn e., 988-3030 113 Washington Av nch Resort & Spa Ra Bishop’s Lodge Rd., 983-6377 1297 Bishops Lodge Café Café 6-1391 500 Sandoval St., 46 ón es M El at ¡Chispa! e., 983-6756 213 Washington Av uthside Cleopatra Café So 4-5644 47 ., Dr o an far Za 82 34 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. dinner for Two , 820-2075 106 N. Guadalupe St. at The Pink The dragon Room a Fe Trail, nt Sa d adobe 406 Ol 983-7712 lton El Cañon at the hi 811 8-2 98 , St. al ov nd 100 Sa Spa Eldorado hotel & St., 988-4455 o isc nc Fra 309 W. San El Farol 3-9912 808 Canyon Rd., 98 ill Gr & r El Paseo Ba 2-2848 99 , St. teo lis Ga 8 20

oPERa In hd

The Met Live in hd Wagner’s Parsifal, 10 a.m., the Lensic, $22-$28, discounts available, 988-1234, ticketssantafe.org.

In ConCERT

nosotros Latin-music band, complimentary salsa dance lesson 8-9 p.m., music 9 p.m.-12:30 a.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10 at the door, 570-0707 or 603-0123.

Randal Bays Irish-style guitarist/composer, 7:30 p.m., Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.

ThEaTER/danCE

Benchwarmers 12 Annual showcase of eight fully staged playlets by New Mexico talent presented by Santa Fe Playhouse, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262, final weekend.

‘Cold Water’ Santa Fe University of Art & Design Documentary Theatre Project students’ play about the Northern New Mexico village of Agua Fría, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, ticketssantafe.org, 988-1234, Friday-Sunday through March 10. national dance Institute of new Mexico Winter Dance Escape, young artists perform ballet, modern, jazz, and tap, 7 p.m., Dance Barns, 1140 Alto St., $11 and $16, 983-7661, ndi-nm.org, encore Sunday, March 3.

BookS/TaLkS

Bernard Lietaer and Jacqui dunne The authors sign copies of Rethinking Money: How New Currencies Turn Scarcity Into Prosperity; also, a screening of the film

Pasa’s little black book Evangelo’s o St., 982-9014 200 W. San Francisc hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina La Casa Sena Cant 8-9232 98 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa La Posada de e Ave., 986-0000 lac and Spa 330 E. Pa at the The Legal Tender eum us M d oa ilr Ra Lamy 466-1650 151 Old Lamy Trail, g arts Center in rm rfo Lensic Pe o St., 988-1234 isc 211 W. San Franc Sports Bar & Grill The Locker Room 3-5259 47 2841 Cerrillos Rd., The Lodge at ge un Lo e dg Lo St. Francis Dr., N. 0 75 Fe a at Sant 992-5800 rider Bar Low ’n’ Slow Low ó at hotel Chimay e., 988-4900 125 Washington Av The Matador o St., 984-5050 116 W. San Francisc

Money & Life by Katie Teague, 2-6 p.m., Santa Fe Performance Exchange, 7 Caliente Rd., Eldorado, no charge, 466-3116.

Exhibiting Latino Popular Religious Traditions: new Mexico in a Transnational Context Open symposium, 1-6:30 p.m., hosted by the Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, by museum admission, reservations 982-2226. opera Breakfast Lecture series Tom Franks discusses Wagner’s Parsifal in conjunction with The Met at the Lensic season, 8:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.

Student filmmakers summit Open forum 9:30 a.m.-4:30 p.m., student presentations 2:30 p.m., Room 563, Fine Arts Building, Santa Fe Community College, 6401 Richards Ave., 428-1776.

oUTdooRS

Where are you? Practice your navigation skills on a two-mile hike with guide Karen Denison, 10 a.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

EvEnTS

18th annual Santa Fe Pen Fair Hand-crafted Italian fountain and roller ball pens, door prizes, and free cursive handwriting sessions for kids and adults with calligrapher Sherry Bishop; 10 a.m.-6 p.m., Santa Fe Pens, Sanbusco Center, 500 Montezuma Ave., handwriting seminar registration 989-4742, continues Sunday, March 3.

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., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030

The Flea at El Museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through April.

Interfaith homeless Shelter benefit Slavic, Egyptian, and other international cuisines, 11 a.m.-2 p.m., Holy Trinity Orthodox Church, 231 E. Cordova Rd., 983-5826.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

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.

nIGhTLIFE

(See addresses below) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover. ¡Chispa! at El Mesón Flamenco Conpaz, 7-10 p.m., $10 cover.

Cowgirl BBQ Kitty Jo Creek Band, bluegrass, 2-5 p.m.; The Surf Lords, Latin/Caribbean-tinged surf rock, 8:30 p.m.-close; no cover.

El Farol Old school rockabilly band Rob-A-Lou, 9 p.m., $5 cover.

La Fiesta Lounge at La Fonda R & B band The Pleasure Pilots, 8-11 p.m., no cover.

pasa week

continued on Page 53

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 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 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

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49

exhibitionism

A peek at what’s showing around town

Kathamann: Summer Cloud, 2011, acrylic on paper. Kathamann and Lynn S. Macri launch Cloth on Paper at the Unitarian Universalist Congregation of Santa Fe (107 W. Barcelona Road). Macri employs a variety of techniques, including painting, beadwork, and machine quilting, for her mixed-media textiles. Kathamann’s acrylic paintings are layered abstractions.

Cloth on Paper opens Sunday, March 3. Call 982-9674.

Rodrigo Villalón Ardisoni: Untitled Photograph of the Andean Carnival of Northern Chile, 2012. Challa, an exhibition of Rodrigo Villalón Ardisoni’s images, documents the annual carnival in the Codpa Valley of Chile, an eight-day celebration of Andean culture. Challa is shown in conjunction with El Taller de Gráfica Popular, reprinted works from the collection of Iberian and Latin American Art at the Zimmerman Library at the University of New Mexico. Both shows open at El Museo Cultural de Santa Fe (555 Camino de la Familia) on Friday, March 1. There is a 5 p.m. reception. Call 992-0591.

Lucinda Cobley: Intervals 2, 2012, mono print on plastic. Wade Wilson Art presents From Lack: Finding Form at Its Vanishing. The exhibition features work by Lucinda Cobley, Michael Crowder, and Joan Winter. Cobley uses Dura-Lar as the surface for her prints; Crowder makes sculptural pieces in wood, glass, Plexiglas, and other materials; and Winter works in a variety of mediums, including printmaking and cast resin sculpture. A small exhibition of the art of Regina Foster and Virgil Grotfeldt is also on view. From Lack opens Friday, March 1, with a reception at 5 p.m. The gallery is at 409 Canyon Road. Call 660-4393.

Jurgen Wilms: Rain at Noon, 2012, oil on canvas. Manitou Galleries (123 W. Palace Ave.) presents an exhibition of New Mexico landscapes featuring the art of Jurgen Wilms. Wilms’ paintings are meditative, idyllic views of the hilly terrain and canyonlands of the Southwest. The work of Tom Perkinson, Fran Larsen, Harry Greene, and others is also included. The show opens Friday, March 1, with a reception at 5 p.m. Call 986-0440.

50

March 1-7, 2013

susan taylor Glasgow: Draped Handbag #1, 2012, kiln-formed glass, mixed media. Jane Sauer Gallery (652 Canyon Road) presents Questioning Femininity, an exhibit of Susan Taylor Glasgow’s glass sculptures.

The artist’s work explores gender roles of the past from a contemporary perspective, combining elegant, anachronistic imagery and humor.

Questioning Femininity is on exhibit through March 15.

Call 995-8513.

At the GAlleries A Gallery Santa Fe 142 W. Marcy St., Suite 104, 603-7744. Abstract paintings by Vittorio Masoni, through March 16.

David Richard Gallery 544 S. Guadalupe St., 983-9555. The Tapestries — Forces of Nature and Beyond, work by June Wayne (1918-2011) (see review, Page 34); Woven and Stitched, textiles by Judy Chicago; Stained and Unstretched, paintings by Paul Reed; through March 23.

Eight Modern 231 Delgado St., 995-0231. Year of the Snake, group show, through April 6.

Jane Sauer Gallery 652 Canyon Rd., 995-8513. Questioning Femininity, kiln-formed glass sculpture

by Susan Taylor Glasgow, through March 15.

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 Saturday, 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 Thursday, 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. Presentiment, paintings by David Nakabayashi, through March 22.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041.

Visit stjohnscollege.edu 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 santafe.edu/library 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 supremecourtlawlibrary.org.

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. Gallery hours available online at ccasantafe.org or by phone, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through May 5 • 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; students 18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month.

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.

They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through Monday, March 4 • What’s New in New: Recent Acquisitions, • Woven Identities: Basketry Art From the Collections • 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.

tapestry-weave double saddle blanket, 1890-1910, in the Museum of indian Arts & culture exhibit They Wove for Horses: Diné Saddle Blankets, closing Monday, March 4

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.

Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, opening Sunday, March 3, through Sept. 1 • New World Cuisine: The Histories of Chocolate, Mate y Más • 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.

Stations of the Cross, group show of works

by New Mexico artists opening Saturday, March 2, through Sept. 2 • 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. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author • 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. Alcove 12.9, works by New Mexico artists Jeff Deemie, Teri Greeves, Joanne Lefrak, James Marshall, and Mary Tsiongas, reception 5-8 p.m. Friday, March 1, through April 5 • Art on the Edge 2013, Friends of Contemporary Art and Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through April 14 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. 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. MondayFriday; 9 a.m.-4 p.m. Saturday; donations accepted.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late 60s and 70s; Linda Mary Montano: Always Creative, interactive performance; Mungo Thomson: Time, People, Money, Crickets, multimedia; through May 19. Open 10 a.m.-5 p.m. TuesdaySaturday; 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.

PASATIEMPO

51

In the wings MUSIC

Stu MacAskie Trio Jazz pianist, with Asher Barreras on bass, and John Trentacosta on drums, part of KSFR Radio’s Music Café Series, 7 p.m.

Friday, March 8, Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527.

Cristianne Miranda and the Bert Dalton Trio Sincerely, Peggy Lee, tribute concert, 6 p.m.

Sunday, 7:15 p.m. Monday, March 10-11, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232.

Pipes and Drums of the Black Watch 3rd Battalion Royal Regiment of Scotland band, 7:30 p.m. Monday, March 11, the Lensic, $20-$75, 988-1234, ticketssantafe.org.

Adrian Legg British fingerstyle master guitarist, 8 p.m. Tuesday, March 12, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20, garrettsdesertinn.com, 982-1851.

Lawrence Clark Trio New York City-based jazz ensemble, 7 p.m. Friday, March 15, The Den (Birdland), 132 W. Water St., $75-$250, 670-6482.

Spotlight on Young Musicians Annual concert presented by the Santa Fe Youth Symphony Association in support of music education for youth, 7 p.m. Friday, March 15, Scottish Rite Center, 463 Paseo de Peralta, $10 in advance and at the door, discounts available, 467-3770.

The Met Live in HD Zandonai’s Francesca da Rimini, 10 a.m. and 6 p.m. Saturday, March 16, the Lensic, $22-$28, discounts available, ticketssantafe.org, 988-1234.

The Mavericks Country band on its reunion tour, 7:30 p.m.

Wednesday, March 20, the Lensic, $34-$49, 988-1234, ticketssantafe.org.

The Chet Baker-Gerry Mulligan Project Jazz trumpeter Jan McDonald, saxophonist Arlen Asher, and the Bert Dalton Trio, 4 p.m.

Sunday, March 24, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $20 at the door, 662-7950.

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, the Lensic, $20-$65, 988-1234, ticketssantafe.org.

Santa Fe Symphony Chorus, Chamber Ensemble, and Orchestra concerts The chorus and chamber ensemble perform in a free recital of Fauré’s Requiem, 7 p.m. Thursday, April 4, Cathedral Basilica of St. Francis of Assisi.

The symphony performs in April Joy, music of Mozart and Dvoˇrák, 4 p.m. Sunday, April 21, pre-concert lecture 3 p.m., the Lensic, $20-$70, 988-1234, ticketssantafe.org.

Richard Goode Piano recital, music of Haydn, Mozart, and Beethoven, 7:30 p.m. Tuesday, April 9, the Lensic, $20-$75, 988-1234, ticketssantafe.org.

Ian Tyson Veteran country singer/songwriter, 7:30 p.m.

Wednesday, April 17, the Lensic, $20-$45, 988-1234, ticketssantafe.org.

Nuestra Musica 13th annual celebration of New Mexico music, 7 p.m. Friday, April 19, the Lensic, $10, seniors no charge, ticketssantafe.org, 988-1234.

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March 1-7, 2013

THEATER/DANCE

‘In the Time of the Butterflies’ Teatro Paraguas presents a new play by Caridad Svich, 7:30 p.m. Fridays and Saturdays, 2 p.m.

Sundays, March 8-24, 3205 Calle Marie, $15, discounts available, Sundays pay-what-you-wish, 424-1601.

Wise Fool New Mexico The circus arts and puppetry troupe presents March Madness Cabaret, 4 p.m. Sunday, March 10, doors open at 3:30 p.m., Wise Fool Studio, 2778-D Siler Rd., 992-2588, $10-$15 sliding scale at the door.

‘Fiddler on the Roof’ National touring production, 7:30 p.m. Sunday, March 10, the Lensic, $20-$55, ticketssantafe.org, 988-1234.

‘Exquisite Absurdity: 30 Years of Looking Forward’ Theater Grottesco celebrates its 30th anniversary with re-created scenes of past 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.

Belisama Irish Dance Company Rhythm of Fire; including Michael Patrick Gallagher and regional championship and top-10 world

Upcoming events finalist dancers from Santa Fe and Los Alamos, 7:30 p.m. Friday, March 15, the Lensic, $10-$20, 988-1234, ticketssantafe.org.

‘The Three Sisters’ Presented by Arden Shakespeare Festival, 8 p.m.

Friday and Saturday, 2 p.m. Sunday, March 15-24, Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 984-1370.

New Mexico Dance Coalition 26th Annual Choreographers’ Showcase, 7:30 p.m. Friday and Saturday, March 22-23, companies include New Mexico School for the Arts, Pomegranate Studios, Dance Space Santa Fe, and Four Winds Belly Dance, Railyard Performance Space, 1611 Paseo de Peralta, $10-$15 sliding scale, ages 12 and under $5, 920-0554.

‘Clybourne Park’ Fusion Theatre presents the 2012 Tony Award-winning play by Bruce Norris, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 22-23, the Lensic, $20-$40, students $10, ticketssantafe.org, 988-1234.

‘Buried Child’ Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 7:30 p.m. Thursday-Saturday, 2 p.m.

Sunday, March 28-April 14, 142 De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262.

Aspen Santa Fe Ballet The contemporary ballet company performs Jiˇrí Kylián’s Return to a Strange Land; Alejandro Cerrudo’s Last; and Trey McIntyre’s Like a Samba, 7:30 p.m.

Friday-Saturday, March 29-30, the Lensic, $25-$72, discounts available, ticketssantafe.org, 988-1234.

‘Einstein: A Stage Portrait’ Spoli Productions International presents Tom Schuch in Willard Simms’ one-man play, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, April 5-7, Teatro Paraguas, 3205 Calle Marie, $16, discounts available, 424-1601.

Wise Fool new mexico presents March Madness Cabaret sunday, march 10.

Les Ballets Trockadero de Monte Carlo All-male drag dance company that parodies classical ballet, 7:30 p.m. Monday, April 15, the Lensic, $25-$72, 988-1234, ticketssantafe.org.

‘Once on This Island’ Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens’ musical, 7 p.m. Friday and Saturday, 2 p.m. Sunday, April 19-28, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org.

HAPPENINGS

You Are What You Wear: Costume and Character in Opera UNM professor Dorothy Baca and Emilee McVey Lee of the Santa Fe Opera and Santa Fe Community College, share their insights during a behind-the-scenes view of the costume-design process at the Santa Fe Opera, refreshments 9 a.m. Saturday, March 9, program 9:30 a.m.-noon, Stieren Hall, 301 Opera Dr., $10 in advance at guildsofsfo.org, 629-1410, Ext. 100.

Lannan Foundation’s In Pursuit of Cultural Freedom series Social critic/author Barbara Ehrenreich with David Barsamian, 7 p.m. Wednesday, March 13, the Lensic, $6, discounts available, 988-1234, ticketssantafe.org.

Keep It Rolling Santa Fe’s roller derby team, Disco Brawlers, host a fundraiser for the Santa Fe Children’s Museum; 7:30-9:30 p.m. Saturday, March 16, raffle, bake-sale items, skate rentals, Rocking Rollers, 2915 Agua Fría St., $7 in advance, $10 at the door, sfdiscobrawlers@yahoogroups.com.

Spring fashion show and talk A Fashion Story: Mixing Old and New to Create Modern Designs, 2 p.m. Sunday, March 17, Zane Bennett Contemporary Art, 435 S. Guadalupe St., presented by New Mexico Committee of National Museum of Women in the Arts, $35, 988-1234, ticketssantafe.org.

Banff Mountain Film Festival 2013 World Tour Annual collection of international films related to adventure sports, expeditions, and mountain cultures, 7 p.m. Monday and Tuesday, March 18-19, the Lensic, $16, two-day pass $28, 988-1234, ticketsssantafe.org.

Lannan Foundation literary event Novelists Russell Banks and Stona Fitch, 7 p.m. Wednesday, March 27; the Lensic, $6, discounts available, ticketssantafe.org, 988-1234.

Bollywood Dance Invasion 2013 Fundraiser hosted by the nonprofit Amma Center of New Mexico; video/light show, vegetarian meal, and astrology readings, 7:30 p.m. Saturday, March 30, Warehouse 21, 1614 Paseo de Peralta, $15, children’s discounts available, 989-4423.

Mont St. Michel and Shiprock Santa Fe resident William Clift’s landscape photographs on exhibit April 19-Sept. 8, New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 476-5072.

Japanese Cultural Festival Santa Fe Japanese Intercultural Network presents its annual matsuri with a vintage kimono exhibit, fashion show, sale of Japanese goods, and Japanese food, 10 a.m.-5 p.m. Saturday, April 20, Santa Fe Community Convention Center, $3, children ages 12 and under no charge, proceeds benefit Japan Aid of Santa Fe recovery relief fund, santafejin.org.

pasa week

from Page 49

2 Saturday (continued) La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover.

The Legal Tender Classic rock/country band Tornados, 6-9 p.m., no cover.

The Mine Shaft Tavern Soulful-blues duo Jim and Tim, 3-7 p.m., no cover. Alt-country band Hot Honey, Dear Rabbit opens, 7-11 p.m., call for cover.

The Palace Restaurant & Saloon Funk and R & B band Soulstatic, 9:30 p.m.

Pranzo Italian Grill Geist Cabaret with pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., $2 cover.

Second Street Brewery Local string band The Free Range Ramblers, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Instrumental guitar duo B Squared, 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 Hot Club of Santa Fe, bluegrass, swing, and Gypsy jazz, noon-3 p.m., lift ticket/season pass required for admission.

The Underground at Evangelo’s DJ Dynamite Sol’s Video Jukebox, 9 p.m., $3 cover.

Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

3 Sunday GaLLERy/MUSEUM oPEnInGS

Museum of International Folk art 706 Camino Lejo, Museum Hill, 476-1200.

Plain Geometry: Amish Quilts, 34 textiles from the museum’s collection and collectors, 1 p.m. lecture, 2 p.m. reception, through Sept.1(see story, Page 36).

In concERT

Música antigua de albuquerque The Field of Cloth of Gold, English and French compositions performed on period instruments, 4:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613.

Talking Heads

Poetry out Loud national Recitation contest Support New Mexico high school students as they compete in state finals at 1 p.m. Sunday, March 3, in St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. There is no charge for this event. For more information call 505-827-6492.

ThEaTER/dancE

Benchwarmers 12 Annual showcase of eight fully staged playlets by New Mexico talent presented by Santa Fe Playhouse, 2 p.m., 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 988-4262. ‘cold Water’ Santa Fe University of Art & Design Documentary Theatre Project students’ play about the Northern New Mexico village of Agua Fría, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, ticketssantafe.org, 988-1234, Friday-Sunday through March 10. national dance Institute of new Mexico Winter Dance Escape, young artists perform ballet, modern, jazz, and tap, 7 p.m., Dance Barns, 1140 Alto St., $11 and $16, 983-7661, ndi-nm.org.

Performance at The Screen HD broadcast of the Contemporary dance troupe Nederlands Dans Theater 1 at The Hague, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

‘Shylock’ Theatre Tours International presents Guy Masterson in Gareth Armstrong’s two-act solo performance piece, 7 p.m., the Lensic, $15-$35, ticketssantafe.org, 988-1234.

BookS/TaLkS

Food Justice for Thought Community forum with Ethan Genauer and other speakers, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Poetry out Loud national Recitation contest New Mexico high school students compete in state finals, 1 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, for information call 505-827-6492.

EVEnTS

18th annual Santa Fe Pen Fair Hand-crafted Italian fountain and roller ball pens, door prizes, and free cursive handwriting sessions for kids and adults with calligrapher Sherry Bishop; noon-5 p.m., Santa Fe Pens, Sanbusco Center, 500 Montezuma Ave., handwriting seminar registration 989-4742.

The Flea at El Museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 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.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

Railyard artisans Market Guitarist David Williams 10 a.m.-1 p.m.; tenor guitarist/flutist Gerry Carthy 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com, 983-4098, 10 a.m.-4 p.m. weekly.

Santa Fe Farmers Market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.

nIGhTLIFE

(See Page 49 for addresses) cowgirl BBQ Folk singer/songwriter Monica Taylor and her trio, 8 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 music, 7 p.m.-close, no cover.

Photographs by Lee Manning, at the Santa Fe Public Library, Southside Branch

La Fiesta Lounge at La Fonda La Fonda Talent Showcase, any music genre, stand-up comedy, and more welcome, $25 to the winners, 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 Americana guitarist Gene Corbin, 3-7 p.m., no cover.

4 Monday

La casa Sena cantina Singer/songwriter Matthew Andrae, 6 p.m., no cover.

La Fiesta Lounge at La Fonda Americana band Boris & The Salt Licks, 7:30-11 p.m., no cover.

5 Tuesday In concERT

Santa Fe Public School choirs Eight schools, grades 6-12, 6:30 p.m., the Lensic, $8 suggested donation at the door.

Faster Pussycat Sleaze-rock band, The Art and Love Gun open, 9 p.m., The Underground at Evangelo’s, 200 W. San Francisco St., 982-9014, $15 in advance at the bar, $20 night of show.

BookS/TaLkS

nIGhTLIFE

In concERT

Five centuries of cross-cultural contact and Trade: Pecos Pueblo ‘Gateway’ in Perspective Kelly L. Jenks speaks, 6 p.m., Southwest Seminars’ Ancient Sites and Ancient Stories lecture series, Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

EVEnTS

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.

nIGhTLIFE

(See Page 49 for addresses) cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.

El Farol Geeks Who Drink Trivia Night, 7 p.m., no cover.

(See Page 49 for addresses) ¡chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover. cowgirl BBQ Singer/songwriter Leo Rondeau, 8 p.m., no cover.

El Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover.

La casa Sena cantina Guitarist Ramon Bermudez Jr., contemporary Latin tunes, 6 p.m., no cover.

La Fiesta Lounge at La Fonda Americana band Boris & The Salt Licks, 7:30-11 p.m., no cover.

The Mine Shaft Tavern Folk singer/songwriter Monica Taylor and her trio, 7-11 p.m., call for cover. ▶▶▶▶▶▶▶▶ PASATIEMPO

53

Richard Levy gallery 514 Central Ave. S.W., 505-766-9888. Levitations, photographs by Natsumi Hayashi, through March 29.

The Palace Restaurant & Saloon Rockabilly band Anthony Leon & The Chain, 7:30 p.m.

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, pop standards piano and vocals, 6:30 p.m.-close, no cover.

events/Performances

Sunday chatter Baritone Stephen Hartley sings selections from Opera Southwest’s upcoming productions of Bizet’s Les Pêcheurs de Perles and Mozart’s Don Giovanni, 10:30 a.m. Sunday, March 3, poetry reading by Nora Hickey follows, The Kosmos, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door.

Tin Hat Avant-acoustic chamber quartet, 7:30 p.m.

Thursday, March 7, Outpost Performance Space, 210 Yale Blvd. S.E., $25 and $30, 505-268-0044.

6 Wednesday in conceRT

Kate Reid Vancouver singer/songwriter, 7:30 p.m., O’Shaughnessy Performance Space, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., part of the university’s Artists for Positive Social Change series, no charge, but tickets required, 473-6196.

Tin Hat Avant-acoustic chamber quartet, 7:30 p.m., Gig Performance Space, 1808-H Second St., $25 at the door, gigsantafe.com (see story, Page 26).

Wynton Marsalis and the Jazz at Lincoln center orchestra 7:30 p.m., the Lensic, $25-$95, ticketssantafe.org, 988-1234 (see story, Page 28).

Española

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 (1863-1945). 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.

BooKS/TaLKS

art on the edge The New Mexico Museum of Art docent talks series continues with a discussion of the exhibit, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

Santa Fe Photographic Workshops’ instructor image presentations series Open conversation and slide presentation of works by Karen Divine (see story, Page, 30), Douglas Merriam, Eddie Soloway, and Jennifer Spelman, 8-9 p.m., Sunmount Room, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, 983-1400, Ext 11.

nigHTLiFe

(See Page 49 for addresses) ¡chispa! at el Mesón Jazz guitarist Pat Malone, 7-9 p.m., no cover. cowgirl BBQ American-roots trio The Love Leighs, 8 p.m., no cover. el Farol Salsa Caliente, 9 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.

The Palace Restaurant & Saloon Local string band The Free Range Ramblers, 6-9 p.m.

Second Street Brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover.

Tiny’s 505 Jam hosted by Synde Parten, John Reives, and M.C. Clymer, 7:30 p.m., no cover.

7 Thursday gaLLeRy/MuSeuM oPeningS

arroyo gallery 200 Canyon Rd., 988-1002. Fine Equine Photography, work by Tony Stromberg, reception 5-8 p.m., through April 1.

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March 1-7, 2013

Chama River, by Teena Robinson, Johnsons of Madrid Galleries

BooKS/ TaLKS

‘Half the Sky: Turning oppression into opportunity for Women’ Free screening of a segment of the documentary based on the book by Nicholas Kristof and Sheryl WuDunn followed by a panel discussion moderated by Ali MacGraw, 7-9 p.m., the Lensic, for information visit folkartmarket.org. immigrants and the Railroad Lois Rudnick and Marcela Díaz speak, 5:30 p.m., Railyard Park Community Room on Callejon St., no charge, 316-3596.

Mike Medberry The author reads from and signs copies of On the Dark Side of the Moon: A Journey Toward Recovery, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Picasso’s early years Discussion presented by Renesan Institute for Lifelong Learning, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274.

eVenTS

17th annual cookie caper New Mexico chefs create desserts in support of Girl Scouts of New Mexico Trails, 6-8 p.m., Inn & Spa at Loretto, 211 Old Santa Fe Trail, $50 in advance at nmgirlscouts.org, 343-1040.

nigHTLiFe

(See Page 49 for addresses) ¡chispa! at el Mesón Pianist John Rangel in duets, 7-9 p.m., no cover. cowgirl BBQ Americana guitarist Boris McCutcheon, 8 p.m., no cover. evangelo’s Little Leroy on guitar, Mark Clark on drums, and Tone Forrest on bass, country, rock, and R & B, 9 p.m.-close, $5 cover.

La Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover.

La casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse 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 Two-Step Thursdays with Buffalo Nickel Two, 6-9 p.m.

The Matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover.

The Palace Restaurant & Saloon Lime Light Karoake with Michele, 8:30 p.m.

▶ Elsewhere albuquErquE Museums/art Spaces

albuquerque Photographers gallery 303 Romero St. N.W., Old Town, 505-244-9195.

The Acoma Collection, work by Lee Marmon, reception and poster signing 5-8 p.m. Friday, March 1, through April. inpost artspace Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044. The Magnificent Void, paintings

by Heather Bingham, Stacey Heim, and Celeste LaForme, reception 5-8 p.m. Saturday, March 2.

madrid

Johnsons of Madrid 2843 NM 14, 471-1054. Group show of works by gallery artists, reception 3-5 p.m. Saturday, March 2, through March.

taos Museums/art Spaces

e.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.5 p.m. Monday-Saturday, noon-5 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday.

Harwood Museum of art 238 Ledoux St., 575-758-9826. 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, 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.

Kit carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-4 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-4 p.m. Monday, Tuesday, ThursdaySaturday, noon-4 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge with ID.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances

American String Quartet The ensemble performs with Taos Chamber Music Group’s cellist Sally Guenther, music of Schubert, Haydn, and Janácˇek, 7:30 p.m.

Sunday, March 3, Taos Community Auditorium 145 Paseo del Pueblo Norte, $20 in advance, discounts available, taoschambermusicgroup.org, 575-758-0150, $22 at the door.

Taos Shortz Film Fest More than 88 international films screening Thursday-Sunday, March 7-10, Taos Community Auditorium, 145 Paseo del Pueblo Norte, $5-$15, Taos Hmmmm Pass $100, tickets available online at taosshortz.com.

▶ People who need people Artists/Craftspeople/Photographers

41st Annual Girls Inc. of Santa Fe Arts & Crafts Show Artist applications available online at girlsincofsantafe.org for the Aug. 3-4 event; deadline Sunday, March 10.

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 nmarts.org, 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 callforentry.org 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 webbnorriswebb@gmail.com or visit magnumphotos.com.

Filmmakers/Playwrights/Writers

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. For rules and guidelines, visit santafeindependentfilmfestival.com.

Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from individuals who would like to direct; call 988-4262 or email playhouse@santafeplayhouse.org for proposal packets by Sunday, March 31.

Tony Hillerman best first mystery novel contest Publishing contract with St. Martin’s Press and $10,000 advance offered to the winner; only authors of unpublished mysteries set in the Southwest may enter; manuscripts must be received or postmarked by June 1; further guidelines and entry forms available online at wordharvest.com.

New Mexico cultural events

41st annual Heritage Preservation Awards The Historic Preservation Division of the Department of Cultural Affairs is accepting

nominations for the Cultural Properties Review Committee’s awards ceremony held May 10 in conjunction with Heritage Preservation Month; preservation event ideas can also be submitted; in addition, images for the 26th annual heritage preservation poster can be submitted; award/event nomination due by Monday, March 11; poster images must be submitted by Friday, March 8; forms and guidelines are available online at nmhistoricpreservation.org.

Singers

Women’s a cappella group Madrigal through contemporary; nonvibrato; email acappellasingers@mail.com for details.

Volunteers

Birders Lead ongoing birdwatching walks at Leonora Curtin Wetland Preserve, Ortiz Mountains Educational Preserve, and Santa Fe Botanical Garden at Museum Hill; call 471-9103 or email info@santafebotanicalgarden.org for more information.

Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 428-1353.

Many Mothers Assisting new mothers/families, fundraising, event planning, becoming a board member, and more; requirements and details available online at manymothers.org; call 466-3715 for more information or to schedule an interview.

▶ Under 21 Black Box Theater Warehouse 21, 1614 Paseo de Peralta, 989-4423.

Klang! Sound and Light, continuous loop of 24 short videos by Molly Bradbury, screening 4-9 p.m. Friday, March 1, through March 16.

Academy for Technology and Classics’ winter concert and art show Student art show 6 p.m. Saturday, March 2, concert 7-9 p.m. with performances by the school’s Acoustic-Americana Ensemble and three marimba ensembles, Warehouse 21, 1614 Paseo de Peralta, 989-4423.

St. John’s College Community Seminars Read and discuss seminal works; free to 11th12th-grade students. Rabelais’ Gargantua and Pantagruel, 5-6:30 p.m. Wednesday, March 6, 1160 Camino de Cruz Blanca, call 984-6117 to register.

▶ Pasa Kids 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 santafenm.gov or call 955-4225 for prize details and more information.

Opera Makes Sense Santa Fe Opera’s special program series for children ages 3-5 introducing opera art forms through poetry, song, music, and dance, along with costumes and art activities; 9:30-11:30 a.m.

Saturday, March 2, First Presbyterian Church, 208 Grant Ave., no charge, 946-2404.

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 wisefoolnewmexico.org, 2778-D Agua Fría St., 992-2588. ◀

Kitty glitter It was the summer of ’88 when, after barely squeaking through my freshman year of college, I hopped in my dormmate’s Alfa Romeo Series 3 Spider and zipped from Colorado to California’s Santa Monica Mountains for a little R & R. It was a far cry from the days that would follow in Hollywood, when I couldn’t take two steps along the Sunset Strip without bumping into a workin’ girl or a flyer for Mötley Crüe, Guns N’ Roses, or the dukes of glam/ sleaze-rock: Faster Pussycat. Although I was smitten with that Spider and Faster Pussycat’s Taime Downe the attention it afforded, it was the skank, rank, and dank of those eyelinerdrenched Hollywood rock clubs that left an indelible impression on my psyche, making that summer one for the books. That’s all I’ll say about it without a lawyer present.

So here we are, 25 years later, and Faster Pussycat is still on the move, albeit with a few split-ups, lawsuits, and other bumps and bruises along the way. But why sweat the boring details? Even the flannel-encrusted grunge movement couldn’t keep the good glam down. At 9 p.m. Tuesday, March 5, between dates at Las Vegas’ Hard Rock Hotel and Oklahoma City’s Chameleon Room, Faster Pussycat hits The Underground at Evangelo’s (200 W. San Francisco St., 577-5893) to headline a bill that also includes Aussie rockers The Art (www.followtheart.com) and Santa Fe’s Kiss-tribute foursome Love Gun. Faster Pussycat founder and frontman Taime Downe is the only original member in this year’s North America/Europe tour lineup, and he hasn’t lost his FP mojo. In fact, his musical meanderings over the past 15-20 years have only served to further cultivate the Faster Pussycat’s hard-driving sound. A stint in industrial-rock supergroup Pigface (most notably as part of the band’s ’94 North American tour) and the formation of his own industrial-rock outfit, The Newlydeads, broadened Downe’s musical horizons, but he’s never strayed too far from his L.A. sleaze-rock roots.

Hit singles like “Bathroom Wall” and “Poison Ivy” and more subdued bleach-blond glam ballads such as “House of Pain” put Faster Pussycat on the map. And while major chart success has been elusive for them, these glam rockers still have a massive cult following that has kept the genre’s relevance in rock history strong enough to justify taking the party back out on the road in 2013.

It’s interesting to look back at a just-getting-started Faster Pussycat in Penelope Spheeris’ raucous 1988 music documentary Decline of Western Civilization II: The Metal Years and hear the band talk about being pelted with rocks and garbage during a gig in San Francisco (the segment can be seen on YouTube).

When Spheeris asks the band members what it feels like if the audience obviously dislikes them, one of them replies, fully imbued with the spirit of ’80s-era L.A. rock ’n’ roll, “If they don’t like it, tough.” He says more, but for the sake of sparing your appetite, let’s not go there.

Over the years that attitude hasn’t softened, and it’s the main reason Taime Downe and Faster Pussycat still draw a rabid fan base to live shows: in rock ’n’ roll, you have to stand up for what you believe in, or no one will have a reason to believe in you.

Advance tickets for the 21-and-older concert are $15 at the venue, $20 the night of the show.

— Rob DeWalt rdewalt@sfnewmexican.com Twitter: @Flashpan @PasaTweet

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

PASATIEMPO

55

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