Pastiempo, Oct. 26., 2012

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

Presents

Alloy Orchestra

October 26, 2012

Lensic Presents BROADCAST I N H D

Celebrate the release of Beaujolais Nouveau at

Timon of Athens

by William Shakespeare

Thursday, November 15 4-course dinner paired with 4 different wines from Beaujolais $48

November 8 Shakespeare’s strange fable of consumption, debt and ruin stars Simon Russell Beale, hailed by Britain’s The Independent as “the greatest stage actor of his generation.”

7 pm $22/$15 students

$4 LUNCH GIFT CERTIFICATE

Present this certificate Tues.- Sat., 11:30 - 2:30 through November One certificate per person p hoto: johan p erss on

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

t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

231 washington ave., santa fe

This Week’s Luncheon Specials starts today…takeout available

Lunch

Herb Roasted Chicken Enchiladas w/ Red & Green Chile, Asadero Cheese & Chayote Calabacitas 10.00

Dinner

Crispy Chicken Schnitzel on Herbed Housemade Papardelle w/ Vermouth, Capers, Parsley & Lemon 22.00

Drink Special

Organic Apple Cider Bellini 5.00 Lunch & Dinner Every Day! (Join us for Sunday Brunch) 505 ï 984 ï 1788 reservations, recipes & ‘instant’ gift certificates: www.santacafe.com

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October 26-November 1, 2012

bar menu ï dinner nightly from 5:30 982.8608 ï 548 agua fria ï www.ristrarestaurant.com

TM

Introducing TruSculpt : The only fat reduction with skin tightening laser in New Mexico!

Tighter Skin Loss of inches

Smoother, more contoured shape

www.truSculpt.com

Informational Seminar With Special Pricing!

Date: Time: RSVP: Location:

Reduction in the appearance of cellulite

November 7, 2012 4-5pm AND 5:30-6:30 505-954-4422 2205 Miguel Chavez Rd St E. Santa Fe, NM 87505

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Santa Fe Prep invites you to Admissions Open House,

TODAY* at 2:00 pm, Friday, October 26th.

What matters isnĂ­ t just the ratio between your child and a teacher.

ItĂ­ s also the relationship.

While you may have heard of community service, outstanding academics, arts, and athletics, you have never seen a faculty bring them to life with such passion and dedication. *If you miss our Open House, then please call for a tour.

Contact Mike Multari, Director of Admissions, at mmultari@sfprep.org or 505 795 7512 sfprep.org 4

October 26-November 1, 2012

TONIGHT . OCTOBER 26, 2012 . 5-7PM

L A S T F R I D AY A R T WA L K In Santa Fe’s Vibrant Railyard Arts District TONIGHT . JULY 30 . 2010 . 5-7PM LAST FRIDAY EVERY MONTH

TAI GALLERY Plastic Garden

CHARLOTTE JACKSON FINE ART Winston Roeth, New Paintings

LEWALLEN

S PA EO

MARKET STATION FARMER’S MARKET

DE PE

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SITE Santa Fe

LTA

LEWALLEN GALLERIES Autumn Group Show

More Real? Art in the Age of Truthiness In a world where reality and illusion blend ever more easily, who needs Photoshop?

SANTA FE DEPOT

RAILYARD PLAZA

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TAI

R A I L YA R D PA R K G

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WILLIAM JAMES DAVID KELLY RICHARD SIEGAL CHARLOTTE JACKSON

JAMES KELLY CONTEMPORARY Aldo Chaparro, I’ve Lost Control Again Wes Mills, To Tease A Hummingbird

VISIT SITE SANTA FE TO SEE

P RAILYARD PARKING GARAGE

– RICHARD LACAYO,

TIME Magazine, on More Real?

T TA N

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REI

READ ST.

WAREHOUSE 21

WILLIAM SIEGAL GALLERY 19th c. Bolivian Nañakas

CAMINO DE LA FAMILIA

EL MUSEO CULTURAL

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DAVID RICHARD GALLERY Fred Eversley, Billy Al Bengston, Judy Chicago & Doug Edge

MANHATTAN

CAMINO DE LA FAMILIA

ZANE BENNETT CONTEMPORARY ART David Kapp & Michael Petry

ZANE BENNETT

Seung-Woo Back, Untitled (2004), from Real World series, courtesy of the artist

The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston.

We invite you to come and experience all we have to offer.

PASATIEMPO

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THE SANTA FE NEW MEXICAN

October 26 - November 1, 2012

ON THE COVER 32 Phantom of the Alloy Orchestra For more than two decades, the Alloy Orchestra has been composing and performing soundtracks to films of the silent era using a wide variety of instruments, including material gleaned from the guts of junked cars. On Wednesday, Oct. 31, the group — presently made up of Roger Miller, Terry Donahue, and Ken Winokur — provides accompaniment for the 1925 Lon Chaney classic The Phantom of the Opera at the Lensic Performing Arts Center. Miller, a former member of the enduring postpunk outfit Mission of Burma, spoke with Pasatiempo’s James M. Keller (see Page 32) about Alloy’s work. And Jon Bowman recounts the tale of the Phantom’s leap to the big screen on Page 36. Pleasant screams ...

BOOKS

MOVING IMAGES

14 In Other Words Tashlinesque 16 Dark ages Trent Zelazny’s new novel 40 Listening in on listeners Life before 8-tracks

52 Pasa Pics 56 Screen Gems: Halloween 60 Cloud Atlas

MUSIC AND PERFORMANCE 18 20 22 25 26 44 71

CALENDAR

Terrell’s Tune-Up GaragePunk Hideout Halloween Pasa Reviews Charlie Christian Project Pasa Tempos CD Reviews Onstage This Week Behold the power of Love Gun Arcos Dance Drum-and-bugle-core Isn’t it Romantic? Early film scores on CD Sound Waves AU-some. Totally AU-some.

64 Pasa Week

AND 11 Mixed Media 13 Star Codes 62 Restaurant Review

ART 28 Taking the floor Robin Gray’s rug designs 48 Stephen Strom Macrocosms in micro

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

Arcos Dance, photo by Mark Garrett

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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 Jon Bowman, Laurel Gladden, Lauren Elizabeth Gray, Robert Ker, Bill Kohlhaase, Wayne Lee, Jennifer Levin, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Michael Wade Simpson, Roger Snodgrass, Steve Terrell, Khristaan Villela

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2012 The Santa Fe New Mexican

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Robin Martin Owner

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Ginny Sohn Publisher

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ADVERTISING DIRECTOR Tamara Hand 986-3007

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MARKETING DIRECTOR Monica Taylor 995-3824

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ART DEPARTMENT DIRECTOR Scott Fowler 995-3836

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GRAPHIC DESIGNERS Rick Artiaga, Dale Deforest, Elspeth Hilbert

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ADVERTISING SALES Kaycee Canter 995-3844 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

JACKALOPE

25th ANNUAL

RUGS! F F O % 0 5 c) (excludes Zapote

FRI, SAT & SUN We’ve received new shipments of Talavera, Furniture & Rugs!

We still have Fresh Roasted Green Chile and Ristras!

Xanadu Gallery Up to 40% off Jericho Nursery 20% off all items Imports from Indonesia 20% Off Prairie Dog Glass 20% off Furniture 10-15% Off At least 10% Off everything else in the store!

OUTDOOR POTTERY!

40% OFF

2820 Cerrillos rd, santa Fe, nM ï 505 471 8539 ï www.JaCkalope.CoM

PASATIEMPO

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! m a e r c S o t y d a e R Get

The Lensic and KBAC Present

The Phantom of the Opera & Alloy Orchestra

October 31 7 pm, $10–$20

Spend Halloween at The Lensic!

Lon Chaney Sr. stars in the 1925 silent classic, presented in restored 35mm film with a haunting soundtrack performed live by Alloy Orchestra!

PHANTOM OF THE OPERA COSPONSOR

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

t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

safe trick-or-treating

SFCC Halloween Fall Festival Wednesday Oct. 31 3 to 6 p.m.

FREE! ï Games and prizes ï Face painting ï Popcorn, candy, and snacks

Main Entrance Santa Fe Community College 6401 Richards Ave., Santa Fe

Learn More Visit www.sfcc.edu or call (505) 428≠ 1000.

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October 26-November 1, 2012

Landscape Dreams, A New Mexico Portrait

at CCA Cinematheque, 1050 Old Pecos Trail FREE ADMISSION book signing following presentation Hosted by GARCIA STREET BOOKS and WILLIAM R. TALBOT FINE ART 376 Garcia Street Santa Fe, NM 87501 505-986-01561

www.garciastreetbooks.com Open 7 days 9-6 next to Photo-Eye and Downtown Subscription

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

Friday October 26th, 6 - 7 pm

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

(505) 989-3435

A Presentation by Photographer Craig Varjabedian

The C.G. Jung Institute of Santa Fe Presents:

Jung In The World

Open Public Forum

Guilford Dudley, Ph.D.

Jungian analyst practicing in Santa Fe & Albuquerque

Jerome Bernstein, M.A.C.P., NCPsyA., Jungian analyst practicing in Santa Fe

Barry Williams, M.Div., Psy.D. Jungian analyst practicing in Taos

Open Forum: The Relevance of Jung’s Psychology to Our Political Crisis Friday, November 2nd 7-9pm $10 2 CEUs Presenting challenging perspectives based on Jungian psychology, three panelists will launch our discussion with brief provocative remarks about the current political scene. Can the extreme polarization in our country be viewed as opposites that, if we can contain them, could give rise to a whole new archetypal reality and consciousness? In Jung’s alchemical imagery this possibility would be gold emerging from an intense fire. Are we on the brink of the in-breaking of a new archetype that none of us has expected? Alternatives to this outcome are much darker. For example, corporate greed for extracting oil from tar pits in Canada alone can bring our planet past the tipping point of how much carbon concentrations the planet can tolerate, according to a prominent NASA scientist. Such a possibility raises questions about the madness of pervasive denial and dissociation.

Event takes place at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe For information contact Guil Dudley, 505-570-0577 For expanded program details go to www.santafejung.org PASATIEMPO

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MYOFUNCTIONAL IMPLANT & IV SEDATION DENTISTRY 505.662.4503 | ALPINELASERDENTAL.COM | CURTIS BROOKOVER, DDS, FAGD, AF-AAID 10

October 26-November 1, 2012

R! U Z tA Wa

MIXED MEDIA

NE

Happy Hour

7 nights a week from 5 to 6:30 pm Half Off Appetizers & Select Wines by the Glass

Courtesy Palace of the Governors Photo Archives, Neg. No. HP.2011.20.59

2 course prix fixe dinner $19.95 Every Night starting at 5 pm

Choose one appetizer and one entrée from our regular menu Mention this offer when you order

428 Agua Fria, Santa Fe ï 992≠2897 ï www.azursantafe.com

Above, Donald Woodman: The Rodeo and the West #22, 1988; right, the photographer

$23

prix fixe menu

Photographic memories Over the past four decades, photographer Donald Woodman has worked with photographer Minor White at the Massachusetts Institute of Technology, at the National Solar Observatory at Sacramento Peak near Alamogordo, as personal assistant to painter Agnes Martin, and as a longtime collaborator with his wife, artist Judy Chicago. From cloudscapes to gay rodeos to a series of portraits of his therapist, Woodman has infused his photography with poignancy and, at times, humor.

Chicago and Woodman embarked on an eight-year venture, begun in 1985, that culminated in the traveling exhibit The Holocaust Project: From Darkness Into Light. Woodman serves as executive director of Chicago’s Through the Flower, a nonprofit feminist arts organization. In his photographs he explores gender issues and Western themes, among other topics.

Woodman’s work is on view through Feb. 10, 2013, as part of the exhibit Altared Spaces: The Shrines of New Mexico at the New Mexico History Museum (113 Lincoln Ave.).

Woodman recently donated his archives to the New Mexico History Museum’s Palace of the Governors Photo Archives. He gives a talk, “My Life in Photography: A Career Overview,” at the museum’s Meem Community Room on Sunday, Oct. 28, at 3 p.m. The event is by museum admission (free for New Mexico residents on Sundays).

In conjunction with Woodman’s talk, the museum will announce details of its New Mexico Photo Legacy Project, designed to aid the museum in acquiring new collections. Call 476-5200.

— Michael Abatemarco

SER VED ALL EVENING 7 NIGHTS A WEEK

1501 Paseo de Peralta, Santa Fe | 5:30-10:00pm | 505.955.7805 | www.hotelsantafe.com

DAY OF THE DEAD JEWELRY

Run from what’s comfortable. Forget safety.

Live where you fear to live. Destroy your reputation. Be notorious. – Rumi Sanbusco Market Center ï 500 Montezuma 216≠7 769 ï www.mercedesvelarde.com PASATIEMPO

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Oí Keeffe aND Her HOUSeS: a PUbLIc LecTUre Enjoy a talk about O’Keeffe’s home and life in the northern New Mexican village of Abiquiu by the Museum’s Director of Historic Properties, Agapita Judy Lopez. Architect Beverley Spears follows with an account of adobe building and the artist’s home at Ghost Ranch. Both speakers are contributors to the book Georgia O’Keeffe and Her Houses: Ghost Ranch and Abiquiu (Abrams, 2012).

When: Monday, October 29, 6 PM Where: St. Francis Auditorium, New Mexico Museum of Art 107 W. Palace Avenue Cost: $5; Members and Business Partners, Free Reservations suggested: 505.946.1039 or online at okmuseum.org

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PracTIcaL INTUITION fOr creaTIVeS: aN aDULT LearNING PrOGraM

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Solve a Challenge with Intuition (Nov. 1): Creative people encounter challenges while executing projects. In finding solutions, you have a powerful tool: intuition. Learn the fascinating process of your intuition.

Make a sketchbook of intuitive ideas and techniques that work for you while solving a challenge.

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Initiate Your Next Project with Intuition (Nov. 8): Explore a new project intuitively, expanding your possibilities while remaining authentic to your insights. Capture intuitive techniques in a sketchbook that encapsulates your new idea.

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Both sessions led by Jean Rivard, J.D., M.A., teacher of intuitive intelligence for over 20 years and counselor to gifted people.

When: Thursday, November 1 & 8, 9:30 AM–NOON Where: Museum Education Annex, 123 Grant Avenue Cost: $25 for the series. Members and Business Partners, $20 Reservations required: 505.946.1039 or online at okmuseum.org

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When: Monday, November 5, 8:30–9:45 AM Where: Georgia O’Keeffe Museum, 217 Johnson Street Cost: Free with Museum admission; Members and Business Partners, Free Reservations taken up to the Friday before program: 505.946.1039 or online at okmuseum.org

217 J OH NSON STreeT, SaNTa fe, NM ï 5 O5 . 9 4 6 . 1 O O O ï O K MUSeUM. O r G OPeN DaILY 1O aM ñ 5 PM ï OPeN LaTe, UNTIL 7 PM, frIDaY eVeNINGS LaST WeDNeSDaY Of eacH MONTH OPeN NOONó 5 PM, UNTIL MaY 1, 2O13

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As American Modernists sought the “American Scene” among the skyscrapers of New York, Georgia O’Keeffe found inspiration for a new kind of American painting in the exotic and familiar places of northern New Mexico. Join us for a look at how O’Keeffe’s interpretations of a specific site became a series of iconic paintings. Led by Carolyn Kastner, associate curator, Georgia O’Keeffe Museum.

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Dog Tarot Card Readings

STAR CODES

Saturday, October 27th 1-3pm

Heather Roan Robbins

with Heidi Schulman Designer of these wonderful cards; she will do readings for you and your dog.

Imagination infuses this Halloween, Samhain, the Scorpio holiday in which, ideally, we face our fears with humor and creativity and sweeten the future by giving sweets to children at our doors.

Friday dawns emotional, even weepy, and then breaks into a feisty weekend as the moon enters Aries. Stand back if tails start to twitch, as our tempers can spike quick and hot but blow over just as quickly if we feel heard and have room to move. If we find ourselves in an unstable situation, let’s not feed the fire but take care of ourselves and take care of business.

We can get riled up for a cause, whatever it is. Last-minute campaigning can get pretty ugly as competitive Mars opposes Jupiter this weekend and the week begins under a stubborn full moon in Taurus. Emotions stay fueled all week, so people will react quickly and with intensity, whether they’re laughing at a joke or swearing at an opposing viewpoint.

All week our heart may feel unsettled; we may expect more out of our relationships and place bigger demands on our creative muses. Venus enters its own romantic and egalitarian sign of Libra on Sunday but also approaches an opposition with unsettling Uranus and a square to transformative Pluto.

It will be easy to get lost in our hopes and fears as thoughtful Mercury is in truth-seeking Sagittarius and a confusing square to imaginative Neptune.

Let the mind roam, but come back to the present point in time and space to take the next step.

Friday, Oct. 26: The mood is emotional this morning but shifts gears midday and shifts attitudes by tonight. Look for interesting news with a karmic twist early on as Mercury trines the Pisces moon. Gently follow up personal connections or unfinished conversations. Tonight, leave delicate subjects alone.

Saturday, Oct. 27: Overnight strangeness requires processing; feel rather than decide while the moon conjuncts Uranus and squares Pluto. Pay attention to real-estate news and home reorganization. Give one another breathing room. Evening is direct and humorous.

Sunday, Oct. 28: Get tired or take on a positive challenge so as not to fight while Mars opposes Jupiter. By evening, Venus enters Libra and we’ll relax a bit; though the competitive edge can stay fierce, we may be more willing to see beauty in the ones we love.

Monday, Oct. 29: Get grounded and organized before proceeding as the waxing moon enters stabilizing, stubborn Taurus this morning. News flies and conversation becomes more open as Mercury enters versatile Sagittarius and squares dreamy Neptune. Ask qualifying questions. Play it safe around water problems, bad weather, and escapist substances. Don’t push people around under this year’s most stubborn full moon.

Zoe & Guido’s Pet Boutiqueï 607-A Cerrillos Road 988-2500

Emanuela Aureli ≠ Necklaces opening reception tonight 5≠ 8

contemporar y jewelr y ï sanbusco market 500 montezuma st ï santa fe ï 992.0020 www.eidosjewelr y.com

IT’S TIME TO MAKE DONATIONS OF ART FOR 2012 TAX CREDIT CALL US FOR THE APPRAISAL.

Bernard Ewell ART APPRAISALS

Tuesday, Oct. 30: We’re extra aware of body language; notice the signals but don’t read too much into them. Stay present as the sun sextiles Pluto.

Financial opportunities are possible, but if they sound too good to be true, they are.

ì The Mortgage Expertsî

Wednesday, Oct. 31: It’s a great day to disappear into alter egos and play with costumes, but a lousy day for concentration. Disappear into fantasy as the Gemini moon challenges Mercury and Neptune, but pay attention during a confusing evening. Imagination is cranked high; some feel the magic, others need comforting.

Thursday, Nov. 1: Roll with wild and diffuse conversations but focus inner chatter. Emotional relationships become volatile; we may feel frustrated as Mars semisquares Saturn yet electrified as Venus opposes Uranus. Be wary of a desire to throw everything out and experiment with an entirely new look, spouse, or job. ◀ www.roanrobbins.com

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428≠ 0331 PASATIEMPO

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IN OTHER WORDS Tashlinesque: The Hollywood Comedies of Frank Tashlin by Ethan de Seife, Wesleyan University Press, 251 pages Frank Tashlin remains an underappreciated sometimes-master of film comedy, Ethan de Seife notes early in Tashlinesque: The Hollywood Comedies of Frank Tashlin. The author argues that, unlike many of his contemporaries, Tashlin filled his comedies with sexually provocative gags, aural jokes more suited to radio, and bits involving the twisting of the human body in ways that seem quite impossible. Tashlin was an odd mix of studio journeyman and auteur in that he took on projects the studio assigned to him and pictures he co-wrote or co-directed.

Tashlin’s work rises well above average but falls short of great: the almost-forgotten domestic comedy The First Time, the Dean Martin and Jerry Lewis farce Artists and Models, the irreverent rock ’n’ roll spoof The Girl Can’t Help It, and perhaps his most successful work, the satire Will Success Spoil Rock Hunter? — all from the 1950s.

Tashlinesque — the author takes the title from a Cahiers du Cinéma article about Tashlin written by Jean-Luc Godard — is a fun and respectful tour into the cinematic mind of the filmmaker, whose career began as a cartoonist for Warner Bros.’

Porky Pig shorts. Tashlin didn’t care for Porky — the little pig’s stout body and stuttering voice didn’t allow for much creative comic play. Tashlin got to work with a more pliable comic cartoon character in Daffy Duck, and from there it was a hop or two to making feature films starring Lewis, Danny Kaye, and Bob Hope, among others. “Tashlin was uncommonly single-minded in his pursuit of humor,” de Seif writes. The payoff to an elaborate visual joke was much more important to him than any emotional depth his actors might bring to the work.

The book succeeds when it details the making of Tashlin’s films and examines the battles he seemed to enjoy waging with the censors who tried to uphold the Motion Picture Production Code (1930-1968) in the face of Tashlin’s suggestive sexual shenanigans. There is a scene, in 1955’s Artists and Models, in which Lewis, dressed in a mouse costume, is led to the bedroom of a sexy spy (played by Eva Gabor) who is up to no good. As the two run up the stairs for some presumably erotic play, the mouse’s tail, dragging along the stairs, suddenly stiffens. The gag’s intent is obvious, and the censors battled Tashlin and his producer, Hal B. Wallis over it, but the naughty bit remains in the film, as does the throwaway insult “butt brain” (said by Martin’s character of Lewis’ character). Tashlin, de Seif writes, deliberately filmed these off-color bits in a manner that would make them difficult for the studios to cut without spending a lot of money.

Tashlin’s most biting humor goes beyond sex, taking aim at pop-culture heroes, Hollywood, and advertising. Look at the opening credits of Will Success Spoil Rock Hunter?, which spotlights a series of television commercials featuring wonder products — all of which disastrously and hilarious break down on camera. Most of Tashlin’s films still have the power to amuse, but you can see the weaknesses in his work. His least effective films have gags and jokes that do not move the plot forward. No wonder he and Lewis hit it off so well: so many of the latter’s movies feature a string of antic bits that appear to have nothing whatsoever to do with the story line.

Tashlin was a restless man, moving from studio to studio without cementing ties. He chose not to start his own production company, which, the author suggests, may have been a mistake, as that sort of independence might have given him more artistic control. There is little of interest in Tashlin’s last five or six films; he pulled away from the business by the end of the 1960s and died of a heart attack a few years later.

Tashlinesque is not a biography, and you may find yourself wishing for more personal information about the man. It’s unfortunate that the author does not devote much space to the many films in which Tashlin created uncredited gags but did not direct. Early on, the author suggests that the time is now ripe for a major Tashlin revival, with film societies and DVD companies unleashing fresh prints of Tashlin comedies for an eager audience. Near the book’s end, de Seife concedes that his introductory words may be premature: “Tashlin’s association with low comedy has dimmed his reputation within film history. ...

Comedy was Tashlin’s home and the best fit for his talents, but it was also, in many ways, a curse.”

— Robert Nott

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October 26 - November 1, 2012

book reviews

SUBTEXTS Docent tours of macabre worlds Some literature is better suited to graphic adaptation than others. Sure, Robert Crumb has made something of Franz Kafka’s stories and the book of Genesis, while Chester Brown’s illustrated Lady’s Chatterley’s Lover carries all the scandal of the original and then some.

But it’s stories that speak to the comic-book tradition of horror, mystery, and science fiction that make that leap best. The folks at the Graphics Classics series (published by Eureka Productions) seem to know this. Previous editions have gathered illustrated tales from Edgar Allan Poe, Ambrose Bierce, Bram Stoker, and H.G. Wells. Now, just in time for fright night, comes the 23rd volume in the series, Halloween Classics. The five-story collection is presented in the vein of EC Comics, the 1940s and ’50s publishers who gave us Tales From the Crypt and other macabre titles that led to Congressional hearings (now that’s scary!). Halloween Classics honors those days with a title-page illustration from EC veteran Al Feldstein and segues provided by writer Mort Castle and illustrator Kevin Atkinson and hosted by “Nerwin the Docent,” straight out of the Tales From the Crypt formula.

Apart from Nick Miller’s cartoonish illustrations for Mark Twain’s “A Curious Dream” and Shepherd Hendrix’s stiff drawing for Washington Irving’s “The Legend of Sleepy Hollow,” these tales carry stylistic sophistication that kids in the ’50s wouldn’t recognize.

The browns, grays, and blacks of Simon Gane’s illustration of Arthur Conan Doyle’s “Lot No. 249” create sinister airs. The stark colors and contrasting eyes of the characters drawn by Matt Howarth for “The Cabinet of Dr. Caligari” suggest who’s really alive and who is not. Best are Craig Wilson’s illustrations for H.P. Lovecraft’s “Cool Air.” Wilson’s geometric settings, weird perspectives, and shadowed characters bring a chill not felt elsewhere. This collection won’t haunt your dreams. Then again ...

— Bill Kohlhaase

Seven Places in America: A Poetic Sojourn by Miriam Sagan, Sherman Asher Publishing, 134 pages The boundaries between traditional writing genres are disappearing faster than lines in the sand. Flash fiction, prose poetry, creative nonfiction, creative memoir — new names keep being coined to describe hybrid literary territories.

Into this brave new word world comes Seven Places in America: A Poetic Sojourn by Miriam Sagan.

This is not the first time the founder and director of Santa Fe Community College’s creative writing program has pushed literary borderlines. The awardwinning poet has published 25 previous books, including the poetry collection Map of the Lost.

For this latest excursion, Sagan groups poems into seven sections based on her visits to Everglades National Park; The Land (an art site in Mountainair, New Mexico); the Santa Fe River; Petrified Forest National Park; Stone Quarry Hill Art Park (in upstate New York); indigenous earthworks, or mounds, scattered through the American Midwest and Southwest; and the H.J. Andrews Experimental Forest (in westcentral Oregon).

The book contains an epigraph by geographer Yi-Fu Tuan (“Place is a special kind of object — an object in which one can dwell”), a general introduction explaining the project’s geographic and literary scope, and prose introductions to each of the poetry sections. The work is almost like an extended version of a haibun, a Japanese form that intersperses prose and haiku.

The result could be called a “verse travelogue,” except that it’s not so much about traveling as it is about settling into seven very different environments. In each, Sagan explores with unquenchable curiosity and a probing intelligence not only the unique flora, fauna, and landscape but also her own place among them.

Using free verse and a variety of forms (villanelle, haiku, pantoum), Sagan studies her natural surroundings with microscopic focus, always searching for her relationship to them. In “Secret Garden Trail,” she glimpses “A pond full of water lilies/In all directions — /An inner self/That also shifts shape.”

In other poems, Sagan writes about a rare tree snail, a nest of baby alligators, a poinsettia, and a circle of bluebonnets.

She is equally fascinated with geology. Islands are “a border ... between sleep and waking”; the Painted Desert represents “the dark carboniferous layer of life”; and a fossil fern becomes “a feeling of what I’ve tried/to hold on to.”

Solitude is a recurring theme here, a lens through which Sagan comes to terms with her own existence. In the Everglades introduction, she notes that “Solitude is the state of physical aloneness, but often coupled with a sense of greater connection — even simply to a sense of self.”

Sagan’s “greater connection” to the seven environments is evidenced throughout Seven Places in America. This is a book to stimulate an appetite for the world, and to quench it. Over and again, Sagan urges the reader to observe and reflect, as in the final stanza of “Reflection Points”:

In Pursuit of Cultural Freedom A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

DAVID SUZUKI with Clayton

Thomas-Müller

WEDNESDAY 7 NOVEMBER AT 7 PM LENSIC PERFORMING ARTS CENTER David Suzuki is a scientist, author, broadcaster, and cofounder of the David Suzuki Foundation, established in 1990 to “work with government, business and individuals to conserve our environment by providing science-based education, advocacy and policy work for social change that today’s situation demands.” Dr. Suzuki is Professor Emeritus at the University of British Columbia in Vancouver and recipient of numerous awards, including the 2009 Right Livelihood Award and UNESCO’s Kalinga Prize for the Popularization of Science. Author of more than 50 books, his newest work is Everything Under the Sun: Toward a Brighter Future on a Small Blue Planet, coauthored with Ian Hanington.

Human use of fossil fuels is altering the chemistry of the atmosphere; oceans are polluted and depleted of fish; 80% of Earth’s forests are heavily impacted or gone; yet their destruction continues. An estimated 50,000 species are driven to extinction each year. We dump millions of tons of chemicals, most untested for their biological effects, and many highly toxic, into air, water and soil. We have created an ecological holocaust. Our very health and survival are at stake, yet we act as if we have plenty of time to respond.

— David Suzuki

TICKETS ON SALE NOW

reflection means to think but also to see by means of visible light in the old growth — this world, this self.

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

Sagan’s invitation “This is a table,/Eat at it” extends not only to this world and to self but also to this insightful, boundary-bending collection.

www.lannan.org

— Wayne Lee

PASATIEMPO

15

Rob DeWalt I The New Mexican

Trent Zelazny’s neo-Western noir ife is stranger than fiction, and if you’ve lived it anything like Santa Fe-based novelist Trent Zelazny has, it can be a little darker than fiction, too. He is the son of well-known sci-fi/fantasy writer Roger Zelazny, who died in 1995. And while he is his father’s son, Zelazny has cut his own path in the literary world. “I guess I started by writing science fiction and fantasy, maybe because that’s what I thought I was supposed to do, because it was in the family blood,” Zelazny told Pasatiempo during an interview at a southside café. “But I wasn’t that big of a science fiction fan — as a kid I was more into horror — and I wasn’t really any good at writing sci-fi either.”

On Wednesday, Oct. 31, Black Curtain Press releases Zelazny’s latest book — Too Late to Call Texas, a thrilling neo-Western noir novel. “I was having a conversation with my brother and had the urge to talk to writer Joe R. Lansdale, who was living in Texas. I looked at my watch and it was an hour later there, and I said, ‘It’s too late to call Texas.’ My brother said, ‘Sounds like a book you’d write.’ Instantly, the story came to me.” Zelazny started writing it in January 2011 and finished it three months later.

Years ago, Zelazny received his first major rejection notice, sent to him from Gordon Van Gelder, editor of The Magazine of Fantasy & Science Fiction. But instead of sending him a simple form letter, Van Gelder gave Zelazny some personal, and rather prophetic, advice.

“He said to try my hand at crime and noir fiction, and he thought I might have a knack for that kind of voice. I of course didn’t agree, but soon after the rejection, I saw the 1948 film The Treasure of the Sierra Madre and read the book, which led to watching and reading all the crime noir I could get my hands on.”

Zelazny sold his first short story, a horror piece titled “Hope Is an Inanimate Desire,” in 1999. His second sale, a short work titled “Harold Asher and His Vomiting Dogs,” came soon after. Zelazny pegs the beginning of his professional writing career to the 2009 publication of his short-story collection The Day the Leash Gave Way and Other Stories (Wilder Publications). Since then, he has created a number of novels, novellas, e-books, an audio book, and short-story collections and anthologies, both as a writer and an editor.

Influenced greatly by first-generation pulp writers such as David Goodis, Cornell Woolrich, Jim Thompson, and Jonathan Craig, Zelazny also cites Lansdale and Donald E. Westlake — as well as existentialist philosophers Søren Kierkegaard and Jean-Paul Sartre — as strong influences. But Zelazny’s most impactful mentor has been Jane Lindskold, an accomplished fantasy and science fiction writer who was very close to his father. “I haven’t spoken to her in a while, but I’d be lying if I said she wasn’t instrumental in helping me figure out a lot of things. She gave me advice, told me to keep at it, but she never told me what to read or how to write.”

Zelazny finds solace in writing about dark subjects. It’s a practice that stems from events that drastically changed the course of his life a few years ago — events he candidly shared with Pasatiempo. Those who follow Zelazny on social networks or read his posts at www.trentzelaznybloggetyblog. blogspot.com know that in April 2010, his fiancée committed suicide during a solo camping trip while the couple resided in Florida. “That messed with me pretty bad. It didn’t help my already-developing drinking problem, which was not full-blown. Losing her pushed me over the edge.”

After his fiancée’s death, Zelazny wandered Florida, did a brief stint in jail, slept in alleyways in Tampa, and then fulfilled a few obligations in Seattle. But on July 4, 2010, years of unchecked panic attacks and depression came to a head, and Zelazny attempted suicide. In August that same year, in just a few weeks, Zelazny wrote Fractal Despondency, a 76-page paperback novella and one of his finest short works. Immediately following the completion of Fractal Despondency, he wrote another novella, Shadowboxer.

“Those were two works that were very much dealing with loss. It was a way of coping. It took some time to stop blaming myself for [my fiancée’s] death. I checked myself into rehab, and when I did so, they told me that substance abuse wasn’t the only problem, and certainly not the biggest.

My issues obviously ran deeper. I got out of rehab on my birthday. Now I tell people I have two therapists: one talks, and the other one is my keyboard.”

Zelazny sticks to a writer’s routine, albeit a flexible one. He spends at least an hour each day in front of his current works-in-progress, poring over pages, writing new ones, or revising. If the pages flow, he loses himself in the process. If they don’t, he takes stock and works on promoting

16

October 26 - November 1, 2012

his other work via the web and radio. “That way, even if I think what I’m writing at the time is crap, I still know I’m working.”

Zelazny is a full-time writer, and before he claimed that title, he worked in retail to supplement his income. His male protagonists have generally followed suit, working video-store or bookstore jobs. In Too Late to Call Texas, his male lead, Carson Halliday, doesn’t have a “real job.” “To this day I don’t know what Carson does for a living; he never told me that. Clearly he’s not that well off.”

On his way home one day, while driving along a dusty southern New Mexico road with a few beers in him, Halliday spots a cowboy hat hanging from a fence post. The hat is covered in blood and has a bullet hole in it.

Curious, Carson grabs a flashlight and gets out of his truck. “This book made me really conscious of the fact that I’m a curious person, sometimes very stupidly curious,” Zelazny said. “That’s one of the main themes of the book, I think.”

Carson discovers a corpse and a heavy trunk with some questionable items in it, including suspicious-looking bags of white powder, wads of cash, and a child’s doll. From this point forward, Halliday, his wife, his friends, and many of his enemies are walking targets. There are no easy outs here, no cozy respites from danger. Zelazny’s unspoken mantra in this title is “suffer the consequences” — of love, lust, greed, trust, and bad decisions.

The book makes an ugly, bloody, and suspenseful examination of human instinct and desire gone haywire. Too Late to Call Texas may be absent the ghouls of the Halloween season, but it is rife with the notion that we’re all haunted by memory, no matter how far we try to run from it.

Trent Zelazny wakes to coffee instead of beer these days and converses with the lingering ghosts of his life experience. He doesn’t do it so you can examine your inner demons via his writing. He does it because he needs to confront his own. Visit his blog, and also see www.zelaznyites.com. ◀

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details ▼ Book launch for Too Late to Call Texas, a novel by Trent Zelazny ▼ 6 p.m. Thursday, Nov. 1 ▼ Op-Cit Books, 930-C Baca St., 428-0321

PASATIEMPO

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TERRELL’S TUNE-UP Steve Terrell Soundtrack for Oct. 31 October is perhaps the most wonderful time of the year for fans of garage/punk/surf/ psychedelic/rockabilly/primitive-trash-rock music. Bubbling in the underground of this strange world, there’s an entire subgenre of Halloween spook music — songs of zombies, vampires, and werewolves. Brought up on the works of old masters — or is it old monsters?

— like Roky Erickson, Screamin’ Jay Hawkins, Screaming Lord Sutch, and The Cramps, the denizens of Garageville frequently employ horror-movie motifs. Usually it’s done with a wink in the eye and a tongue in the cheek — more Herman Munster than Blair Witch. But when done correctly, the music will light you up like a jack-o’-lantern.

Which brings us to Garage Monsters: The Best of the Garage Punk Hideout, Vol. 9, the latest compilation from the online garage social network. Like the previous eight collections, Hideout honcho Jeff “Kopper” Kopp assembled this mess from songs submitted from bands and musicians who are Hideout members. It’s the biggest Hideout compilation yet, with 33 songs — an hour and 37 minutes worth of music.

The download-only compilation comes with colorful monsterous cover art by Stephen Blickenstaff, most famous for the cover of Bad Music for Bad People by The Cramps back in the ’80s.

Like other Hideout volumes, there’s good variety. There’s ’60s influenced Farfisa, fuzz ’n’ fury such as “Creatures of the Night” by Paradise from Oregon; more punk-oriented blasters like “Voodoohexenshakit!” by The Brimstones of New Jersey; some one-man-band action (“I’m Your Frankenstein” by Chazdaddy

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October 26 - November 1, 2012

‘Bloody Hammer’ has to be the scariest song Roky Erickson ever sang — and that’s really saying something. from Rochester, New York); rockabillyinformed material such as “Rockin’ in the Graveyard” by Sweden’s two-man trash band Thee Gravemen; several surfy instrumentals including “The Maniac” by Thee Cormans and “The Wild Ride of Ichabod Crane” by The Blue Giant Zeta Puppies; and even a Tom Waits and ska-influenced tune, “Shoot Me Down” by an English band, Rattlin’ Bone.

Among my favorites are the all-you-can-eat cannibal rocker “Brain Buffet” by The Evil Farm Children, a Canadian band; “Shoot the Freak” — by LoveStruck — named for a nowclosed Coney Island attraction (Danish-born singer Anne Mette Rasmussen spits out the line “I am a maniac!” pretty convincingly); “A Bloody Life” by Rev. Tom Frost, a Frenchman who sounds like he’s familiar with both Nick Cave and Waits, though this song has echoes of The Dickies’ “Killer Clowns From Outer Space”; “Rattlin’ Bones,” a primitive stomp sweetened by electric organ by Fire Bad! of Oklahoma City; and the twangy, slow-burning noir-rock of “Voodoo Love Song” by Northside Garage from Cincinnati.

You can find this compilation at all the usual download joints. Listen to it at www. grgpnkrecords.bandcamp.com.

Beyond the Monster Mash: Steve Terrell’s top 11 Halloween hits 1. “Bloody Hammer” by Roky Erickson.

Actually, just about any song from his early’80s horror-rock masterpiece The Evil One would fit in on this list. But “Bloody Hammer” has to be the scariest song Erickson ever sang — and that’s really saying something. The lyrics refer to a demon in the attic, baby ghosts, and Dracula vampires, but the most frightening character is the narrator himself, a psychiatrist who insists, “I never had the bloody hammer!”

2. “Bloodletting (The Vampire Song)”

by Concrete Blonde. It’s the title song of CB’s greatest album, and it deserves to be a Halloween classic. I knew the minute I heard Johnette Napolitano sing the opening lines of this tune (“There’s a crack in the mirror and a bloodstain on the bed”) that I’d be a fan for life.

3. “Murder in the Graveyard” by Screaming Lord Sutch. In the 1960s, David Edward Sutch

was one of the first rockers to make horror themes a predominant feature of his stage show. This little tune had it all: violent death in a spooky setting with a happy melody and a rocking beat.

4. “You Must Be a Witch” by The Lollipop Shoppe. This was Fred Cole’s first major band, back in the mid-’60s, decades before Dead Moon or The Pierced Arrows. In this song, immortalized years later in the Nuggets collection, Cole sounds like he’s at the mercy of supernatural forces not inclined to show any mercy at all.

5. “Fire” by The Crazy World of Arthur Brown. British rocker Arthur Brown took Lord Sutch’s shtick to even greater heights. The familiar opening invocation, “I am the God of hell’s fire and I bring you …” was a shout heard over AM radios the world over in the psychedelic autumn of 1968.

6 & 7. “Feast of the Mau Mau” or “Alligator Wine” by Screamin’ Jay Hawkins. These are basically the same song — dark recipes with different ingredients. The former has “the fat off the back of a baboon” and the “fleas from the knees of a demon,” while the latter includes “the blood out of an alligator” and “the left eye of a fish.”

8. “I Was a Teenage Werewolf” by The Cramps. The scariest element of this song isn’t the lyrics. It’s how alien and threatening this music must sound to someone not familiar with the wild pleasures of The Cramps. Here the late Lux Interior sounds as if he’s about to sprout fangs and fur.

9. “Ghost Riders in the Sky” by Lorne Greene. I wrote a column on this hallucinatory cowboy tale a few Halloweens back. There’s a galaxy of versions of this song, but my favorite is still good old Ben Cartwright’s orchestrated take from his album Welcome to the Ponderosa.

10. “Living Dead Girl” by Rob Zombie.

While a lot of Mr. Zombie’s techno/metal doesn’t do much for me, this ditty from his Hellbilly Deluxe album always brings joy to my heart.

11. “(It Was a) Monsters’ Holiday” by Buck Owens. This was Buck’s shameless effort to cash in on the monster craze of the mid ’60s. It beat “The Monster Mash” by a country mile. ◀

The Adult Education Department of Temple Beth Shalom presents Looted Art: A Look at American Museums after the Holocaust

Fall Classic Weekend Lensic Performing Arts Center

Santa Fe Pro Musica Orchestra Thomas Oí Connor, conductor | Per Tengstrand, piano Meet the Music Introduction: Saturday and Sunday one hour before each performance.

Piano Recital Friday, November 2 at 7:30pm Schubert | Lizst

Was art stolen during the Holocaust? If so, by whom? What is the history of stolen (looted) art in World War II? How are American museums reacting to claims that they possess looted art?

Judah (Judd) Best is a graduate of Cornell University and Columbia University School of Law. He is a member of the Bars of New York and the District of Columbia. Mr. Best is a board member of the Smithsonian American Art Museum and has a second home in Santa Fe.

Temple Beth Shalom

Concerto Saturday, November 3 at 6:00pm Sunday, November 4 at 3:00pm Greig | Schubert | Beethoven

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November 5& Meet the artists and see6examples of their work at the ESPAÑOLA Collected nd 9am-5pm Works Show, Friday, November 2 from 5:30 - 7:30 at the Toolshed SANTA FE (½ mile from the hwy 68/75 intersection).

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PASATIEMPO

19

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Finale Fundraiser Nate & Bina Thompkins invite you for a reception with

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October 26 - November 1, 201

The Charlie Christian Project Gig Performance Space, Oct. 20

It don’t mean a thing if it ain’t got those strings ow is it that a jazz guitarist with a bare handful of influential years, a man who died in his early 20s some 60 years ago, continues to have such a large impact on music, even if that impact is hardly recognized by today’s jazz fans? The answer can be found in the traditions and generations of jazz, the way the music has been passed from father to figurative son, and the speed and depth with which its musicians — and in the case of swing music, its audience — came to embrace the advancements of craft and style. That impact and its subsequent refinements were on display at Gig Performance Space, where the Charlie Christian Project, a cornet-guitar quartet of like-minded musicians, swung their way through a program of music associated with the guitar great. In a single long set, the group — led by cornetist-trumpeter Bobby Shew and guitarist Michael Anthony — revealed how Christian brought the guitar into the modern world.

Before Christian, jazz guitar was mainly a vehicle of pulse and pace.

Christian’s virtuosity made the guitar equal to that of lead instruments. His way of improvising in lines like a horn was supplemented by his use of unique rhythmic harmonies and the flow of his phrasing. Anthony’s play was amply packed with examples of these advances: pleasing, sometimes aggressive melodic lines strung together in a sort of evolving narrative; off-beat and harmonically entrancing accompaniment to themes and the solos of the other musicians. A longtime session player in Los Angeles and now an Albuquerque resident, Anthony is a twice-removed Christian disciple. Guitarist Barney Kessel — who, Anthony told the crowd, was “one of my great influences” — standardized Christian’s advances beginning in the late ’40s. Kessel’s composition “Salute to Charlie Christian” was a showcase for Anthony’s harmonic inventions. His chords accompanying Shew’s smooth trumpet theme varied in duration and texture, sometimes ringing soothingly, sometimes imparting a slightly dissonant thrill. The intermittent way he dropped chords into bassist Micky Patten’s solo during “Rose Room” — Christian recorded the tune with the Benny Goodman sextet in 1939 — seemed to extend the soloist’s lyricism. Anthony’s solo on the same tune tumbled from his strings in clever descending figures until he reintroduced the melody.

Shew, best known as a trumpeter, spent most of the night on cornet.

Introducing the instrument, he told the crowd that the trumpet and fluegelhorn didn’t lend themselves to the music they were about to play. Shew, who played a handful of dates with Christian’s old boss Goodman, kept his cornet play simple and to the point, emphasizing the rhythmic side of the music while sticking close to the melodies. The exception was “Limehouse Blues” which he decorated with contrasting dynamics and Dizzy Gillespie-like squirts into the upper register. He played fluegelhorn for the ’20s-era pop ballad “On the Alamo,” filling his solo with warmth and lyrical introspection.

Patten — who was credited with coming up with the idea for a Christian project — was solid and supportive, his articulation accurate, his solos focused on a song’s melody. Drummer John Trentacosta was in his element, swinging with resolute authority. Today Christian’s innovations may sound dated, having been superseded by the jazz and rock guitarists of the last 40 years. But swing has never really gone out of favor, despite its period overtones. Anthony, Shew, Patten, and Trentacosta made a great case for the comfortable, toe-tapping attractions of this music. And in that, as jazz fans are fond of saying about any number of the departed greats, Charlie Christian lives.

— Bill Kohlhaase

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PASA TEMPOS

album reviews

John Carpenter’s WADADA LEO “The Fog” — New Expanded SMITH & LOUIS Edition Original Film Soundtrack MOHOLO-MOHOLO Ancestors (Silva Screen Records) Directed, co(TUM Records) The “griot” analogy, written, and scored by master of cinematic with all its implied elder knowledge, is a horror John Carpenter, The Fog was originally good one for the trumpet-percussion duo released in 1980, less than two years after of Mississippi-born Wadada Leo Smith and Carpenter’s runaway indie hit Halloween South African expatriate drummer Louis landed in theaters. The film tells the story Moholo-Moholo. Their music, evolved as of a glowing mist that blows into a small it is, suggests a tradition of song and story coastal California town, bringing with it the passed across generations and cultures. vengeful ghosts of mariners who were killed Avoiding the type of call-and-response there a century earlier. The new release of exchanges so common to duos, they blend the soundtrack to The Fog features two CDs worth of music from sounds in a mystical narrative that contains both the sacred and the film, which was re-cut and re-scored at Carpenter’s insistence. The profane. Moholo-Moholo’s understated patterns suggest dance and first CD includes the remixed 2000 version of the soundtrack, and the ceremony. He casts hypnotic spells by relying on lower pitches from second features the original 1980 score cues. Carpenter doesn’t deviate tom-tom and bass as well as shimmering cymbal effects. Smith weaves too far from the musical formula that helped make his Halloween score pensive, often singing phrases that carry a folklike familiarity. It’s the kind a horror classic. He relies on the same gadgetry to achieve an equally of music Joseph Campbell would find something to say about; you provocative audible backdrop. Relatively new synth and can imagine it being played around a roaring bonfire, inside sequencing technology for the time, such as the Moog Modular a pyramid’s chamber, or at the center of some sleek gallery 3 and the Linn LM-1 Drum Computer, helped Carpenter of abstract art. On a number named for the drummer, and synth programmer Dan Wyman add more texture to Smith’s muted trumpet above Moholo-Moholo’s pulsing You can imagine the score. This new release is big on spooky, hazy drone vibrations are incantatory, a combination of Miles Davis’ the music on ‘Ancestors’ — it is a film about fog and ghosts, after all — and muted trumpet work and the organic sound of trumpeter the layering of mixes and multiple tonal atmospheres Don Cherry. The five sections of the long title tune are being played around a roaring make for an effectively eerie soundscape. — Rob DeWalt a study in rhythmic variation and dynamic contrast, a mix of reverence and intensity, stated in improvisational bonfire, inside a pyramid’s MESHELL NDEGEOCELLO Pour Une Âme Souveraine: imagery. Who are the ancestors honored here? MoholoA Dedication to Nina Simone (Naïve) The first question Moholo’ s closing chant leaves no doubt. — Bill Kohlhaase chamber, or at the center one must ask about a tribute album to an artist as iconic as Nina Simone is: Does this tribute have a good reason to RY COODER Election Special (Nonesuch) Ry Cooder, of some sleek gallery exist? The question seems especially pointed when applied now in his 65th year, has some things to say about what’s to a record by Meshell Ndegeocello, an artist more renowned going on in this election cycle. On his new album, he of abstract art. for masterful bass playing than for singing. But Ndegeocello offers biting commentary on the current Republican thrust shares with Simone a tortured, frustrated approach to songs of life — couched in some great music. On nine originals, Cooder and love. And while she’s no Simone, her voice — a sultry, breathy sings and plays mandolin, guitar, and bass, while his son, Joachim croon — has always been underrated. Here, that voice fits comfortably Cooder, is on drums. The tone of Election Special is established on the among the bluesy instrumentation and the guest vocalists such as Sinead first track, “Mutt Romney Blues,” which is told from the point of view of the O’Connor and Toshi Reagon (the former adds teeth to “Don’t Take All Night,” presidential candidate’s dog Seamus, who was relegated to a carrier tied to while the latter contributes to a sexy call-and-response on “Real Real”). the top of the car during a 12-hour, 1983 vacation trip. Beautiful mandolin While Ndegeocello’s arrangements occasionally hew too close to Simone’s, opens “Brother Is Gone,” Cooder gently singing a tale of conservative her sterling production and the in-the-pocket drumming by Deantoni business leaders Charles and David Koch making a deal with the devil.

Parks make the songs feel fresh. “Suzanne” “Guantanamo” is a raunchy rock ’n’ roll pops, and “Four Women” invites an air of song, “Cold Cold Feeling” is a heavy blues, mystery. The results work best when they aren’t and “Going to Tampa” is a melodic country quite so bonded with Simone’s mythos; in song about “Mitt and Rick and Newt the particular, “Feeling Good” and “To Be Young, pep boys/Those jolly right in step boys/To Gifted, and Black” (sung by Cody ChestnuTT) the highest bidder each will guarantee.” suffer from comparison. Otherwise, the album “Take Your Hands Off It” is the stomping not only justifies its existence but rewards closer, demanding, “Get your dirty hands repeated listens. Like Simone’s singing, it’s off my Constitution now.” If there’s someclear as a pool and just ornery enough one on “the other side” with a saucy slate around the edges to make you wonder of pure protest poetry and music on what’s underneath the water. this level, let’s hear it. Quick.

— Robert Ker — Paul Weideman

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October 26 - November 1, 2012

NOVEMBER

www.sfcc.edu

CALENDAR OF EVENTS

5

MONDAY

7

WEDNESDAY

13 15

Spanish Summer Abroad Info Session

2:30 p.m., Room 214 (505) 428-1649 Come and learn about SFCC’s Study Abroad Program, a four-credit, two-week intensive Spanish language study in Perú.

Higher Education Center (HEC) College Fair

2 to 5 p.m., Main Entrance Hallway (505) 428-1182 The University of New Mexico, New Mexico Highlands University and the Institute of American Indian Arts will be present to provide information on bachelor’s and graduate degree programs available.

TUESDAY

Study Art History in Greece Info Session

2 to 3 p.m., Room 711 (505) 428-1778 Learn about SFCC’s Study Abroad Program in Greece where guides lead a study of art history, architecture and contemporary perspectives.

THURSDAY

America Recycles Day Resource Fair

9 a.m. to 3 p.m., Jemez Rooms (505) 428-1884 Environmentally- and socially-minded organizations will be on hand.

Constellations: Figures in the Sky 7 to 8 p.m., Planetarium

16 28

(505) 428-1744

FRIDAY

SFCC’s Film Program Open House

WEDNESDAY

Clay Club Annual Sale

6:30 to 8:30 p.m., Room 563 (505) 428-1738 Film Program information session, screenings, cookies and coffee.

9:30 a.m. to 7 p.m., Wednesday, Nov. 28 (505) 428-1000 and 9:30 a.m. to 7 p.m., Thursday, Nov. 29, Main Hallway

SPECIAL AND ONGOING EVENTS SFCC Career Services Seminars

(505) 428-1406

Spring 2013 Registration Begins

(505) 428-1270

Santa Fe Literary Review Call for Entries

(505) 428-1000

Thanksgiving Holiday – College Closed

(505) 428-1000

Career Services offers free workshops including: What Makes a Great Resume? on Nov. 6; Successful Interviewing on Nov. 7; Career Interest Assessment on Nov. 8; Creating A Professional Portfolio on Nov. 13; Job Search Strategies on Nov. 14; and Resume or LinkedIn Page Lab on Nov. 15. All events will be held from 3:30 to 5 p.m. at SFCC. For locations, go to the Career Services Web site at www.sfcc.edu/careerservices.

Registration for the Spring 2013 semester begins Monday, Nov. 12.

The Santa Fe Literacy Review invites submissions of poetry, fiction, non-fiction and visual arts. For details, go to www.sfcc.edu/sflr. Deadline for submissions is Dec. 1.

The campus will be closed from Thursday, Nov. 22 through Sunday, Nov. 25.

HELPING STUDENTS SUCCEED. SERVING OUR COMMUNITY. Produced by SFCC’s Marketing and Public Relations Office. Individuals who need special accommodations should make arrangements by calling the phone number listed for each event.

LEARN MORE

(505) 428-1000

www.sfcc.edu/news_and_events

PASATIEMPO

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October 26-November 1, 2012

ON STAGE Love Gun goes undead Just because Halloween falls on a Wednesday this year doesn’t mean the holiday freak show has to feel like a ho-hum hump-day. Just ask the stretchy-panted members of Santa Fe Kiss tribute band, Love Gun. Musicians Andrew Primm and Peter Williams started a cover band on a lark in 1994 while studying at the College of Santa Fe. After a meeting with guitar shredder/music educator Mikey Baker around 2000, Love Gun was born. A succession of drummers over the years hasn’t stopped the annual parade of fake blood, makeup, flash-pot pyrotechnics, and killer rock ’n’ roll, and now, former The Hollis Wake/Chango skin slammer Micah Chappell is on the kit. Catch Love Gun at 8 p.m. Wednesday, Oct. 31, at Second Street Brewery at the Railyard (1607 Paseo de Peralta, 989-3278.) After Love Gun’s set, catch the short locally produced zom-com (zombie comedy) film My So-Called Apocalypse, followed by a set by Deus Crepitus (Love Gun in zombie makeup) throwin’ down seasonally appropriate rock classics from Black Sabbath and others. There’s no cover, but come dressed up: there’s a costume contest for best, worst, and weirdest getups

THIS WEEK

Moonlit mayhem: Night on Bald Mountain

Song Preservation Society

More than a feeling: Song Preservation Society

Some good old boys from Boston are coming to town, so break out your acoustic guitars and scruffy beards and come see Song Preservation Society.

SPS brings downhome country folk with an alternative slant to create a bi-coastal sound, reminiscent of Crosby, Stills, and Nash; Paul Simon; or Bob Dylan. The trio migrated to California in 2010 and quickly rose to prominence with their easy Americana feel and soulful rhythms. Sway along with your partner at Gig Performance Space (1808 Second St., www.gigsantafe.com), at 7:30 p.m. on Saturday, Oct. 27. At $15 at the door, the musicians make a refreshing (and affordable) addition to Santa Fe’s music scene. And they’re not hard on the eyes, either.

Musorgsky’s tone poem Night on Bald Mountain was meant to depict the festivities of demons, witches, and sorcerers around the summer solstice in ancient Ukraine. The closest modern-day celebration would be Halloween, so it’s appropriate that Steven Smith should lead Musorgsky’s piece in the Santa Fe Symphony’s Halloween-week concert, which takes place at 4 p.m. on Sunday, Oct. 28, at the Lensic Performing Arts Center, 211 W. San Francisco St. Also on the program are symphonic works by Dvoˇrák, Falla, Bartók, and Malcolm Arnold. Tickets ($20-$70) are available through the symphony by calling 983-1414 and from Tickets Santa Fe (988-1234, www.ticketssantafe.org).

A preconcert lecture by Stevens, free to ticket-holders, takes place at 3 p.m.

Traveling strings: Academy of St. Martin in the Fields Chamber Ensemble Named after the London church where it gave its first concert, in 1959, the Academy of St. Martin in the Fields became one of the world’s most famous chamber orchestras as its almost countless recordings of Baroque and Classical music began to fill airwaves around the world.

The Academy of St. Martin in the Fields Chamber Ensemble, a group of eight string players from the orchestra, alights at the Lensic Performing Arts Center (211 W. San Francisco St.) at 7:30 p.m. on Tuesday, Oct. 30, courtesy of Santa Fe Concert Association. (A preconcert talk takes place at 6:30 p.m.; no charge for ticket holders.) The group plays works by Mendelssohn, Shostakovich, and Joachim Raff. Tickets ($20-$75, discounts available) can be purchased through www.ticketssantafe.org and by calling 988-1234.

PASATIEMPO

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Michael Wade Simpson I For The New Mexican

STRIKE UP THE BAND

At

Photos Mark Garrett

a recent Arcos Dance company rehearsal, artistic director Curtis Uhlemann asked the performers, clad in sweat pants, socks, and leotards, to grab their props. They came back waving shiny sabers and wearing military-style band hats, complete with chin straps and ostrich-feather plumes. The rehearsal continued.

The costumes are for Uhlemann’s new piece, The March, set to Bólero, the relentlessly building, drum-dominated orchestral piece by Maurice Ravel. The work premieres at the National Dance Institute-New Mexico Dance Barns on Friday, Oct. 26. Also on the program are Heights by Half Past, with music by Charles Mingus; The Uncommon Self, set to music by John Adams; and One of Five, a duet performed by Uhlemann and Erica Gionfriddo, the company’s associate artistic director, to music by Sigur Rós.

The concert marks the first performance of Arcos as a professional dance group. Uhlemann and Gionfriddo started the ensemble as a performing outlet for advanced student dancers two years ago (the company had its

Arcos Dance

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October 26 - November 1, 2012

premiere in 2011) but, according to the directors, the intention was always to evolve into a professional group. Now they have both — a professional touring company and A2, a group made up of students.

Uhlemann’s The March was inspired, in part, by the choreographer’s experiences as a member of two different drum and bugle corps in upstate New York from the age of 11. After a few years, Uhlemann began traveling three hours each way to rehearse every weekend in Rochester, where he appeared with the nationally ranked Patriots Drum & Bugle Corps. He specialized in synchronized rifle tricks.

As a professional dancer and choreographer, Uhlemann has kept his hat, so to speak, in the world of drum and bugle corps. He still works as a choreographer for The Cadets Drum & Bugle Corps, 10-time world champions, based in Allentown, Pennsylvania. “I get to make modern dances for 150,” he said.

Drummers, bugle players, and flag-bearing soldiers once accompanied armies into battle, but just as warfare has evolved, so has the drum and bugle corps. Think marching bands without clarinets, flutes, or trombones, offering entertainment on football fields at halftime, along with uniformed dancers (called the color guard) running around with flags, sabers, and rifles. Three of the male dancers traveling to perform with Arcos are former Cadets who, like Uhlemann, went on to study dance in college. Making the segue from marching to dancing wasn’t as unlikely as it sounds, Uhlemann said.

“Drum corps are like well-oiled machines. I learned how to organize, how a rehearsal goes. These people work all day on hot fields in 100-degree heat, all summer long.” That type of work ethic is something he was proud to be a part of. “It’s what I wanted to bring to a dance company.”

A year ago, Uhlemann invited Gionfriddo to help create movement for The Cadets. “It was surreal — it is its own world,” she said. “I gave them movement, and then Curtis had to move them from the corner of the field to the 50-yard line in 16 bars of music. It’s a different way of working.”

“They’re used to learning fast; they pick up details quickly,” Uhlemann said. “It’s easier to train a kid from a drums corps than to break the old habits of someone who has been studying dance for years. They have a raw quality. I can get them low and wide. Contemporary dancers tend to be stiff and quick.”

“Everything makes sense now,” Gionfriddo said of her experience watching Uhlemann at drum corps rehearsals. “Now I understand why he schedules rehearsals like he does, why he enjoys making patterns on stage.”

In the years Gionfriddo and Uhlemann have been creating

dances together, they have moved from a place of large, sweeping movement to something Gionfriddo described as “more quirky, intimate things. I come from a visceral, internal, asymmetrical place. It’s a good contrast to Curtis,” Gionfriddo said. “We’re not into pretty per se.

We like raw physicality.”

“I love it when a female dancer is as tough on stage as a man,” Uhlemann said. “I tell the women, move bigger than guys, and be just as strong — you’re just as powerful.”

Uhlemann said that The March came about after years of fantasizing about choreographing to Bólero.

The music, commissioned for a ballet with choreography by Bronislava Nijinska, had its premiere at the Paris Opéra in 1928. It was used to comic effect in the 1979 movie 10 featuring Bo Derek, and as a soundtrack for British ice skaters Torvill and Dean for their gold-medal-winning performance at the 1984 Winter Olympics. “I always have a collection of songs hanging in the back of my head,” Uhlemann said.

“Things I would like to choreograph to. Every year I pull them out and see if any of them would be right for the group I have right now. Things locked into place for Bólero this year. I’ve been listening to it in my car nonstop. I wanted to have a balance of militarystyle movement as well as abstract dance. It starts with one performer in front of the curtain, alone with a saber. It starts simple and gets crazier. I’m trying to resist the tendency to always work with the blocks and divisions of this repetitive music.”

In addition to the three former Cadets — Evan Turner, Ethan Warren, and Mark Willis — Arcos includes local dancers Katie Hopkins, Kelsey Paschich, Kaitlin Innis, Phylicia Roybal, Elle Jansen, and Wes Jansen. The students are learning company choreography during their technique classes and have been standing in for missing dancers during rehearsals. At the various dance schools where the two directors teach and barter for rehearsal and performance space, Gionfriddo said everyone sees the benefit of having a working company and its directors and dancers interacting with their students. “We saved money from last year knowing we wanted to evolve,” she said. “The goal was always to move into a touring company.” Arcos appears in the McCallum Theatre Institute Choreography Festival in Palm Desert, California, in November, and in eveninglength multimedia performances at Santa Fe’s Center for Contemporary Arts in February, in addition to touring in the U.S. and Germany. ◀

details ▼ Arcos Dance, mixed repertoire ▼ 7:30 p.m. Friday & Saturday, Oct. 26 & 27; 2 p.m. Sunday, Oct. 28 ▼ National Dance Institute-New Mexico Dance Barns, 1140 Alto St. ▼ $20, discounts available; reservations at 473-7434 and www.arcosdance.com

PASATIEMPO

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Paul Weideman I The New Mexican

TAKING THE FLOOR Robin Grayí s rugs world swirling with textures, colors, and patterns occupies the space between Robin Gray’s ears. She is a designer of rugs, weaving ideas in wool and silk — not only the fine stuff produced by silkworms but also “bamboo silk” and “banana silk.” Whatever the fiber, “the main thing is how well they hold up, because my rugs are all high-end, all handmade,” she said.

The rugs in her 15 collections include naturalistic works such as Flora and Bamboo, the jazzy Out of Line and Dragonfly, bold tribal pieces such as Kenge and Yombe Cross, peaceful landscape imagery such as Rios, and a fantastic range of abstractions, from the spidery grid of Motown to rugs in her new Modern series that resemble detailed close-ups of stone. Her Tapestry collection — featuring more traditional, symmetrical, floral designs — was a finalist at the 2012 Domotex Carpet Design Awards in Hanover, Germany.

Gray shows her rugs on Friday, Oct. 26, at Arrediamo in Santa Fe. She also presents information about GoodWeave, a foundation dedicated to ending child labor in the rug industry in South Asia. “Every rug I’ve produced, whether it sells or not, I pay a percentage to GoodWeave. The foundation has been working in Nepal and India, and we’re just recently into Afghanistan. They have reduced the number of illegal child laborers and indentured child laborers from over a million to less than 250,000 at this point.”

Gray explained that GoodWeave carries out its campaign by spot checking weaving shops. It also builds schools, operates day-care centers, and supports healthy working environments and better conditions for workers. “Sometimes women are the weavers and they’re not allowed out of the house, or women are the weavers and there is no one to care for the kids. And I’ve heard that in some places [laborers’ children] are given opium to keep them quiet. GoodWeave is also building a big facility to train widows and divorcées in weaving.” Each of Gray’s rugs sports a GoodWeave label.

Her first experiences in fiber arts involved doing embroidery and sewing with her grandmother in Kansas City. In her early 20s, she started doing batik and tie-dye. She earned a degree in architecture from the Pratt Institute in Brooklyn. “My dad was a sales executive with Sheffield Steel and later with Armco Steel. I think that influenced my interest in architecture. Sheffield made nails, and I would get into the new houses to look around and see if they were using Sheffield nails.” Originally with Architects Santa Fe, she now has her own firm, Robin Gray Architect, focusing mostly on residential design. Her work is included in one of the books in the series The Not So Big House.

“I was always drawn to textiles. When I was still in my teens, I went to Europe to school, then traveled to Iran, going through Turkey and other countries. I went all over Iran, to Persepolis and Shiraz and Isfahan, which are all big rug-making places. I had friends in Iran, and at that time the shah banned the importation of diesel cars, so we were driving Mercedes cars over from Germany. I ended up getting stuck there for several months. I lived with my friend’s family and wore the chador. That was in about 1967, and there was a huge amount of textiles at the bazaars. I was exposed to a lot of that and sort of fell in love with the places and the people and the materials.”

When Gray was 21, she lived near the design district in Los Angeles. At one point she encountered a man with a tiny store, where he sold wonderful shag rugs, designed by him and manufactured in Mexico. “I thought that was a great idea: people [customers] could give him colors, but they couldn’t dictate anything about design.” The designer could do what he wanted.

“Life took me various directions, and it wasn’t until my boys went to college that I began sketching designs for rugs. The following year, in 2004, I went to Mexico, to Teotitlán del Valle, where the Zapotec Indians have a strong weaving tradition. I had some design sketches continued on Page 30

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October 26 - November 1, 2012

Rugs by Robin Gray: clockwise from left; Kimono, David’s Garden, Lacework, Piedras, Dragonfly, and Raya Opposite, woman winding wool in India (courtesy GoodWeave, photo Roberto Romero); man “pin carving” Gray’s Yvette rug in Kathmandu; courtesy Robin Gray

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Robin Gray, continued from Page 28 with me, and I chose one and I had it woven.” That was the beginning. Soon she was having Mexican weavers creating her designs — rather like the man she found years before in Los Angeles.

“Yes, but these were flat-loom, floorweave rugs. The guy in L.A. was doing knotted or maybe tufted rugs. They were great, but also he was working with vegetal dyes, and I found out later that the consistency of the colors is very important to clients, so you have to use aniline dyes.

Also, things that are done on a floor loom tend to be geometric, and you can’t do really intricate designs, so I started looking for knotting.”

The first place she went was Turkey, but the weavers she found there were used to making very traditional rugs and in general came up rather short with her more contemporary designs. She found her ideal weavers when she was getting ready to do the International Contemporary Furniture Fair in Manhattan. “I was contacted by a weaver from India, who talked me into letting him try making a few rugs, and they were perfect, exactly what I’d been looking for.

I think it’s because [Indian weavers] have more experience doing contemporary Robin Gray; left, Gray’s Yombe rug (courtesy Annie O’Carroll rugs. It’s a family, and I’ve become very Interior Design); below, Doblé wool and silk rug; interior close to them.” design by Jennifer Ashton; photo Robin Gray Today Gray designs all her own rugs and typically has them made in India and Nepal, according to Gary Hahs, who handles a lot of the marketing, advertising, and other business matters for Robin Gray Design. “Robin deals with seven showrooms around the country, and this show at Arrediamo is her first solo show in Santa Fe.” She was formerly a member of Four, a design collaborative based in Pacheco Park, but she now keeps her studio and office at her house. She was once a production weaver herself, working for Gretel Underwood in Santa Fe, but Gray no longer weaves. “One advantage I have as an architect is that I can put the rugs into floor plans,” she said. Gray often works with local interior designers, among them Victoria Price, Edy Keeler, Steffany Hollingsworth and Heather Van Luchene, Lisa Samuels, Heidi Steele, and Annie O’Carroll.

Gray started out using a lot of bold colors, but they don’t always work with people’s interiors, so she has learned to moderate that preference. Her palette was also a little more subdued in the rug she designed for the FBI office in Salt Lake City.

“In the rug business, fashions and colors change. Right now, taupe and shades of gray, earth tones, are in.” The rugs she designs cover a good range of sizes. She is currently working on a big residential project: five rugs totaling 800 square feet, the one in the master bedroom at 26 by 20 feet. She is also getting ready to do as many as 30 rugs for guest rooms at La Fonda, which is undergoing remodeling and renovations.

“Those rugs are inspired by colcha embroidery patterns. A lot of my tribal designs come from African textiles and other items I’ve collected over the years. One rug that’s titled Crujido came from a piece of pottery I saw with cracked glaze. The Lace collection is inspired by some old gloves from my greatgrandmother. I’ve always been fascinated with old lace, and in that collection it’s old lace patterns that I’ve contemporized. And I have one rug, Dotrix, that was inspired by the grill on the back of a bus I was behind at a traffic light.” ◀

details ▼ Robin Gray rug collection ▼ Opening reception 5 p.m. Friday, Oct. 26, with talk by Gray; exhibit ongoing ▼ Arrediamo Santa Fe, 214 Galisteo St., 820-2231

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October 26 - November 1, 2012

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Paintings

Glass Installations October 26 through November 23 ARTIST RECEPTION:

Friday, October 26, 5–7 pm Artist will be present

October 26 through November 23 ARTIST RECEPTION:

Friday, October 26, 5–7 pm Artist will be present

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ZANEBENNETT CONTEMPORARY

ART

PASATIEMPO

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James M. Keller I The New Mexican

American Theatre Orchestra 1918

Alloy Orchestra brings sounds to the silents

A

lloy Orchestra makes 20 appearances in 15 cities during October, playing its original scores for screenings of films of the pre-sound era. Ten different films figure on the orchestra’s current tour, but as Halloween approaches, the bookings get dense with The Phantom of the Opera, the horror-romance classic principally directed by Rupert Julian. It first thrilled viewers in 1925, with Lon Chaney as the deformed Phantom who haunts the infrastructure of the Paris Opera House and brings about all manner of mayhem as he attempts to advance the career of his protégée, Christine (played by Mary Philbin), through the company’s production of Gounod’s Faust. What luck for Santa Fe: the Lensic Performing Arts Center managed to snare the three-man ensemble for the very day of the devilish festivities, such that on Wednesday, Oct. 31, local trick-or-treaters will be able to include in their rounds a screening of this perennial classic.

Films of the pre-talkie era have been Alloy Orchestra’s traveling companions since early 1991, when the group got its start accompanying Fritz Lang’s Metropolis on a collection of found-object percussion instruments — “junk metal,” as Alloy puts it. Metropolis has been a mainstay of the orchestra’s repertoire, as has The Phantom of the Opera, but Alloy’s

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involvement with early films extends beyond such well-known titles. In its nearly 22 years, the group has composed music for 28 feature-length films and about as many shorts. Among them are landmarks such as F.W. Murnau’s Nosferatu, Buster Keaton’s The General, and Alfred Hitchcock’s Blackmail, but other entries on the touring list fall more in the area of aficionado films — which is not to say that general audiences wouldn’t enjoy discovering them.

Pasatiempo caught up with Alloy Orchestra as the players were motoring the breadth of Iowa, making their way from Nosferatu in Iowa City one night to The Phantom of the Opera in Omaha the next. As the landscape crept by outside his car, Roger Miller, the keyboardist, shared his thoughts on the group, while Terry Donahue ( junk percussion, accordion, musical saw, and vocals) and Ken Winokur (junk percussion and clarinet, and the group’s director) retreated into silent contemplation.

Pasatiempo: With all due respect to the keyboard contingent, Alloy Orchestra is mostly a percussion ensemble, and percussion can take up a lot of space. Do you travel with a lot of sound-making devices in tow?

Roger Miller: On this tour we have five large boxes with wheels, and they are filled with odd percussion stuff. Wheels — that’s the important thing. We are a practical ensemble, and when you do what we do, you fly a lot. You add a piece of metal, you gain 3 pounds. So the percussionists’ rack of junk doesn’t vary too much; it’s a very specific rack of junk.

Pasa: And yet, as you move from film to film in the course of a tour, the films themselves must require quite different sound-making devices, even on the level of just sound effects.

Miller: They do, but the sounds we make are vague, nonspecific. The sound made by a car spring, or by the piece of sheet metal that Terry bows, could be for all sorts of things in a film. The same sound could serve for a dinosaur, a car crash, something over the horizon, a door opening. People attach meaning to the sounds based on what they’re seeing. But we do have wood blocks for galloping horseshoes.

Pasa: Has Alloy Orchestra kept the same personnel through its nearly 22 years?

Miller: Ken and Terry were founders, but I joined the group six years in, 15 years ago. My biggest notoriety before that was that I played in the post-punk, avant-garde band Mission of Burma.

Pasa: Did you all come out of rock or popular enterprises of some sort, or would we find academic study of music in your group résumé?

Miller: I was actually a composition major at the California Institute of the Arts, but I dropped out of music school to work as a guitarist. I did have academic training as a composer, though; I could write 12-tone music and the whole deal.

The others have played in a variety of rock bands and chamber groups — and they both played in marching bands when they were in high school.

Pasa: How do you go about developing a score? Does one of you set down some material as a working draft and you go from there? Or is it built up strictly through improvisation?

details ▼ Screening of The Phantom of the Opera with an original score played live by Alloy Orchestra ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ 7 p.m. Wednesday, Oct. 31 ▼ $10-$20; 988-1234, www.ticketssantafe.org

continued on Page 34

Alloy Orchestra

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October 26 - November 1, 2012

Alloy Orchestra, continued from Page 33 Miller: We do it in one of the most unusual ways imaginable, which is that we compose collectively. When we get a new film, we watch it and discuss it, maybe toss out a few ideas — but not for the credits. The credits come later.

Then we start from the first scene. Someone starts playing. We improvise.

We’re recording it all, and we store it. By the time we get to the end of the film, we’ve used the themes various times. Maybe there’s a “train theme” that first got suggested by piano and later gets picked up on tom-toms. By the time we’re done, we know where the score is going to go. Once we get the themes worked out, then we just figure out how to make it all seamless for an hour and a half, choosing the best material for the scenes and for the overall flow.

Pasa: Do the three of you tend to draw on different individual strengths?

Miller: Well, they’re percussionists, so they’re more in control if a character gets conked on the head — that sort of sound. Ken plays clarinet, so he can often determine melody. As the keyboardist, I’m good at harmony. In that sense, we all have different roles. It’s pretty much a mixture of democracy and anarchy. There’s a fine line there.

Pasa: On your website, you sell CDs of some of your film scores, which people can then synchronize to the films if they watch them at home. That suggests that these scores are really set in stone. Do you find that your live performances differ much from what you have recorded?

Miller: It varies wildly from film to film. We did the film Dans la nuit a few years ago, and that was almost entirely improvised. We were just emoting to the film. Metropolis, on the other hand, is very structured; but within that, we find that what we play in the chase scenes is different every time.

You would always recognize our score to a film, but it can differ in a lot of details in a live performance.

Pasa: Do you sometimes have to adapt or recompose your scores when lost scenes are discovered, which occasionally happens in early films?

Miller: Yes, actually. It does come up. And some of the most famous early films did go through several versions. This is an issue we have had to address with Nosferatu, which came out in a version with a lot of scenes shorter than what we were used to. By now we have played that film in three or four different ways.

Pasa: It appears that you have added quite a few Russian films to your repertoire recently. Is that a special passion?

Miller: Every year we do one or two new films. Often these are suggested to us by collectors, film festivals — anyone, really. Maybe it’s because we use the sound of the accordion, and that may suggest it to people; but for whatever reason, we got a lot of recommendations for Russian films. They tend to work well for us because we like dark-flavored music. Darkness is more fun than the light.

Pasa: Alloy Orchestra is all about devising new music, essentially modern music, to accompany these older films, as opposed to incorporating or summoning up historical music from the time when the films were made or the eras they depict. Is that a fair assessment?

Miller: Right, and there are a couple of points to be made in connection with that. In the slapsticks, like the Keaton films, we often do something with more an old-timey flavor. But our primary job is to bring these old films alive to people in the 21st century, and to do that, we do what’s natural for us. When we start working on a new film, we don’t listen to the original scores, even though many of them are available. But our goal is to find what we can do as musicians now that will support the film. Our first principle is to never violate the film. The film is our conductor. We follow the film. It tells us what to do.

There is a small group of old-time film aficionados who are adamant that we are the antichrist, that you should only experience period films with period music. I can enjoy that, too. I mean, I like Model T’s and stuff. But many people in our audiences have never actually been to a screening of a silent film before, and I believe that what we do helps bring the experience alive in a creative way. ◀

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NOVEMBER 4 Sunday

Gallery Talk: “A Tale of Two Paintings.” Chief Registrar Michelle Roberts will describe her research about two paintings by Peter Hurd, both titled Portrait of Gerald Marr—one painted in 1952, the other in 1953. This is a rare opportunity to see both paintings side by side.

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Centennial Concert presented by Chatter: Music Worth Knowing About. Including a world premiere by composer Roberto Sierra.

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NOVEMBER 10 Saturday

Get to Know Your Art Museum. Enjoy an afternoon full of insider information about the museum, including fun family activities.

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PASATIEMPO

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Chaney and Mary Philbin

Lon Chaney

T HE FIRST AND

MOST

FRIGHTFUL

PHANTOM Jon Bowman I For The New Mexican

36

October 26 - November 1, 2012

“Feast your eyes! Glut your soul on my accursed ugliness!”

The screen has produced more grotesque monsters than the hideous, deformed outcasts played by Lon Chaney, but few of them rival Chaney’s in mirroring our deepest, darkest fears. Ray Bradbury nailed it when he observed, “The history of Lon Chaney is the history of unrequited loves. He brings that part of you out into the open, because you fear that you are not loved, you fear that you never will be loved, you fear there is some part of you that’s grotesque, that the world will turn away from.”

The son of deaf-mute parents, Chaney honed his talents to communicate nonverbally by becoming the silent era’s most agile and expressive pantomime. He earned the nickname The Man of a Thousand Faces, not only because he was a supreme contortionist but also because he mastered the art of makeup, enabling his transformation into the emotionally afflicted, physically repulsive characters he portrayed.

Chaney cultivated this image himself, writing in a 1925 autobiographical article for Movie magazine, “I wanted to remind people that the lowest types of humanity may have within them the capacity for supreme selfsacrifice. The dwarfed, misshapen beggar of the streets may have the noblest ideals. Most of my roles since The Hunchback [of Notre Dame], such as The Phantom of the Opera, He Who Gets Slapped, The Unholy Three, etc., have carried the theme of self-sacrifice or renunciation. These are the stories which I wish to do.”

While audiences at the time eagerly awaited each new phantasmagorical role and unveiling by the chameleon-like Chaney, his reputation today rests largely upon his turn as Erik, the tortured, lovelorn creature from the catacombs stalking the Paris Opera House in The Phantom of the Opera.

Released in 1925, this grand Gothic spectacle has now been remade at least

Lon Chaney’s silent screamer a half dozen times and has spawned many more knock-offs, parodies, and horror homages.

None of these retreads and copycats match the ghoulish power of the original, embodied most indelibly by Chaney’s Phantom, with his deep-set, black-shaded eyes, and skeletal face. This first screen adaptation of Gaston Leroux’s 1910 novel also holds the distinction of deviating the least from its literary source.

The film cost an astronomical $1 million to produce, much of it spent on the elaborate sets that recreated the opera house, including five levels of underground passageways, complete with the torture chambers and secret hideouts forming the Phantom’s lair. An 8-ton replica of the opera house’s famed chandelier comes crashing down in one of the film’s signature scenes, later immortalized in Andrew Lloyd Webber’s musical adaptation.

But for diehard movie buffs, the most appealing gimmick consists of an early Technicolor interlude as the Phantom slips into a masked ball to terrorize the beautiful understudy Christine Daaé, the object of his overwrought obsessions, as well as her boyfriend, Viscount Raoul de Chagny. Originally, several other scenes were shot in Technicolor, including the Faustian opera performance, but those have all been lost; only the Bal Masque remains.

From the start, trouble plagued The Phantom of the Opera. The cast and crew fought openly with director and co-writer Rupert Julian, a New

Stills and posters from The Phantom of the Opera

continued on Page 38

PASATIEMPO

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The Phantom of the Opera, continued from Page 37 Zealander known for his autocratic hand and his physical resemblance to Kaiser Wilhelm II. In fact, Julian played the German emperor in the 1918 film The Kaiser, the Beast of Berlin. Norman Kerry, cast as the viscount, reportedly charged Julian on a horse and knocked him to the ground during the filming. Chaney and Julian hated each other so much that they stopped speaking, leaving Chaney to direct some scenes on his own. With so much money already sunk into the production, the studio heads at Universal Pictures eventually concluded they had no choice but to fire Julian.

This led to a series of expensive retakes involving an assortment of replacement directors, including not only Chaney but also Ernst Laemmle (nephew of Universal founder Carl Laemmle) and Edward Sedgwick, who later achieved a reputation for staging wild chase scenes after shooting Buster Keaton’s The Cameraman. Needless to say, this revolving door of personnel produced a mishmash of uneven results, and The Phantom bombed with the first few audiences given sneak peeks in Los Angeles and New York. Universal kept postponing the official debut, frantically reshooting and reworking the film until everything came out right. The Phantom, in its final form, grossed more than $2 million in 1925 and even more in 1929, when it was rereleased with newly recorded sound scenes.

The picture’s massive success led Universal to christen itself Hollywood’s horror specialist. Thus we have Lon Chaney’s macabre ingenuity and imagination to thank for the string of monster hits that Universal rolled out over the next decade or so — Dracula, Frankenstein, The Mummy, The Wolf Man, The Invisible Man, and all of their twisted brood.

Note that the Alloy Orchestra-accompanied version of the film, showing at the Lensic Performing Arts Center on Wednesday, Oct. 31, is 78 minutes long, closer to the 95-minute rerelease from 1929 than to the 1925 original, which ran just a shade longer than 100 minutes.

This isn’t a great carnage. The side plots that have been shortened or cut out aren’t really that essential to the narrative. They’re actually rather distracting, so little is sacrificed by their absence. ◀

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October 26 - November 1, 2012

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39

LISTENING IN ON

James M. Keller I The New Mexican

Thomas Edison, circa 1878; images courtesy Library of Congress

that it would be hard for many of us to imagine our lives without it. From the clock radios that awaken us in the morning to the car radios that enliven our workday commutes, from the background tracks that fill our waiting rooms and work cubicles to the repeating ditties that chart our quarter-hours on hold, canned music and other electronically captured sounds are so nearly omnipresent that our stance may be to ignore them. Many people choose to make music or electronically distributed chatter their default sonic environment. They hike up a mountain listening not to the breeze in the aspens but rather to whatever is emanating from their earbuds. Our soundtracks have grown ubiquitous to the point of banality.

Our ancestors of a century ago could not possibly have imagined it. To them, mechanically reproduced sounds were a miracle of modern science, so unusual that every encounter might provoke an astonished and grateful response The wonderment of that distant time infuses the pages of Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio, newly published by Duke University Press. The book’s three editors each take responsibility for one of those areas. Timothy D. Taylor, a professor of ethnomusicology and musicology at the University of California, Los Angeles, handles the origins of recorded-sound technology in the 1870s and explores how early listeners grappled with it and how music professionals harnessed it. Mark Katz, an associate 40

October 26 - November 1, 2012

professor of music at the University of North Carolina, Chapel Hill, takes on the intersection of recorded sounds with visual images, the process that would culminate in talking pictures. Tony Grajeda, an associate professor of cultural studies in the English department at the University of Central Florida, takes over for the final chronological step in how recorded sound overran modern life: the advent of radio, its commercial realization in the 1920s, and how it influenced people’s expectations of music itself.

Each of the editors writes a penetrating summary of ideas and opinions that surrounded the early history of his topic, but at heart the book is an anthology of 123 articles published in magazines and newspapers from 1877 through 1944.

We hear from inventors, businessmen, musicians, and self-styled experts of all sorts, but some of the most revelatory voices are those of everyday folk who took the time to share their ideas through opinion pieces or letters to the editor, sometimes engaging in spirited controversy about what their ears have encountered of late. This reaches a high pitch in an exchange set off in early 1911 among the readers of Moving Picture World, which published an article titled “Jackass Music” in which the author, Louis Reeves Harrison, takes exception to the casualness with which a pianist accompanying film screenings approached her task: “O, what a noise when the lights are turned low and Lily Limpwrist takes her place at the continued on Page 42

PASATIEMPO

41

later, an inevitable response is printed. Mrs. Buttery writes to take exception to Mr. McCracken. “I am the leader of that orchestra, and in justice to myself and the other musicians, I must contradict his statement” — and, after recounting her rather different take on events, she points out that “he has unwittingly paid me a compliment when he praised the young lady who played piano at the small picture house” — an earlier stop on the businessman’s itinerary, where he found the music to be “quite fair” — because that other pianist was Mrs. Buttery’s pupil, “taught the business by me.”

This is not the only instance of claims and counterclaims surfacing in the early history of cinema music or recorded sound, and, in its lighthearted way, it underscores the skepticism with which we ought to approach this extensive collection of testimony. These articles convey vibrant excitement about the technology that increasingly brought recorded sound into people’s lives over the course of decades, but they also document missteps, blind alleys, and alarmed panic about where things might lead.

I

Early sound, continued from Page 40 usual instrument of torture! ... When Lily Limpwrist assails our unprotected organs of hearing with her loony repertoire it seems a shame to throw away ten cents on such a performance, to say nothing of the time wasted.” Lily Limpwrist, it seems, is objectionably arbitrary in coordinating her musical selections to the onstage action. (“No man will ever marry a girl who plays a dance while the pictured man is in a death struggle.”) It makes good business sense to attend to the quality of music in theaters, Harrison argues. “Better music means better patronage and more of it, and superior patronage means a demand for superior photoplays. Suitable music is an essential.”

That opened the floodgates. Wm. H. McCracken writes to agree: “Mr. Harrison has not exaggerated his views so far as music in moving picture houses is concerned. For I, also, have heard some jackass music, as he describes it and wonder how on earth managers can expect anyone to come into their theaters, and sit down, and listen to such inappropriate music, as I was obliged to listen to while there.” There, it turns out, was Allentown, Pennsylvania, where Mr. McCracken, in the course of a recent business trip, has visited a couple of theaters. At one, which he describes in some detail, the musicians took their breaks at random, leaving entire expanses of films to be projected in silence. “Finally, we could stand the torture no longer, so we left the theater in disgust, vowing we would never enter it again, to be made to endure such torture — for torture it certainly was to be obliged to sit and look at pictures to which there was no music.” A week 42

October 26 - November 1, 2012

n 1877, The New York Times, in an article titled “The Phonograph,” does not conceal its enthusiasm about Thomas Edison’s new device. “The telephone was justly regarded as an ingenious invention when it was first brought before the public, but it is destined to be entirely eclipsed by the new invention of the phonograph. The former transmitted sound. The latter bottles it up for future use.” The future is always hazy, and Edison himself is far from certain about what will become of “the gathering up and retaining of sounds hitherto fugitive, and their reproduction at will,” as he explains in an 1878 article in the North American Review. As he views it, the machine he has developed is essentially a Dictaphone.

“As the principal of a business house or his partners now dictate the important business communications to clerks, to be written out, they are required to do no more by the phonographic method, and do thereby dispense with the clerk, and maintain perfect privacy in their communications.” A businessman’s voice, engraved on a foil sheet, will be sent to the addressee in place of a written letter. But, he allows, there may be other applications, too. “Books may be read by the charitably inclined professional reader ... and the record of each book used in asylums of the blind, hospitals, the sick-chamber, or even with great profit and amusement by the lady or gentleman whose eyes and hands may be otherwise employed.” In fact, Edison imagines a dozen possible uses for the phonograph. Music is fourth on his list. Other useful applications include “[preserving] the last words of the dying member of the family”; and of course “the phonographic clock will tell you the hour of the day, call you to lunch, send your lover home at ten, etc.”

Consumers apparently desired, or at least were susceptible to, advice on how to capitalize on their new sound equipment. In 1899, the National Phonograph Company of New York released a very useful pamphlet titled “How We Gave a Phonograph Party.” Appropriate refreshments are suggested — ice-cream treats resembling phonograph cylinders, ginger snaps shaped like a phonograph’s horn — but the main diversion involves recording all the guests and then playing back the recordings. As the essay unrolls, we realize that in 1899 the phonograph was still as much a recording device as a listening device; its future course was not yet clear. We may know where the story will lead, but these writings tell the story of sound technology always in the innocent present.

People had to learn how to make the newly available technology enrich their lives. Even as late as 1924, Pauline Partridge instructs the readers of Sunset magazine (in her article “The Home Set to Music”), that records can and should be accorded with domestic surroundings. She is certain that the “Fire Music” from Wagner’s opera Die Walküre would enhance any household:

Take the occasion of the first open fire of the season on the hearth of the home you have set to music. Light the fire and allow it to burn until the clear flames are leaping.

Of course, if you have some driftwood powder it may be added for good measure but it is not essential. Put the “Fire Music” record on the phonograph and put out all the lights in the room. Sit in the firelight and watch the flames while the record is played. Observe how the flames keep time to the music. Apparently they are dancing to its rhythm. Until you have tried this recipe you can have no adequate understanding of what Wagner accomplished in this particular composition. Of course, the result is also excellent when the recipe is tried out of doors, with a portable phonograph and a campfire.

Ethics and proper behavior needed to be addressed. In a 1923 piece in Gramophone magazine, Orlo Williams wonders whether it is acceptable to listen to recorded music alone. “Let me ask what you would say, if, on visiting a lady or

gentleman, you found him or her solitary, listening to the music of his own gramophone. You would think it odd, would you not? You would endeavor to dissemble your surprise; you would look twice to see if some other person were not hidden in some corner of the room, and if you found no such one would painfully blush, as if you had discovered your friend sniffing cocaine, emptying a bottle of whisky, or plaiting straws in his hair. People, we think, should not do things ‘to themselves,’ however much they may enjoy doing them in company.” W.C. Schott, of New Philadelphia, Ohio, responding to a questionnaire from the Edison company, objects that “when you allow an agent to give concerts on Sunday to advertise your business, I protest, and will give no patronage to a concern that willfully tries to break down the Christian Sunday, the only bulwark and safety of our nation.” The City Council of Portland, Oregon, considers but ultimately does not adopt a 1907 ordinance to limit public use of “any automatic or electric piano, phonograph, graphophone or any instrument of like character.”

A

rich history unfolds in these pages. We read how phonography was employed during World War I, how it was put to use in schools, how early recording studios operated, how composers such as Henry Cowell and Igor Stravinsky made their peace with new sound technologies and even began to capitalize on their possibilities. We watch the rarely silent period of silent films inch toward the era of the talkies — always with baby steps. Each stage in the development seems wondrous to those witnessing it, and viewer-listeners understandably speak as if they occupy the summit of scientific advancement — which of course they did, however fleetingly.

Various forms of sound-and-sight synchronization come and go. The all-butforgotten medium of the song slide — a series of still slides projected as a singer intones a song — comes to life again; a huge, capital-intensive business in its day (circa 1907), it proved just another flash in the pan. Composers grow increasingly “artistic” in their approach to creating film scores, and people debate the economic impact of sound cinema as recorded soundtracks begin to displace vast numbers of working theater musicians.

And then radio: it transformed everything all over again. “Everyone believes it was the movies that killed vaudeville,” reports the inimitable George Burns. “That’s not true. Movies, vaudeville, burlesque, the local stock companies — all survived together. Then radio came in. ... Gracie and I knew that vaudeville was finished when theaters began advertising that their shows would be halted for fifteen minutes so that the audience could listen to Amos & Andy.” Our own era seems to be approaching fast.

Articles blast the new medium (“Radio Just Another Blight”) and extol its possibilities (“Opera Audiences of Tomorrow”). Canny corporations start to figure out how to create successful radio advertising, though their first steps prove amazingly quaint, as demonstrated by a 1930 transcript of the Davey Tree Hour, sponsored by a network of tree surgeons. Broadcasters discover that certain modes of singing transmit better than others over the waves. This leads to singers practicing the new singing style known as “crooning,” which William Cardinal O’Connell denounces in 1932 (reported by The New York Times): “No true American would practice this base art. ... If you will listen closely ... you will discern the basest appeal to sex emotions in the young. They are not true love songs, they profane the name. They are ribald and revolting to true men.” Letters and editorials swirl in the wake of the cardinal’s criticism.

Music, Sound, and Technology in America runs a bit beyond 400 pages, and if you work through it from start to finish you are likely to sense at some point that it has been devised as a sourcebook for a college course. Surely that will be one of its applications, but it provides enrichment for generalinterest readers as well — and if you’re not to be quizzed on Monday, you are free to skim through the sections that don’t particularly grab you. The editors have selected and assembled their material with perspicuity and wit, and anybody interested in the infancy of sound recording, cinema, and radio is guaranteed to experience frequent “aha!” moments that transport them with a simple turn of phrase to the mind-set of an earlier age. ◀

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“Music, Sound, and Technology in America: A Documentary History of Early Phonograph, Cinema, and Radio,” edited by Timothy D. Taylor, Mark Katz, and Tony Grajeda, is published by Duke University Press.

PASATIEMPO

43

Bill Kohlhaase I For The New Mexican

Follow the romance Reissues capture early decades of film music

W

hat would movies be without music?

The sweep, the grandeur, the romance and pulsing action, and even the laugh-inducing comedy would be almost see-through without the spell-casting beats, melodies, the wash of strings, the splash of brass, or the waves of synthesized sound. Film composers of the 21st century hail from a wide variety of backgrounds and genres. Their numbers include pop-music defectors, electronic and new-wave composers, jazz veterans, world-music performers, and orchestral composer-arrangers. But in the first decades after sound began coming directly from film, the scorers were mostly all of a type: European holdovers from the classical Romantic period that had already been superseded in craft, if not yet popularity, by the innovative composers of the 20th century.

Two of the most acclaimed film composers of the 1930s were schooled in late Romanticism and wellpracticed in writing for the stage before their turn to Hollywood. Max Steiner studied under Gustav Mahler and wrote his first operetta at age 14. He came to America in 1914 and worked as an arranger, conductor, and concert pianist. Almost as soon as sound came to the movies, Steiner was drafted to write it. Erich Wolfgang Korngold composed four operas before he came to America in 1934 (two of them before he turned 18). His 1920 operatic production, The Dead City, became part of the era’s standard European repertoire.

The question with film scores, whether from the symphonic or synthesized tradition, is always the same: Does it stand on its own without the visual

44

October 26 - November 1, 2012

and narrative aspects it supports? In the case of those early progenitors Steiner and Korngold, as well as their classically influenced contemporaries, the answer is apparently yes, judging by a series of recordings made in the early 1970s by conductor Charles Gerhardt and the National Philharmonic Orchestra, an ensemble assembled by Gerhardt in London. Eleven such recordings, including collections from Steiner, Korngold, Franz Waxman, Miklós Rózsa, and Bernard Herrmann were completed by 1975 for RCA (as well as projects focused on Gone With the Wind and the films of Errol Flynn, Humphrey Bogart, and Bette Davis). They became minor hits not only with film buffs but also with a certain class of sentimental American classical music lovers as well. Adding to those ranks were legions of audiophiles, record lovers who bought the discs for their high-fidelity sound, if not necessarily for love of the music. George Korngold, the composer’s son, was the series’ producer.

In 1989 BMG began reissuing the collections on CD, this time, much to the dismay of audiophiles, in Dolby Surround Sound. One of the CD cases included a popcorn-scented “scratch ’n’ sniff” sticker, in a seemingly foolish attempt to make movie lovers feel as if they were right in the theater. The first release — the original recording of Korngold’s music from the 1940 Errol Flynn vehicle The Sea Hawk (and containing extra material) — was not in Surround Sound. Despite the fact it was heralded by high-fidelity fans and racked up respectable sales, BMG insisted on remastering the rest in Dolby Surround Sound. That series died a quick death.

Thankfully, Sony began reissuing the series in standard two-channel versions in 2010. Though the sound may not measure up to the original analog recordings on LP, these reissues provide respectable sound for the masses still listening in stereo. The most recent batch, stretching from selections of Steiner’s and Korngold’s work to Raksin’s 1952 score from The Bad and the Beautiful, is a window into the advancement of what was still a relatively young art form. This evolution can be seen in the craft as a whole and in the individual composers. The three selections from Korngold’s score to 1937’s The Prince and the Pauper are playful and lighthearted, featuring a sentimentality of the sort adults attach to childhood.

The five selections from his score to the 1946 version of Somerset Maugham’s classic novel Of Human Bondage are mature and modern in their orchestration.

They are also more impressionistic, more Ravel than Tchaikovsky.

Film music is burdened with purpose that symphonic, let alone popular music, doesn’t have to bother with. Among the tasks ascribed to it, as explained by Kathryn Kalinak, a professor of film studies at Rhode Island College, in her book Film Music: A Very Short Introduction, are specifying time period, setting, mood, and atmosphere and “clarifying matters of plot and narrative progression; it can reinforce or foreshadow narrative developments and contribute to the way we respond to them. ... It can contribute to the creation of emotions, sometimes only dimly realized in the images.” Most important, continued on Page 46

Max Steiner

Bernard Herrmann

Seven from heaven: RCA’s reissued film scores Now Voyager: The Classic Film Scores of Max Steiner Elizabeth and Essex: The Classic Film Scores of Erich Wolfgang Korngold Classic Film Scores for Bette Davis Miklós Rózsa

Erich Wolfgang Korngold

David Raksin

David Raksin Conducts His Great Film Scores: Laura, Forever Amber, The Bad and the Beautiful Sunset Boulevard: The Classic Film Scores of Franz Waxman Spellbound: The Classic Film Scores of Miklós Rózsa Citizen Kane: The Classic Film Scores of Bernard Herrmann

Franz Waxman

Charles Gerhardt

All recordings made from 1973 to 1975 by the National Philharmonic Orchestra conducted by Charles Gerhardt except David Raksin Conducts His Great Film Scores, with Raksin conducting the New Philharmonia Orchestra. All released

by RCA Red Seal/Sony Music.

PASATIEMPO

45

Early film music, continued from Page 44

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October 26 - November 1, 2012

it “encourages our absorption into the film” — not an easy task, since we’re sitting in a flickering auditorium with dozens or more other gum-chewing movies goers (or in the distracting comfort of our own living room). The tools for these assignments had already been developed for opera. But film composers have to deal with sudden, multiple, and contrasting setting changes and an extra layer of management overseeing their production. (In the notes to his collection, Raksin relates what his boss Al Newman said: “They don’t want it good, they want it Thursday!”) Directors and producers demanded that the scores be invisible to the listener and not overshadow the visual action on the screen. At the same time, they wanted the music to be illustrative of the action, a technique that came to known as “Mickey Mousing,” as it was often used to back cartoonish moments. We’re all familiar with the most famous example of this: the “wah-wah-wah” laugh of a muted trombone.

Despite these constraints and the composers’ own attachment to Romanticism, film music from the 1930s and ’40s is surprisingly listenable. Romanticism, that 19th-century product, was suited to the new form in its ability to express mood and setting in ways already familiar to the audience. And even as it defined the music made for movies in this period, it was expanding into something new and unique to film. Steiner’s 1933 score to King Kong was revolutionary for the sheer amount of music used in the film as well as its percussive and occasionally dissonant nature. Steiner also injected sensuality into this beauty-and-the-beast story, evident in the contrasting themes for Kong and Fay Wray’s Ann Darrow. By the time of the 1949 adaptation of Ayn Rand’s novel The Fountainhead, Steiner had reached a point of extreme expressionism, able to suggest movement, desire, and masculinity and femininity, sometimes shadowed by surrealistic orchestral touches.

That each recording represents only a smattering of the composers’ work, and then only selections from the scores, may deter some collectors. Many of the soundtracks are no longer available in complete form, and some were never available in their entirety. Some pieces can be found nowhere else, including the overture Korngold assembled for the Bette Davis-Errol Flynn vehicle The Private Lives of Elizabeth and Essex; the composer conducted the only known performance of it at the film’s 1939 premiere. Both Steiner and Korngold are represented in the Bette Davis collection, the odd piece being Alfred Newman’s short, overly theatrical “Main Title” accompaniment to All About Eve (1950). Franz Waxman’s collection includes “The Creation of the Female Monster,” his eerie and dramatic piece from his first Hollywood assignment, The Bride of Frankenstein (1935), as well as selections from his scores for Sunset Boulevard (1950) and A Place in the Sun (1951), for which he won consecutive Academy Awards. Waxman’s sense of melody is represented in selections from Rebecca and The Philadelphia Story, as Raksin’s is in his beautiful theme for Laura. Rózsa’s collection, Spellbound, samples his uneven work, with music from 1945’s The Lost Weekend (brilliant) and the 1942 Kipling adaptation Jungle Book (cheesy). Bernard Herrmann, the most accomplished orchestrator of the group, is represented by films dating from 1941 to 1953, and there’s not a Hitchcock flick among them (Herrmann was also present when Gerhardt and the orchestra recorded these tracks in 1974). The Romantic period’s abiding influence is best and most successfully heard on Korngold’s sweeping Cello Concerto in C, op. 37 (featured in the 1946 film Deception), and Steiner’s hardly modern Symphonie Moderne, with pianist Earl Wild, from director Michael Curtiz’s Four Wives (1939).

The ability to program these tracks on your CD player is a must. There are tracks that you’ll want to listen to only once (such as Rózsa’s overture to the 1952 film Ivanhoe), selections you’ll want to hear again and again (Raksin’s deliciously lush “Nocturne and Theme” from The Bad and the Beautiful) and whole discs that are worth repeated visits (Steiner, Korngold, Herrmann). For lovers of film and film scores, these seven volumes, as well as their previously issued companions in the series, are an education waiting to be heard. You might even want to close your eyes as you listen. ◀

The City of Santa Fe Arts Commission Community Gallery presents

The Fine Folk of New Mexico Page Allen Nocona Burgess Robert Cardinale Arlene Cisneros Sena Melissa Cody Susan Contreras Erin Currier David Escudero Victor Goler Geoffrey Gorman Teri Greeves Nicholas Herrera David Michael Kennedy Saige LaFountain

Arthur Lopez Christine McHorse Forrest Moses Delilah Montoya Paul Pletka Elias Rivera Ron Archuleta Rodriguez Diego Romero Ford Ruthling Rose Simpson Roxanne Swentzell Luis Tapia Sergio Tapia Philip Vigil Felipe Benito Archuleta (1910-1991)

Curated by Arthur Lopez

October 26, 2012

January 26, 2013

Opening Reception Friday, October 26, 2012 from 5-7pm

Fine Folk of New Mexico Panel Discussions November 28, 6 pm - 8 pm - Collecting Art: Artists and Collectors Come Together December 5, 6 pm - 8 pm - How Do Museum Curators Develop Collections?

201 West Marcy St. (at the intersection of Marcy and Sheridan) Gallery Hours: 10 am to 5 pm, Tuesday - Friday 9:30 am to 4 pm Saturday 505.955.6705 This exhibit is partially funded by the National Endowment for the Arts

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PASATIEMPO

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U N E A R T H LY eference points are an advantage in understanding photographs, whether of vast, austere desert landscapes or microscopic pictures of algae. And the avoidance of reference points is an advantage for photographers who love abstraction, who would rather invite their viewers to revel in form and hue than tell them they’re looking at ice-filled, eroded channels at the south pole of Mars.

That is a precise description of one of the photos in the exhibition Stephen Strom: A Retrospective, opening Friday, Oct. 26, at Verve Gallery of Photography. And it is just one aspect of Strom’s work, this nonreferential imagery that excites twice: first with beauty and fascination and then with a shot of scientific interest once you find out what the subject is. The retrospective takes in Strom’sclose-ups of poppies and agaves and lichens on stone, as well as Martian and tellurian landscapes. The prints are also notable for their perfect clarity, and for the fact that this is all the product of a second career.

Born in New York City, Strom graduated from Harvard College in 1962 and earned his master’s and Ph.D. in astronomy from Harvard University. His work over the following four decades includes appointments at the Smithsonian Astrophysical Observatory, Cambridge, Massachusetts; State University of New York at Stony Brook; the Kitt Peak National Observatory in Tucson (where he chaired the galactic and extragalactic program); the University of Massachusetts Amherst; and the National Optical Astronomy Observatory, Tucson, where he researched star and planet formation before retiring in 2007.

His first exposure to photography was when he was a boy. “We lived in what might best be called a Bronx box. My father was a teacher and like today teachers don’t make much to support their families, so he photographed the kids that would come to be known as baby boomers in our apartments. One closet was turned into a darkroom.”

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October 26 - November 1, 2012

P A T T E R N S

Paul Weideman I The New Mexican

Strom was familiar with the basics of the camera and darkroom. Then, in 1978, his teenage son became interested in photography and asked if could take a summer course at the Tucson Museum of Art. His parents joined him in the program. It is interesting that the family didn’t have quite enough camera equipment to go around, so they mixed and matched lenses. Fatefully, dad ended up with a longfocal-length lens, and that experience shaped the way he would see the world photographically.

In his early work in photography, he carried two cameras: an old, F-series Nikon and a 4x5 view camera with a 40-inch rail. By the end of the 1990s, he was using a Nikon D-100 digital camera. “I find both the capture and printing to be much more effective in trying to do what I’m hoping to capture and to evoke with a digital camera,” he said.

And what was it that inspired him to use a camera in the first place? “It was the desert. As a New Yorker, I at first found it to be a hostile and uninviting place. But slowly it inculcated itself into my soul. I spent many nights on the tops of mountains in Arizona looking down at the desert. We started to hike, and there was a certain openness to the landscape that seeped into my bloodstream.”

On a six-week vacation from Kitt Peak, he taught on the Navajo Reservation and took his camera out as often as possible. “The way I looked at the landscape was kind of the color-field approach of using the sky as a major component and reducing the desert to a small slice at the bottom. Some of the horizonless images that are very characteristic of the way I see the landscape were first taken on the reservation.

“When I’m hiking, there is something that draws me to promontories that allow me to see great spaces, and under a variety of lighting conditions. The half of me

S T E P H E N

S T R O M’S

P H O T O G R A P H Y

that has a Scandinavian/Lutheran background values understatement, and I think it’s manifest in the muted tones and subtle rhythms you see in my work.”

And the other half? “I had a Jewish-Hungarian mother. It reminds me of all the Sturm und Drang that I’d like to forget in life, and perhaps it’s in reaction to that that I seek that peace by being rooted in the landscape.”

The viewer will naturally be curious to see detailed shots of Mars landscapes. Did Strom have control over cameras mounted on NASA orbiters and rovers? “I did not.

What I did was to look at long strip maps, CCD images taken through multiple filters and then combined to form a color image. Imagine an airplane flying over land and a movie camera continuously running. The digital equivalent is available on the NASA public-domain databases. What I did was go through those strip maps and pick out areas I thought did two things: capture something aesthetically pleasing and illustrate the effects of either water or wind or volcanic activity on the surface.”

Sometimes in his work, you see images whose scale isn’t immediately apparent, and he admits that he tends “to be drawn to similar patterns that show up on vastly different scales.” For example, there is an amazing variety of patterns in his Sand Mirrors portfolio. Were they shot from an airplane or helicopter? “No, it’s usually just a few feet of beach. This is another example of life drawing you in peculiar directions. My daughter lives near Portland, Oregon, and about six years ago I began to be drawn to beaches, and we lucked into finding this place called Yachats.

What’s marvelous about the beaches near there is that there are channels where minerals are washed down from the Coast Range in freshwater streams. They make wonderful transient patterns.”

Strom’s new book, Sand Mirrors, combines his images taken in northern California and Oregon from 2007 to 2011 with poetry by Zen teacher Richard Clarke. Strom’s

other books include Secrets From the Center of the World, a collaboration with Muscogee poet Joy Harjo; and Otero Mesa: America’s Wildest Grassland, featuring photos by Strom and Stephen Capra and text by Gregory McNamee.

The show at Verve offers color prints from more than three decades, selected from seven bodies of work. One of the dramatic images — Drying Mud, Dirty Devil River, Near Hite, UT (from the Earth and Mars series) — is nothing more than an expanse of cracked mud, but the detail of its patterns and the subtle palette of whitish, pinky beige are compelling.

“Yeah, I’m drawn to things like that. And if you glance, you tend not to see those patterns and colors. It’s not until you’re open that you begin to see them.” ◀

details ▼ Stephen Strom: A Retrospective Reception 5 p.m. Friday, Oct. 26; exhibit through Jan. 19, 2013 Verve Gallery of Photography, 219 E. Marcy St., 982-5009 ▼ Gallery talk in conjunction with the Marion Center for Photographic Arts, Santa Fe University of Art and Design (no charge) 3 p.m. Saturday, Oct. 27 Tipton Hall, Santa Fe University of Art and Design, 1600 St. Michael’s Drive, 473-6341

From left to right from opposite page: Stephen Strom: Mudhills I, Lower San Rafael Swell, Near Hanksville, UT; Drying Mud, Dirty Devil River, Near Hite, UT; Sandstone Layers, Dirty Devil River, Near Hite Crossing, UT; all archival pigment ink prints PASATIEMPO

49

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PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert Ker

Nicoll). Naturally, Halloween high jinks follow. Rated PG-13. 90 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) HALLOWEEN John Carpenter’s iconic (and surprisingly gore-free) 1978 slasher flick was made for around $320,000 and raked in an estimated $70 million internationally during its original box-office run, making it one of the most successful independent films of all time. The story begins in 1963, when 6-year-old Michael Myers murders his teenage sister and is committed to a mental institution. When Myers escapes 15 year later, his psychiatrist, Dr. Sam Loomis (Donald Pleasance), knows the troubled young man will go home to kill again. Can Loomis stop the evil that continues to lurk within Myers’ soul? Shot in just under three weeks, Halloween remains a classic. It also launched Jamie Lee Curtis’ career as a “scream queen.”

The film is presented in a new HD transfer with 5.1 surround sound. 10 p.m. Tuesday, Oct. 30, only.

Rated R. 91 minutes. The Screen, Santa Fe. (Rob DeWalt) See Screen Gems, Page 56.

Early to shred, gnarly to rise: Jonny Weston in Chasing Mavericks, at Regal Stadium 14 in Santa Fe

opening this week BELOVED As this film from writer-director Christophe Honoré opens, a French version of “These Boots Are Made for Walkin’” plays while young Madeleine (Ludivine Sagnier) pilfers a pair of red pumps. Those shoes lead a man on the street to mistake her for a prostitute. She doesn’t exactly correct him, and pretty soon she’s taking on other clients. This bittersweet, occasionally tiresome romantic saga spans 40-something years and tells its story by interspersing high melodrama with chansons, many of which are not very good. Catherine Deneuve plays the older Madeleine; Chiara Mastroianni plays grown-up Véra. Not rated. 139 minutes. In French, Czech, and English with subtitles. The Screen, Santa Fe. (Laurel Gladden) CHASING MAVERICKS Troubled teen Jay Moriarity ( Jonny Weston) learns that one of the biggest surfing spots in the world exists near his home, so he pouts his lips, squints his eyes, and aims to take it on. Frosty Hesson (Gerard Butler), a grizzly and troubled surf legend, helps train him to survive. Bonds are formed, emotional scars are healed, and the trailer explicitly tells us that surfing is a symbol for life, in case you couldn’t figure it out. Rated PG. 111 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 52

October 26 - November 1, 2012

CLOUD ATLAS If you see only one movie this year, perhaps it should be Cloud Atlas.

Not that it’s the best movie of the year, but it’s six movies for the price of one, and it packs the running time of two more modest features. It’s the work of three directors. It serves up some of your favorite actors in a half dozen different roles apiece, sometimes heavily disguised. David Mitchell’s centuries-spanning 2004 bestseller is a complex challenge that the author thought could never be translated into a movie, and as he himself recently admitted, “I was half right.” Still, there’s no denying the film’s entertainment value and its technical accomplishment. Rated R. 172 minutes.

Regal Stadium 14, Santa Fe. ( Jonathan Richards) See review, Page 60.

FOUND MEMORIES This debut feature by Brazilian director Júlia Murat looks at a rural community in her country’s Vale do Paraíba region, which is so close to being lost to time that it’s mostly populated by elderly citizens. The story centers on a baker named Madalena (Sonia Guedes), who bonds with a young photographer who comes to town (Lisa Fávero).

Not rated. 98 minutes. In Portuguese with subtitles.

The Screen, Santa Fe. (Not reviewed) FUN SIZE This Halloween, teenage Wren (Victoria Justice) faces an evening so chilling and horror-filled that it would make H.P. Lovecraft say, “OMG!” She’s invited to a party by the local hunk and her total crush (Thomas McDonell), but her mom makes her take along her bratty little brother ( Jackson

HELLO I MUST BE GOING We’re used to seeing movies in which a hot young woman helps pull a 30something man out of a rut (Greenberg, for example).

This film flips the concept around. Amy (Melanie Lynskey of Heavenly Creatures fame) is recently divorced and living with her parents. A 19-year-old named Jeremy (Christopher Abbott) is new in town, and his parents arrange for Amy to show him around.

They kiss, which leads to sex, which results in some soul-searching and many comic scenes in which they nearly get caught. Rated R. 94 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) THE MET LIVE IN HD: OTELLO Johan Botha and Renée Fleming star in this staging of Verdi’s opera, which is broadcast live from the Met. Semyon Bychkov conducts. 11 a.m. Saturday, Oct. 27, with a 6 p.m. encore. 207 minutes, with one intermission. Lensic Performing Arts Center, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Verdi’s La Traviata, from a floating stage in Sydney Harbor, courtesy of Opera Australia. Emma Matthews, Gianluca Terranova, and Jonathan Summers star. 11 a.m. Sunday, Oct. 28, only.

Not rated. 160 minutes, with one intermission.

The Screen, Santa Fe. (Not reviewed) THE PHANTOM OF THE OPERA Nosferatu might eclipse it as the most nightmarish horror film of the silent era, but The Phantom of the Opera remains the more grandiose spectacle — ideally suited for a revival,

with live musical accompaniment by the Alloy Orchestra. Obsessive love meets macabre melodrama in this Gothic fantasy, often copied and imitated since its release in 1925, but rarely improved upon.

Lon Chaney’s grotesque makeup and terrifying performance, building up to a fever pitch with his unmasking as the monster, give the film its emotional ballast, but the jaw-dropping set design and early experiments with color add to its aesthetic richness.

7 p.m. Wednesday, Oct. 31, only. Not rated. 78 minutes.

Lensic Performing Arts Center, Santa Fe. ( Jon Bowman) See stories beginning on Page 32.

SILENT HILL: REVELATION Did you ever notice how the sequels that promise revelations and answers — from the Matrix to Saw — are usually the most confusing films out there? This movie continues building on the already-nonsensical mythos of the horror video-game series. Rated R. 94 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 3-D only at Storyteller, Taos. (Not reviewed) WAKE IN FRIGHT Canadian director Ted Kotcheff’s brutal but cleverly shot and edited 1971 thriller (based on Kenneth Cook’s 1961 novel) follows snobbish schoolmaster John Grant (Gary Bond), who is trying to get to Sydney for winter break. John’s brief stopover in Bundanyabba, in the Australian Outback, devolves into a multiple-day drunken bender replete with gambling, fisticuffs, a kangaroo hunt (footage from a real hunt is used here — it’s bloody), rape, homicidal rage, and the prospect of suicide. An exercise in testosterone- and booze-fueled depravity in a desolate and punishingly depressed locale, Wake in Fright is jarring in its narrative and action. Rated R. 109 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt)

now in theaters ALEX CROSS Matthew Fox (Lost) plays against type by embodying a psychopathic killer, and Tyler Perry plays against type by not dressing up like an old woman. Instead, he portrays the detective who plays cat to Fox’s mouse in this gritty adaptation of James Patterson’s airport paperback. Rated PG-13.

102 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming, pulse-pounding nail-biter.

In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans made

it to the Canadian ambassador’s residence and hid out there while the White House and the CIA desperately tried to figure out how to spirit them out of the country. The plan? Pretend to be making a sci-fi film and disguise the Americans as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck as the CIA operative, with Alan Arkin and John Goodman at the Hollywood end and a spot-on bunch of unknowns as the hiders. Rated R. 120 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jonathan Richards) 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 with Spanish-speaking actors, which imbues the story of murder and witches in World War II-era Northern New Mexico with authenticity. Antonio (played by Luke Ganalon), is 6 years old when his grandmother Ultima (Miriam Colon), a curandera, comes to stay with his family. Antonio sees too much for a kid his age, but he is brave in the face of grown-up pressures.

Performances are mostly strong, and the dialogue moves quickly, as does the action. Rated PG-13.

105 minutes. In English and Spanish, no subtitles.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jennifer Levin) FRANKENWEENIE One of director Tim Burton’s first works was Frankenweenie, a 1984 short film about a boy who brings his dead pet back to life. Here, Burton resurrects the concept as a feature-length tribute to the horror cinema of yesteryear. The minimalist black-and-white stop-motion animation (which looks swell in 3-D) and many references — characters act like Vincent Price, Peter Lorre, and Fu Manchu — nicely evoke classic scare flicks from Universal to Hammer to Toho (Godzilla). Aside from nostalgia, however, there isn’t much to justify stretching the story out to more than an hour. Rated PG. 87 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) HERE COMES THE BOOM Kevin James plays a teacher so devoted to his pupils that when the school faces budget cuts, he embarks on a mixed-martialarts career to raise funds. He gets beaten up badly, presumably to comic effect, but will this sacrifice help him land the girl (Salma Hayek)? Rated PG. 105 minutes. Regal Stadium 14, Santa Fe; Storyteller, Taos. (Not reviewed) HOTEL TRANSYLVANIA Welcome to the Hotel Transylvania — such a scary place (thanks to Dracula, voiced by Adam Sandler), such a hairy place (thanks to Wayne the Wolfman, voiced by Steve Buscemi).

Hello I Must Be Going

Andy Samberg voices Jonathan, a human who crashes this monster mash — the hotel was created to give monsters sanctuary from people — and falls for Drac’s daughter (Selena Gomez). Rated PG. 95 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 2-D only at Storyteller, Taos. (Not reviewed) HOW TO SURVIVE A PLAGUE In his emotionally charged first movie as a documentary filmmaker, journalist David France draws on a treasure trove of archival footage to reveal the triumphs and turmoil that occurred among AIDS activists in the ’80s and ’90s.

Delineating both the allies and the enemies of those hoping to find viable treatments for the AIDS virus in the face of societal ignorance, media apathy, and political opposition, France occasionally stoops to the demonization of his enemies, detracting from the spirit of cooperation that eventually brought many activists, politicians, and government agencies together. 1 p.m.

Saturday and Sunday, Oct. 27 and 28, only. Not rated.

109 minutes. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) THE MASTER After World War II, emotionally troubled Navy vet Freddie Quell ( Joaquin Phoenix) is taken under the wing of Lancaster Dodd (Philip Seymour Hoffman), the charismatic leader of a nascent spiritual continued on Page 54

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group known as The Cause. This long-awaited film from the masterful Paul Thomas Anderson poses heady questions about belief, religion, mental health, and whether humans really can — or want to — change.

It’s intense, ambitious, majestic, and visually luminous.

Phoenix and Hoffman deliver two of the finest screen performances this year. Still, the film lacks a cohesive plot, and you may leave the theater wondering what, exactly, Anderson was trying to say. Rated R. 137 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) PARANORMAL ACTIVITY 4 Paranormal Activity has officially replaced Saw as the franchise that may be counted on for an annual horror film with production values as cheap as its mythology is convoluted.

This one has the usual trappings of the series — videocameras, ghosts, people being violently dragged out of rooms. The biggest difference may simply be the “4” in the title. Rated R. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE PERKS OF BEING A WALLFLOWER Stephen Chbosky’s beloved young-adult novel gets an adaptation of such high-polished twee that it can only have come from the production company behind Juno. Chbosky wrote and directed the film.

Charlie (Logan Lerman) is new to his high school and a bit shy. He receives some guidance from Sam (Emma Watson, Hermione in the Harry Potter films) and her half-brother, Patrick (Ezra Miller). Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) PITCH PERFECT The Breakfast Club meets Glee in this likable adolescent romp. The plot is as predictable as a calendar, and the characters are drawn from columns A and B like items from a menu. The excellent Anna Kendrick, who was all grown up a couple of years ago in Up in the Air, has been demoted to college freshman as Beca, who only wants to be a DJ but has to go to college.

She joins a sorority-like a-cappella group and drags it kicking and screaming into the 21st century. There’s some nice group singing, although there could be more and it could be better, and the same goes for the

spicy bland

medium

mild

heartburn

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

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gags. Elizabeth Banks and Michael Higgins add some fun as announcers, although they’re carbon copies of the team in Best in Show. Rated PG-13. 112 minutes.

Regal Stadium 14, Santa Fe. ( Jonathan Richards) SAMSARA This is a documentary without narration, without characters, without a formal story. Its narrative and message, driven by a hypnotic Michael Stearns score, are conveyed by director Ron Fricke’s (Baraka) sequence of stunning images, filmed in 70 mm and gathered from 25 countries on five continents. The visuals are extraordinary, but much of the time you may find yourself wondering where the heck you are, even as you bathe in the beauty of nature’s abundance and culture’s triumphs or squirm at the robotic cruelty and soullessness of the modern world. But for all the negatives, the beauty ultimately trumps the squalor. It’s a fascinating planet. Rated PG-13.

99 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and a detective story all in one.

The film follows the triumphs and frustrations of a journalist and record-store owner in their efforts to shed light on the mystery surrounding Rodriguez, a superstar in South Africa but virtually unknown in his native United States. The film packs an emotional wallop. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe; Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052. (Michael Abatemarco) SEVEN PSYCHOPATHS Writer and director Martin McDonagh follows his 2008 cult hit In Bruges with another story of eccentric gangsters. This time, he’s got quite the canvas for his snappy dialogue: the cast includes Sam Rockwell, Christopher Walken, Woody Harrelson, Tom Waits, and Colin Farrell, and the story involves screenwriting, psychopaths, and a dognapped Shih Tzu. The cast seems to be having a good time — Rockwell is perhaps having too good a time — and there are many wonderful moments in between the dead spots. McDonagh is a master storyteller, sprinkling his humor and violence with poignancy and postmodernism, but this feels more like a shortstory collection than a cohesive novel. Rated R. 109 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Robert Ker) SINISTER Halloween scares are just around the corner — or hiding in the closet or under the bed — waiting for just the right moment to jump out and

say, Boo! Ethan Hawke plays a writer who finds himself in a house haunted by some kind of demon that’s coming after his kids. Rated R. 110 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) THE STORY OF FILM: AN ODYSSEY This is the Lord of Film Histories, its 900-minute running time eclipsing the combined duration of Peter Jackson’s Lord of the Rings trilogy by four hours. But if you have a weak bladder, have no fear. The Screen presents it in installments through Nov. 17. Breathtaking and audacious, it boasts more depth and breadth than any previous effort to chronicle the history of cinema.

Mark Cousins is the originator and narrator, scouring the planet like Captain Ahab in search of unsung masterpieces. Episodes 9 and 10 screen at 11 a.m.

Saturday, Oct. 27; episodes 7 and 8 are shown at 7:15 p.m. Sunday, Oct. 28. Not rated. Each episode runs approximately 60 minutes. The Screen, Santa Fe. (Jon Bowman) TAKEN 2 Liam Neeson’s second career as a bankable action star got a boost with 2008’s Taken, in which he played a man who kills everyone who comes between him and his kidnapped daughter. But if this guy is so tough, why does his family keep getting taken?

This time, it’s his wife (and him). Rated PG-13.

91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) TO ROME WITH LOVE Nobody can make love to a city like Woody Allen.

When he was young, his heart belonged to New York. Then it was London, and then Barcelona. After the heady triumph of Midnight in Paris, To Rome With Love is a grab bag of mini plots and wisecracks, a Fontana di Trevi of humor spewing cool, refreshing gags. This is Allen in his comic wheelhouse, spinning the kind of yarns he started his career with. There are several different stories, the gags come thick and fast, and Rome never looked better. Rated R. 112 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

other screenings Museum of Contemporary Native Arts 108 Cathedral Place, 983-1666 Grab.

Regal DeVargas Atlas Shrugged: Part II, The Intouchables. ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 982–1338, www.ccasantafe.org Hello I Must Be Going (R) Fri. 5:15 p.m. Sat. and Sun. 5:30 p.m. Mon. to Thurs. 5 p.m.

How to Survive a Plague (NR) Sat. and Sun. 1 p.m.

Samsara (PG-13) Fri. 2 p.m., 3 p.m. Sat. and Sun. 3:15 p.m., 4:15 p.m. Mon. to Thurs. 2:45 p.m., 3:45 p.m.

Searching for Sugar Man (PG-13) Fri. 4 p.m., 8 p.m.

Sat. and Sun. 2:15 p.m., 6:15 p.m., 8:15 p.m. Mon. to Thurs. 5:45 p.m., 7:45 p.m.

Wake in Fright (R) Fri. 7:15 p.m. Sat. and Sun. 7:30 p.m. Mon. to Thurs. 7 p.m.

REGAL DEVARGAS 562 N. Guadalupe St., 988–2775, www.fandango.com Atlas Shrugged: Part 2 (PG-13) Fri. and Sat. 1 p.m., 4:20 p.m., 7:20 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4:20 p.m., 7:20 p.m.

The Intouchables (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m.

The Master (R) Fri. and Sat. 1:05 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. to Thurs. 1:05 p.m., 4 p.m., 7 p.m.

The Perks of Being a Wallflower (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs.

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

Seven Psychopaths (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:30 p.m.

To Rome With Love (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m.

REGAL STADIUM 14 3474 Zafarano Drive, 424–6296, www.fandango.com Alex Cross (PG-13) Fri. to Mon. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:25 p.m. Tue. 12:05 p.m., 5:15 p.m., 7:50 p.m. Wed. 2:40 p.m., 5:15 p.m., 10:25 p.m. Thurs.

12:05 p.m., 5:15 p.m., 7:50 p.m.

Alex Cross (PG-13) open captioned Tue. 2:40 p.m., 10:25 p.m. Wed. 12:05 p.m., 7:50 p.m. Thurs. 2:40 p.m., 10:25 p.m.

Argo (R) Fri. 4 p.m., 7 p.m., 9:55 p.m. Sat. 12:45 p.m., 7 p.m., 9:55 p.m. Sun. 4 p.m., 7 p.m. Mon. 4 p.m., 9:55 p.m. Tue. to Thurs. 12:45 p.m., 4 p.m., 7 p.m., 9:55 p.m.

Argo (R) open captioned Fri. 12:45 p.m. Sat. 4 p.m.

Sun. 12:45 p.m., 9:55 p.m. Mon. 12:45 p.m., 7 p.m.

Bless Me, Ultima (PG-13) Fri. to Thurs. 12 p.m., 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m.

Chasing Mavericks (PG) Fri. to Thurs. 1 p.m., 4:10 p.m., 7 p.m., 9:50 p.m.

Cloud Atlas (R) Fri. to Thurs. 12:15 p.m., 4 p.m., 8 p.m.

Frankenweenie (PG) Fri. to Thurs. 12:10 p.m., 4:45 p.m., 9:25 p.m.

Frankenweenie 3D (PG) Fri. to Thurs. 2:25 p.m., 7:05 p.m.

Fun Size (PG-13) Fri. to Thurs. 12:05 p.m., 2:25 p.m., 4:50 p.m., 7:15 p.m., 9:50 p.m.

Here Comes the Boom (PG) Fri. to Thurs. 12 p.m., 2:30 p.m., 5 p.m., 7:35 p.m., 10:15 p.m.

HotelTransylvania (PG) Fri. to Thurs. 12:10 p.m., 2:35 p.m., 5 p.m., 7:25 p.m.

HotelTransylvania 3D (PG) Fri. to Thurs. 9:50 p.m.

Paranormal Activity 4 (R) Fri. to Sun. 12:20 p.m., 2:40 p.m., 5:05 p.m., 7:35 p.m., 10 p.m. Mon. to Thurs.

12:20 p.m., 2:40 p.m., 5:05 p.m., 7:35 p.m., 10 p.m.

Pitch Perfect (PG-13) Fri. to Thurs. 12:20 p.m., 4:10 p.m., 7:10 p.m., 9:55 p.m.

Silent Hill: Revelation (R) Fri. to Thurs. 12 p.m., 4:55 p.m., 9:55 p.m.

Silent Hill: Revelation 3D (R) Fri. to Thurs. 2:30 p.m., 7:30 p.m.

Sinister (R) Fri. to Thurs. 12:40 p.m., 4:40 p.m., 7:40 p.m., 10:25 p.m.

Taken 2 (PG-13) Fri. to Thurs. 12:35 p.m., 3 p.m., 5:25 p.m., 7:55 p.m., 10:20 p.m.

THE SCREEN Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473–6494, www.thescreensf.com Beloved (NR) Fri. and Sat. 3:10 p.m., 7:45 p.m. Sun. 2 p.m. Mon. and Tue. 5 p.m. Wed. and Thurs. 3:10 p.m., 7:45 p.m.

Found Memories (NR) Fri. 5:50 p.m. Sat. 1:10 p.m., 5:50 p.m. Sun. 4:45 p.m. Mon. and Tue. 3 p.m., 7:45 p.m.

Wed. and Thurs. 5:50 p.m.

Halloween (R) Tue. 10 p.m.

Opera Australia: LaTraviata on Sydney Harbor (NR) Sun. 11 a.m.

The Story of Film: Episodes 7 & 8 (NR) Sun. 7:15 p.m.

The Story of Film: Episodes 9 & 10 (NR) Sat. 11 a.m.

STORYTELLER DREAMCATCHER CINEMA (ESPAÑOLA) 15 N.M. 106 (intersection with U.S. 84/285), 505–753–0087, www.storytellertheatres.com Alex Cross (PG-13) Fri. 6:30 p.m., 8:50 p.m.

Sat. 6:30 p.m., 8:50 p.m. Sun. to Thurs. 6:30 p.m.

Argo (R) Fri. 4:05 p.m., 6:55 p.m., 9:40 p.m. Sat. 1:15 p.m., 4:05 p.m., 6:55 p.m., 9:40 p.m. Sun. 1:15 p.m., 4:05 p.m., 6:55 p.m. Mon. to Thurs. 4:05 p.m., 6:55 p.m.

Bless Me, Ultima (PG-13) Fri. 4 p.m., 7 p.m., 9:30 p.m.

Sat. 1 p.m., 4 p.m., 7 p.m., 9:30 p.m. Sun. 1 p.m., 4 p.m., 7 p.m. Mon. to Thurs. 4 p.m., 7 p.m.

Frankenweenie (PG) Fri. 3:55 p.m. Sat. and Sun. 12:50 p.m., 3:55 p.m. Mon. to Thurs. 3:55 p.m.

Fun Size (PG-13) Fri. 4:20 p.m., 7:20 p.m., 9:25 p.m. Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 9:25 p.m. Sun. 1:20 p.m., 4:20 p.m., 7:20 p.m. Mon. to Thurs. 4:20 p.m., 7:20 p.m.

HotelTransylvania (PG) Fri. to Thurs. 4:10 p.m.

HotelTransylvania 3D (PG) Fri. 6:50 p.m., 9 p.m.

Sat. 1:10 p.m., 6:50 p.m., 9 p.m. Sun. 1:10 p.m., 6:50 p.m.

Mon. to Thurs. 6:50 p.m.

Paranormal Activity 4 (R) Fri. 3:45 p.m., 6:45 p.m., 9:10 p.m. Sat. 1:25 p.m., 3:45 p.m., 6:45 p.m., 9:10 p.m.

Sun. 1:25 p.m., 3:45 p.m., 6:45 p.m. Mon. to Thurs.

3:45 p.m., 6:45 p.m.

Seven Psychopaths (R) Fri. 3:50 p.m., 6:40 p.m., 9:15 p.m. Sat. 12:45 p.m., 3:50 p.m., 6:40 p.m., 9:15 p.m.

Sun. 12:45 p.m., 3:50 p.m., 6:40 p.m. Mon. to Thurs.

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

Silent Hill: Revelation (R) Fri. to Thurs. 4:30 p.m.

Silent Hill: Revelation 3D (R) Fri. 7:15 p.m., 9:45 p.m.

Sat. 12:55 p.m., 7:15 p.m., 9:45 p.m. Sun. 12:55 p.m., 7:15 p.m. Mon. to Thurs. 7:15 p.m.

Sinister (R) Fri. 4:25 p.m., 7:05 p.m., 9:20 p.m. Sat. 1:35 p.m., 4:25 p.m., 7:05 p.m., 9:20 p.m. Sun. 1:35 p.m., 4:25 p.m., 7:05 p.m. Mon. to Thurs. 4:25 p.m., 7:05 p.m.

Taken 2 (PG-13) Fri. 4:15 p.m., 7:10 p.m., 9:35 p.m. Sat. 1:05 p.m., 4:15 p.m., 7:10 p.m., 9:35 p.m. Sun. 1:05 p.m., 4:15 p.m., 7:10 p.m. Mon. to Thurs. 4:15 p.m., 7:10 p.m.

MITCHELL STORYTELLER CINEMA 110 Old Talpa Canon Road, 575–751–4245 Argo (R) Fri. 4:25 p.m., 7 p.m., 9:35 p.m. Sat. 1:55 p.m., 4:25 p.m., 7 p.m., 9:35 p.m. Sun. 1:55 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs. 4:25 p.m., 7 p.m.

Bless Me, Ultima (PG-13) Fri. 4:30 p.m., 6:55 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 6:55 p.m., 9:30 p.m.

Sun. 2 p.m., 4:30 p.m., 6:55 p.m. Mon. to Thurs. 4:30 p.m., 6:55 p.m.

Fun Size (PG-13) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m.

Here Comes the Boom (PG) Fri. 4:35 p.m., 7:10 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:10 p.m., 9:50 p.m.

Sun. 2:05 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs.

4:35 p.m., 7:10 p.m.

HotelTransylvania (PG) Fri. 4:45 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:20 p.m., 9:40 p.m.

Sun. 2:20 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs.

4:45 p.m., 7:20 p.m.

Paranormal Activity 4 (R) 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.

Silent Hill: Revelation 3D (R) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:55 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.

PASATIEMPO

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Trick or terror Rob DeWalt I The New Mexican Halloween, ’70s horror, rated R, The Screen, 4 chiles On Oct. 25, 1978, film audiences at four movie theaters in Kansas City, Missouri, got the nation’s first peek at Halloween, a new independent horror movie directed and co-written by an under-the-radar filmmaker named John Carpenter.

At 29 years old, Carpenter had been slowly grabbing the attention of independent producers after the 1976 release of Assault on Precinct 13, a low-budget action thriller starring Austin Stoker (Battle for the Planet of the Apes, Airport 1975). Produced on a shoestring budget of around $325,000, Halloween grossed more than $70 million worldwide during the film’s originalrelease run, making it one of the most successful independent films of all time. It plays at The Screen (1600 St. Michael’s Drive) for one night only at 10 p.m. on Tuesday, Oct. 30.

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The screenplay, which was written by Carpenter and then-girlfriend Debra Hill in a matter of weeks, centers on a psychopathic killer who preys on babysitters. Producer Irwin Yablans, who saw potential in Carpenter after watching Assault on Precinct 13, approached the young filmmaker about helping him break into Hollywood with a horror picture in the vein of the William Friedkin-directed 1973 hit The Exorcist — the first horror film to be nominated for best picture by the Academy of Motion Picture Arts and Sciences.

Before a solid title came about, Yablans called his developing film project “The Babysitter Murders.”

Wrapping his psychopath-to-be in the Halloween season was something the producer said just popped into his mind, and Carpenter, who was directing a made-for-television movie at the time called Someone’s Watching Me!, liked the idea. There was only one major obstacle: no money.

Enter Moustapha Akkad, a Syrian-American film producer and director who at the time was wrapping up production on Lion of the Desert, a historical action film starring Anthony Quinn and funded by the Libyan government under Muammar Gaddafi. Yablans

said he “shamed” Akkad into ponying up the money for Halloween, telling Akkad that the sum was probably too much for him to invest, “knowing he couldn’t back off because of his pride.” Once the money was in place, Yablans and Carpenter worked out many of the production’s financial details. Carpenter agreed to a $10,000 paycheck plus 10 percent of the film’s profits for writing, directing, and scoring Halloween, and along with Hill, wrote a thrilling tale influenced greatly

by Alfred Hitchcock’s 1960 thriller Psycho. Hill and Carpenter wanted to create a story about a faceless evil that couldn’t be killed or easily explained, one that had its origins in the tortured soul of a troubled child.

What the pair came up with was the story of Michael Myers, a 6-year-old boy in fictional Haddonfield, Illinois, who brutally kills his 17-year-old sister on Halloween night in 1963. Myers is sentenced to the Smith’s Grove-Warren County Sanitarium after the murder, and for 15 years, the world hears nothing about him. But on Oct. 30, 1978, 21-year-old Myers escapes from the sanitarium and returns to Haddonfield, where he stalks three young women: shy 17-year-old bookworm babysitter Laurie Strode and her horny friends, fellow baby-sitters Annie and Lynda. Somewhere, out there, Myers is watching, and after all these years, he still has an appetite for the kill.

Everyone’s survival, including that of the kids left in these three girls’ charge on Halloween night, depends on Dr. Sam Loomis, Michael’s childhood psychiatrist, who traces Myers back to Haddonfield. In one of horror cinema’s most suspenseful finales, Myers stalks Laurie through a darkened home and neighborhood, leaving corpses in his wake, while Loomis searches frantically for his whereabouts.

When casting began, Carpenter had his sights set on Anne Lockhart, daughter of Lassie star June Lockhart, for the role of Laurie Strode. It didn’t work out, however, and Carpenter chose the daughter of another famous actress. Jamie Lee Curtis, daughter of actor Tony Curtis and Psycho star Janet Leigh, had been working on Operation Petticoat, a short-lived television spinoff of a film starring her father, when she continued on Page 58

Dictated by fact-checkers: Halloween trivia Because of the film’s small budget, wardrobe, makeup, and props were all managed out of cinematographer Dean Cundey’s Winnebago, which was parked outside the fictional home of Michael Myers. A church owned the house, which was abandoned at the time of production.

Set in the fictional suburbs of Haddonfield, Illinois (named after co-writer/producer Debra Hill’s childhood hometown of Haddonfield, New Jersey), Halloween was actually filmed in South Pasadena and in Hollywood (just off Sunset Boulevard).

Because filming began in California in the spring, fall leaves were in short supply. Paper leaves were used for outdoor scenes, and in light of the low budget, they were raked up after each scene and bagged for reuse. Director John Carpenter’s friends rallied around menial projects like this one, keeping the film’s labor expenses within reasonable means.

Tommy Lee Wallace, a friend of Carpenter’s who served as production designer, location scout, art director, and co-editor, was responsible for creating the iconic Myers look. Tasked with finding a mask for Carpenter’s friend, Nick Castle (billed in the credits as“The Shape”), Wallace first brought in a clown mask. (In the beginning of the film, a 6-year-old Myers murders his sister while dressed as a clown.) But Carpenter and Hill, both fans of the 1960 French horror film Eyes Without a Face,, were looking for something more ambiguous. Wallace wound up at Burt Wheeler’s Magic Shop on Hollywood Boulevard, where he purchased a William Shatner/Captain Kirk mask for $1.98. Wallace slapped some ultra-white paint on it, widened the eyeholes, and the Myers look was born.

Castle wasn’t the only actor to portray the adult Myers in the original film. Others include Tommy Lee Wallace, who was featured in the famous closet scene; Jim Winburn, a stuntman who took the fall off the balcony at the end of the film; a dog trainer; and Tony Moran, whose face is revealed during the movie’s thrilling climax. Rumors circulate that Carpenter also took a turn in the mask.

In the beginning of the film, when a young Myers grabs a knife from the kitchen and walks upstairs to his sister’s bedroom, the action is seen from the vantage point of Myers himself. Because of child labor laws, young actor Will Sandin, who played Myers as a boy, was not in the scene. Instead, audiences see producer/co-writer Debra Hill’s arm and hand in part of a clown costume. Halloween features Sandin’s only big-screen performance.

In 1980, NBC purchased the television rights to Halloween for $4 million, and the network demanded censorship of certain scenes. Halloween appeared on television for the first time in October 1981, but it was too short to fill the time slot. Carpenter filmed 12 additional minutes (during the production of Halloween II) so that the original hit the two-hour mark on television. During its first year of release in VHS format, Halloween reportedly earned $18.5 million domestically from rentals alone.

— R.D.W.

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got the part. It was her cinematic debut, and one that would help define her as a leading “scream queen” actress of her generation. Carpenter has admitted to casting Curtis primarily because her mother’s role in Psycho would mean great publicity for Halloween, but Curtis proved herself a worthy actress. She impressed Carpenter so much on the first day of primary shooting that the director called her to congratulate her. “I was filled with anxiety after that first day,” Curtis said in an interview included in the Halloween Blu-ray disc. “I thought I was going to be fired.”

The role of Dr. Loomis, played by Donald Pleasance, was originally intended for Peter Cushing, but he turned it down, fearful he would be typecast as a horror actor. Christopher Lee also declined the role. Pleasance took the part — at his daughter’s insistence — for a flat $20,000 fee. Because he only agreed to a week on-set, his scenes had to be filmed on a tight schedule.

Michael Myers — named after the U.K. distributor of Assault on Precinct 13 — was never referred to as “the bad guy” among the film’s cast and crew. In the script, he is simply called “The Shape,” and for good reason.

Carpenter and Hill wanted a menacing figure that may or may not be human in nature — a walking, silent force of evil. When Carpenter was in college he visited a Kentucky mental institution and witnessed the blank, near-catatonic stares on the faces of the facility’s teenaged schizophrenic patients. The image stuck with him, and a loose description of the event made it into one of Donald Pleasance’s lines.

The part of “The Shape” was played by a friend of Carpenter’s named Nick Castle, the filmmaker’s former University of Southern California classmate. Castle was paid $25 a day and was told to don a mask and “do nothing, just walk,” at Carpenter’s direction. Castle was a natural, throwing in subtle head movements to accentuate the killer’s childlike qualities. “At one point,” Carpenter said in an interview on the Blu-ray, “after he stabs a kid, he looks at him like he’s looking at a butterfly collection.”

Halloween was intended to be frightening without being gory, using mood, color, darkness, and the elements of the unknown and surprise to do the scaring. Director of photography Dean Cundey and Carpenter are both acutely aware of composition and the importance of foreground in a shot. They took numerous cues from one of Carpenter’s favorite cinematic moments, the three-minute, single-take opening crane shot in Orson Welles’ A Touch of Evil, for the opening sequence of Halloween.

Adding to the technical prowess displayed in the film is the camerawork that captured Michael Myers’ point of view in certain scenes. Using a relatively new apparatus called a Panaglide harness system, the camera operator could essentially wear the camera, making previously unheard of shots possible.

Were it not for Carpenter’s soundtrack, which was scored in two weeks (because, Carpenter said, that’s all his budget would allow), Halloween may not have fared as well at the box office. Riffing off a 5/4 time signature his father taught him on the bongo drums in 1961, Carpenter, who also played in rock bands, headed to a studio full of synthesizers and drum machines to create one of the most recognizable horror-film scores of all time.

Before the film was scored, Carpenter screened a version of it without music for a young studio executive at 20th Century Fox. She didn’t find the film scary at all. Six months later, he screened the film for the exec again, this time with his score synced to the action. She loved it. “Someone once told me that music, or the lack of it, can make you see better,” Carpenter wrote in his notes on the film’s soundtrack. “I believe it.” ◀

halloweenmovie.wikia.com

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Halloween, continued from Page 56

Frontiers in Science

A public lecture series sponsored by the Fellows of Los Alamos National Laboratory

Michael L. Graesser, Theoretical Division

Higgs Boson and Beyond: The Quest for New Laws of Physics

This summer a highly≠ anticipated particle was discovered at the Large Hadron Collider.

Is this particle the Higgs boson? The Higgs boson gives mass to quarks and electrons but how and why are mysteries. This talk will describe what we know about this new particle and speculate about discoveries that might now be on the horizon.

Monday, October 29 at 7 p.m.

Duane W. Smith Auditorium Los Alamos High School, Los Alamos

Friday, November 2 at 7 p.m.

James A. Little Theater New Mexico School for the Deaf 1060 Cerrillos Road, Santa Fe

Thursday, November 8 at 7 p.m.

Nick L. Salazar Center for the Arts Northern New Mexico College 921 Paseo de Oñate, Española

Friday, November 9 at 7 p.m.

New Mexico Museum of Natural History and Science 1801 Mountain Road NW, Albuquerque

For more information, call 665-4400 or (888) 841-8256 (toll free) or go to http://frontiers.lanl.gov/

58

October 26 - November 1, 2012

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2:00p - Samsara 3:00p - Samsara* 4:00p - Searching for Sugar Man 5:15p - Hello I Must Be Going* 6:00p - Craig Varjabedian booksigning 7:15p - Wake in Fright* 8:00p - Sugar Man

1:00p - How to Survive a Plague* 2:15p - Sugar Man 3:15p - Samsara* 4:15p - Samsara 5:30p - Hello I Must Be Going* 6:15p - Sugar Man 7:30p - Wake in Fright* 8:15p - Sugar Man

2:45p - Samsara* 3:45p - Samsara 5:00p - Hello I Must Be Going* 5:45p - Sugar Man 7:00p - Wake in Fright* 7:45p - Sugar Man * indicates shows will be in The Studio at CCA, our new screening room for $7.50.

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59

MOVING IMAGES film reviews

Masquerade party Jonathan Richards I The New Mexican Cloud Atlas, drama, rated R, Regal Stadium 14, 2.5 chiles If you see only one movie this year, perhaps it should be Cloud Atlas. Not that it’s the best movie of the year. But it is six movies for the price of one, and it packs the running time of two more modest features.

It covers about half a millennium. It is the work of three directors. It serves up some of your favorite actors in a half dozen different roles apiece, sometimes heavily disguised. So for those who are severely limited in budget, time, and inclination, this extravaganza offers the opportunity to get a year’s worth of moviegoing under your belt in one fell swoop.

It has taken Cloud Atlas some eight years to make the journey from bestselling novel to the screen, and many thought it was a destination that could never be reached. The book begins in 1850 as a memoir of a seafaring expedition in the South Pacific. That narrative is interrupted mid-sentence and is succeeded by a new one that unfolds in the 1930s in a series of letters from a young composer to his lover, which after a while explain the sudden abandonment of the interrupted memoir and incorporate its story.

This format continues until six different tales in six different eras — past, present, and future — have been strung together and interwoven. The novel then doubles back to pick up the unfinished narratives and bring them to term. If that sounds confusing, imagine trying to make a movie of it.

The novel “always struck me as unfilmable,” author David Mitchell wrote recently in The Wall Street Journal, “which is why I believed that Cloud

Kiss and makeup: Tom Hanks and Halle Berry

Atlas would never be made into a movie. I was half right.” The version that reached the screen, which Mitchell described as “a sort of pointillist mosaic,” mostly eschews the bouts of sustained narrative that the novel offers and instead shakes the stories up like dice in a cup and tosses them out in short bursts, creating a bravura opportunity for editor Alexander Berner, who should have collected hazardous-duty pay. Sometimes the threads of a storyline stretch out over minutes. Sometimes they are reduced to tantalizing seconds, just long enough to make an impression before skipping into another, and it is to Berner’s credit that much of the time viewers actually have some idea where they are.

The other department that gets a heavy workout is makeup. No fewer than 24 names are listed in that section of the credits, under the supervision of Heike Merker. With each principal actor and many secondary cast members playing multiple parts, the makeup artists must have been as busy as fact-checkers in a presidential campaign. Each actor has one role in which he or she more or less looks familiar. But then they show up again and again, crossing lines of race and gender, in wigs, prosthetics, greasepaint, whiteface, and sagging crepe skin in

Disguised in this picture are three Hollywood stars. Can you spot them?

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October 26 - November 1, 2012

guises that are sometimes obvious and sometimes impenetrable. James D’Arcy as Old Rufus Sixsmith is pretty clearly Young Rufus Sixsmith in old-age drag, and stars like Susan Sarandon are usually easy to spot. But you might not unravel some of the transformations until the closing credits. So some of the fun of the movie is the guessing game: “Hey — isn’t that Tom Hanks?”

It’s an amusing brain teaser, along the lines of the 1963 John Huston romp The List of Adrian Messenger, in which Kirk Douglas, Burt Lancaster, Tony Curtis and others buried their identities under layers of disguise until the final unmasking. This game is a distraction from the stories being told, but it gives the actors a chance to really cut loose. Hugh Grant appears as one Hugh Grant-like character, but the rest of the time his familiar mannerisms are gone as he rollicks through guises that are sometimes a real challenge to penetrate. The same goes for Oscar winners like Hanks, Halle Berry, and Jim Broadbent.

The directors are Tom Tykwer (Run Lola Run) and the Wachowski siblings (of the Matrix series), the creative team formerly known as the Wachowski brothers until Larry made a gender switch to become Lana, an experience that may have given her special insight into the challenges of the transformations required of the actors in this movie. Tykwer handles the three more or less contemporary sections: the tale of the 1930s composer, a 1970s whistleblower thriller involving a reporter and a nefarious nuclear scheme, and a plot that casts Broadbent as a slightly dotty publisher entrapped by his brother into an old-age home. The Wachowskis take on the futuristic material — Neo Seoul in 2144 and a postapocalyptic world of hunter-gatherers and vicious predators — as well as a 19th-century slave-trade tale of villainy and redemption.

Cloud Atlas runs on longer than it should, and its platitudes and dialogue will sometimes tax your patience (“I have an uncle who is a scientist — but he also believes in love”), but there’s no denying its entertainment value and its technical accomplishment. It’s fun to watch the stories link together, the actors take on their chameleonic assignments with gusto, and the world go to hell in a handbasket. ◀

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61

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Rooms with a ‘Boo!’

La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 Patio Restaurant/Staab House Lounge: breakfast 6:30-11:30 a.m., lunch 11:30 a.m.-3 p.m., dinner 5:30-10 p.m. daily Fuego: dinner 5:30-9:30 p.m. daily Takeout available Vegetarian options Noise level: bar and patio, serene to festively boisterous; Fuego, often spookily quiet Full bar Credit cards, no checks

!

The short order The spaces at La Posada de Santa Fe Resort and Spa feel appropriate for the ghost of a well-to-do lady — in this case, Julia Staab — to wander. Fuego has a modern Southwestern ambience. The Staab House Lounge feels like a fancy Old West saloon. The Patio Restaurant has an easy, airy, breezy flow. The patio itself is one of the best, most idyllic outdoor spaces in town. The food at Fuego is well considered and, in some cases, well prepared; in the casual spaces, the food fares better.

The ambience can range from spookily quiet to raucously boisterous. Regardless, service is typically attentive and quick.

Recommended: cucumber Collins and melon mojito cocktails, polenta fries, Kobe-style burger, barbacoa “beggar’s purse,” and Mexican chocolate mousse.

Some people say that the ghost of

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

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

62

October 26 - November 1, 2012

Julia Staab, the wife of wealthy Santa Fe merchant Abraham Staab, wanders the halls at La Posada de Santa Fe Resort and Spa. Legend has it that Mrs. Staab used the main building — which now houses the formal restaurant, Fuego; the Patio Restaurant; and the Staab House Lounge — to entertain friends and her husband’s clients. If there were an appropriate place for a well-to-do lady’s spirit to wander, this would be it. It exudes tasteful Victorian elegance. Much of the glass, woodwork, and even hinges are original, and many of the finishings and furnishings feel true to the period.

Fuego has a modern, elegant Southwestern ambience: soaring ceilings with sturdy beams, elegantly upholstered armchairs, piped-in ambient music of the Gypsy Kings ilk, and a disconcerting mirrored wall (who wants to watch herself eat?). The food is well considered and, in some cases, well prepared, but it’s a little unsettling — not to mention difficult to discern the quality of service — when you have the dining room entirely to yourself, as we did one evening.

The sopa de limón is a well-balanced citrusy tomato soup given welcome texture by the addition of crunchy corn, carrot, celery, and tortilla “hay.” Our plato para parejas was uneven; this “sampler plate” of sorts includes a chile relleno (the pepper charred to the point of being inedible), a coconut prawn (overly sweet), and a barbacoa “beggar’s purse” (an addictive, richly seasoned, savory pile of incredibly tender beef in a banana leaf with an arbol-cilantro gastrique). The tender duck breast is sauced with a rich, complex, but not too spicy mole. The bacon-cheddar posole nearly overshadowed the meaty Colorado lamb loin with which it shared the plate.

The Staab House Lounge, named “Santa Fe’s coziest bar”

by Travel + Leisure magazine, according to the La Posada website, is a series of charming rooms that feels a little like a fancy Old West saloon. The Patio Restaurant, which opens to, well, the patio, has an airy, breezy flow and cool indirect light. Before the last temperate days of the fall have flown, spend some time on the patio — one of the best, most idyllic outdoor spaces in town. Overall, the ambience can range from quiet and relaxing to raucously boisterous, depending on the crowd and time of day. Regardless, service is typically attentive and quick. Wherever you sit, beer, a lengthy wine list, and signature cocktails are available (the melon mojitos and cucumber Collins are refreshing, if a tad cloudy and vegetallooking; the Cable Car is strong but too sweet).

In the casual spaces, the food fares better. The polenta fries, like a variation on nachos, consists of fried polenta “bars” topped with rich, tender, savory carnitas; stewy green chile; cheese; salsa; guacamole; and sour cream. When the polenta is crispy and firm and toppings aren’t overapplied, this dish knocks it out of the park. Otherwise, it can be a gloppy (albeit still delicious) mess. The kitchen’s being stingy when it comes to the misnamed “firecracker” crab cakes. Their bright red hue resembled the color of some wildly flavored Doritos and suggested heat that simply wasn’t there. Of the three quesadillas in the “trio,” only the meltingly tender and moist duck was worth bothering with.

The Kobe-style burger (cheese and green chile are part of the package) has a bold beef flavor; it challenged even those

with the healthiest of appetites at our table. The well-cooked New York steak, with its chunky mashed potatoes and toothsome asparagus, is a fine meat-and-potatoes dish, in case that’s what you’re craving. The generous serving of lamb rests on very herby Israeli couscous with vegetables. The grilled-strawberry salad is light and fresh, the prickly pearagave dressing providing a unique lilt.

Though I’ve certainly heard the well-worn hardwood floors at La Posada creaking, I’ve never seen Julia’s specter. The one ghost I have seen there, however, is the ghost of a good dessert. Despite the regional appeal of the margarita custard, our server repeatedly recommended against it. We opted for the palate-cleansing sorbet “trinity,” fruity, vibrantly hued scoops of lemon, mango, and raspberry. The menu declares they are house-made, and our server affirmed this fact, but they tasted suspiciously like a well-known national brand to me. The chocolate cake was a generous hunk, but while moist, it was bland and had a peculiar chemical aftertaste.

The only real winner was the chocolate mousse, which tantalized with its hint of cinnamon and spice. This is the sort of thing you can’t stop eating even though you’re way past full. The menu calls the dessert Nana’s Mexican Chocolate Mousse. I don’t know if the recipe came from someone’s actual grandmother, but if it did, that’s a lady — ghost or not — I wish were really wandering the halls of La Posada. I’d like to cross her path. ◀

Dinner for two at Fuego: Plato para parejas ............................................................$ 15.00 Soup ................................................................................$ 7.00 Duck mole ......................................................................$ 28.00 Lamb ...............................................................................$ 38.00 Bottle, 2006 Brick House gamay noir .............................$ 48.00 Chocolate mousse ..........................................................$ 8.00 Two coffees .....................................................................$ 7.00 TOTAL ............................................................................$ 151.00 (before tax and tip) Dinner for four at the Staab House Lounge: Cucumber Collins cocktail .............................................$ 9.00 Melon mojito cocktail .....................................................$ 8.00 Glass, Massimo rioja .......................................................$ 9.00 Polenta fries ....................................................................$ 10.00 Crab cakes ......................................................................$ 12.00 Quesadilla trio ................................................................$ 14.00 Fire-grilled strawberry salad ...........................................$ 8.00 Kobe-style burger ...........................................................$ 14.00 New York steak ...............................................................$ 28.00 Rack of lamb ...................................................................$ 32.00 Sorbet “trinity” ...............................................................$ 8.00 Chocolate cake ...............................................................$ 10.00 TOTAL ............................................................................$ 162.00 (before tax and tip)

Enjoy Our Newly Remodeled Dining Room.

Chef Gharrity’s Seasonally Inspired Menu Features New American West Cuisine.

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Open Daily 11:00am until 10:00pm 1 2 5 E a s t Pa l a c e, S a n t a Fe, N M 8 7 5 0 1 ( 5 0 5 ) 9 8 8 - 9 2 3 2 | l a c a s a s e n a. c o m

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Live event blogs The New Mexican endorsements Links to stories about various races, including Senate Election guides Demographic voting trends

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63

pasa week 26 Friday

‘Eleemosynary’ Theaterwork celebrates its 17th season in Santa Fe with a play examining the relationships among a grandmother, mother, and child, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, final weekend.

‘Moon Over Buffalo’ Ken Ludwig’s comic play presented by Santa Fe Playhouse, reception 6:30 p.m., curtain 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, final weekend.

GALLERY/MUSEUM OPENINGS Arrediamo Santa Fe 214 Galisteo St., 820-2231. Hand-knotted rugs by Robin Gray, reception and talk 5-7 p.m., a portion of the proceeds benefits GoodWeave USA, a nonprofit organization working to end illegal child labor in the Asian rug industry and improve working environments of weavers in India, Nepal, and Afghanistan (see story, Page 28).

Bill Hester Fine Art 830 Canyon Rd., 660-5966. The Magic Show, works by Arlene Ladell Hayes, reception 5-7 p.m., through Nov. 9.

Caldera Gallery 933 Baca St., 926-1242. Gallery-closing party 6-9 p.m.

Center for Contemporary Arts — Spector Ripps Project Space 1050 Old Pecos Trail, 982-1338. Stitch Thought, installation of felt living room furnishings by Tamara Wilson, reception 6-8 p.m., through Dec. 9.

Eclectics Art Gallery 7 Caliente Rd., Suite A-10, Eldorado, 603-8811.

Sculpture by Victor M. Vigil, reception 6-9 p.m.

Hill’s Gallery Remix: Then & Now 217 Galisteo St., 512-415-7770. Group exhibit honoring Hill’s Gallery, reception 5-7 p.m., through Jan. 5.

Liza Williams Gallery 806 Old Santa Fe Trail, 820-0222. Etchings

by Steven Hazard, reception 4-6 p.m.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.6, revolving series of group exhibits, reception 5-8 p.m., through Dec. 2, Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center, 201 W. Marcy St., 955-6705. Fine Folk of New Mexico, group show, reception 5-7 p.m., through Jan. 26.

Shiprock Santa Fe 53 Old Santa Fe Trail, second floor, 982-8478. work by designer Hiroki Nakamura, reception 5-7 p.m., through the holiday season.

Verve Gallery of Photography 219 E. Marcy St., 982-5009. Stephen Strom: A Retrospective, reception 5-7 p.m., through Jan. 19 (see story, Page 48).

Wiford Gallery 403 Canyon Rd., 982-2403. Paintings by Barry Thomas, reception 5-7 p.m., through Nov. 7.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. West/ East — Los Angeles/New York, paintings

by David Kapp; Joshua D’s Wall and Recent Works, glass sculpture by Michael Petry, reception 5-7 p.m., through Nov. 23.

Pasa’s Little Black Book......... 65 Exhibitionism...................... 66 At the Galleries.................... 67 Libraries.............................. 67 Museums & Art Spaces........ 67 In the Wings....................... 68

64

October 26 - November 1, 2012

compiled by Pamela Beach, pambeach@sfnewmexican.com

BOOKS/TALKS

Waunderlust, by Barry Thomas, Wiford Gallery, 403 Canyon Rd.

CLASSICAL MUSIC Brahms’ sonatas Clarinetist Robert Marcus and pianist Peter Pesic, 12:15-1:10 p.m., Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 984-6070.

Music on Barcelona Marylinda Gutierrez, Gerald Fried, and John Rangel perform Honegger’s Concerto da Camera, and James Preus, James Knudson, and Edwin Light perform Brahms’ Trio in A minor, 5:30-6:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge, 424-0994.

TGIF piano recital Pianists Linda Mack and C. Scott Hagler, 5:30 p.m., First Presbyterian Church, 208 Grant Ave., 982-8544, Ext. 16, donations appreciated.

IN CONCERT Caravan of Thieves Theatrical Gypsy-jazz band, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $15, solofsantafe.com.

Elsewhere............................ 70 People Who Need People..... 71 Under 21............................. 71 Short People........................ 71 Sound Waves...................... 71

Liz Larin R & B and rock singer/songwriter, 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

THEATER/DANCE ‘A Midsummer Night’s Dream’ Presented by Santa Fe High School theater students, 7:33 p.m., SFHS, 2100 Yucca St., $8, discounts available, 467-2970, continues Saturday, Oct. 27.

Arcos Dance Contemporary dance company, 7:30 p.m., National Dance Institute of New Mexico Dance Barns, 1140 Alto St., $20, discounts available, 473-7434, arcosdance.com, continues Saturday and Sunday, Oct. 27-28 (see story, Page 26).

‘Bingo!’

Meow Wolf and Santa Fe Performing Arts’ theater series opens with a variety show of experimental performance art and one-acts, 7 p.m., Armory for the Arts, 1050 Old Pecos Trail, $15 at the door, discounts available, 984-1370, final weekend.

Craig Varjabedian The photographer offers a multimedia digital presentation of his monograph Landscape Dreams: A New Mexico Portrait, and writer Jeanetta Calhoun Mish reads from her essay on Varjabedian’s images, 6 p.m., signing follows, Center for Contemporary Arts, 1050 Old Pecos Trail, hosted by Garcia Street Books, 986-0151.

Ernesto Bazan The photographer discusses and signs copies of his books, Al Campo and BazanCuba, 6:30 p.m., Photo-eye Gallery, 376 Garcia St., Suite A, 988-5152, Ext. 112.

Kristin Carmichael The author discusses and signs copies of X That Ex: Making a Clean Break When It’s Over, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Zeno the Gedankenexperimentalist Mathematician William Goldbloom Bloch speaks, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6070.

EVENTS 11th Annual Eldorardo Arts & Crafts Fall Show Fifty-eight artists bring their work to Santa Fe; paintings, jewelry, ceramics, glass art, wearable art, and more, 3-7 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, eldoart.org, continues Saturday, Oct. 27.

Halloween on Ice Skating party with prizes, candy, spooky music, and special effects, 5-9 p.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 includes skate rental.

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 (See Page 65 for addresses) ¡Chispa! at El Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 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.

Cowgirl BBQ Singer/songwriters Shawn Zuzek and Troy Browne, 5-7:30 p.m., no cover. Felix y Los Gatos, zydeco/Tejano/juke-swing, 8:30 p.m., $5 cover.

El Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

El Farol Dance band Controlled Burn, 9 p.m., $5 cover.

Evangelo’s Classic-rock band The Jakes, 9 p.m.-1 a.m., $5 cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

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

La Fiesta Lounge at La Fonda Latin-fusion band Nosotros, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin chanteuse, 6:30-9:30 p.m., no cover.

Le Chantilly Café at Garrett’s Desert Inn Equinox, Lou Levin on keyboard and Gayle Kenny on acoustic bass, 6:30-9 p.m., no cover.

The Mine Shaft Tavern Haunted open mic, 8 p.m.-midnight, no cover.

The Palace Restaurant & Saloon The Strange, rock and funk, 5-7 p.m., no cover.

Pranzo Italian Grill Pianist David Geist, show tunes, 6-9 p.m., $2 cover.

Second Street Brewery Swing Soleil, Franco-American/Gypsy jazz, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Bluegrass duo Open Range, 6-9 p.m., no cover.

PASA’S LITTLE BLACK BOOK nt & Bar Anasazi Restaura Anasazi, the of Inn d Rosewoo e., 988-3030 113 Washington Av nch Resort & Spa Ra e dg Bishop’s Lo ., 983-6377 Rd 1297 Bishops Lodge ón es ¡Chispa! at El M e., 983-6756 213 Washington Av Cowgirl BBQ , 982-2565 319 S. Guadalupe St. lton El Cañon at the Hi 811 8-2 100 Sandoval St., 98 El Farol 3-9912 808 Canyon Rd., 98 ill Gr El Paseo Bar & 848 2-2 99 , St. teo lis 208 Ga Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe Hotel Chimayó de 988-4900 e., Av ton 125 Washing 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 lac 125 E. Pa at La Fonda La Fiesta Lounge , 982-5511 St. o isc nc 100 E. San Fra

Taberna La Boca Accordionist Pedro Romero, 6-8 p.m., no cover.

Tiny’s Chris Aybeta Duo, 5:30-8 p.m., no cover. rockabilly band Anthony Leon & The Chain, 8:30p.m.-12:30 a.m., no cover.

Vanessie Soulstatic, R & B/soul, 9 p.m., call for cover.

ELDORADO

Arts & Crafts Fall Show

27 Saturday GALLERY/MUSEUM OPENINGS Red Sky/New School Studios 1519-1521 Upper Canyon Rd., 301-9142.

Red Crow Collective open studios, 2-5 p.m., through Sunday, Oct. 28.

Turned-wood vessels by Kenneth Williams

OPERA IN HD The Met Live in HD The season continues with Verdi’s Otello, 11 a.m. and 6 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, encore $22, discounts available, 988-1234, ticketssantafe.org.

THEATER/DANCE

IN CONCERT Lydia Clark and Soul Evolution 7-9 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $20, discounts available, 983-5022.

Rhythm Tonic 2012 Drum ensemble Smokin’ Bachi Taiko and Africanfusion duo JAKA, 8 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $10, solofsantafe.com.

Song Preservation Society Alt-folk trio, 7:30 p.m., Gig Performance Space, 1808-H Second St., gigsantafe.com, $15 at the door.

La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000 Le Chantilly Café at Garrett’s Desert Inn 311 Old Santa Fe Trail, 984-8500 The Legal Tender at the Lamy Railroad Museum 151 Old Lamy Trail, 466-1650 Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 992-5800 The Matador 116 W. San Francisco St., 984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Ore House at Milagro 139 W. San Francisco St., 995-0139 Osteria d’Assisi 58 Federal Pl., 986-5858 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 Pizzeria da Lino 204 N. Guadalupe St., 982-8474 Pranzo Italian Grill 540 Montezuma Ave., 984-2645

‘A Midsummer Night’s Dream’ Presented by Santa Fe High School theater students, 7:33 p.m., SFHS, 2100 Yucca St., $8, discounts available, 467-2970.

Arcos Dance Contemporary dance company, 7:30 p.m., National Dance Institute of New Mexico Dance Barns, 1140 Alto St., $20, discounts available, arcosdance.com, 473-7434, continues Sunday, Oct. 28 (see story, Page 26).

‘Bingo!’

Meow Wolf and Santa Fe Performing Arts’ theater series continues with a variety show of experimental performance art and one-acts, 7 p.m., Armory for the Arts, 1050 Old Pecos Trail, $15 a the door, discounts available, 984-1370.

For a second year, Eldorado artists pack up their works for the 11th Annual Eldorado Arts & Crafts Fall Show held in Santa Fe. Opening day runs 3-7 p.m. Friday, Oct. 26, at St. John’s United Methodist Church, 1200 Old Pecos Trail. Fifty-eight artists offer a variety of works including photography, folk art, tinwork, and ceramics. The show continues from 9 a.m. to 5 p.m. Saturday, Oct. 27.

Visit eldoart.org for details and links to artists’ websites.

‘Eleemosynary’ Theaterwork’s 17th season in Santa Fe continues with a play examining the relationships among a grandmother, mother, and child, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, final weekend.

‘Moon Over Buffalo’ Ken Ludwig’s comic play presented by Santa Fe Playhouse, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, final weekend.

BOOKS/TALKS Opera Breakfast Lecture Desirée Mays discusses Verdi’s Otello, part of an ongoing series of pre-opera lectures in conjunction with The Met at the Lensic season, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 988-4226.

Stephen Strom The photographer discusses his work on exhibit at Verve Gallery of Photography (Stephen Strom: A Retrospective), 3 p.m. Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, 473-6341 (see story, Page 48).

OUTDOORS Rouge Cat 101 W. Marcy St., 983-6603 Santa Fe Brewing Company

35 Fire Pl., 424-333

Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & Nightlife 135 W. Palace Ave., 982-7265 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Vanessie 434 W. San Francisco St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

Leonora Curtin Wetland Preserve Open 9 a.m.-noon, guided tours 10 a.m., 27283 Interstate 25 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, call Santa Fe Botanical Garden for details, 471-9103, final weekend.

EVENTS 11th Annual Eldorardo Arts & Crafts Fall Show Fifty-eight artists bring their work to Santa Fe; paintings, jewelry, ceramics, glass art, wearable art, and more, 9 a.m.-5 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, eldoart.org.

18th annual Laboratory of Anthropology Library book sale Rare books, first editions, and ephemera from the Samuel Larcombe estate; early-bird hours 10 a.m.-1 p.m., $10 admission, regular hours 1-4 p.m., $1 admission, 710 Camino Lejo, Museum Hill, 476-1264, continues Sunday, Oct. 28.

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 December, Railyard Park, across from the Farmers Market at Paseo de Peralta and S. Guadalupe St., 310-1555.

pasa week

continued on Page 69

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EXHIBITIONISM

A peek at what’s showing around town

John Tinker: Made in Indonesia, 2011, polyester resin, plastic, and steel.

Hill’s Gallery Remix: Then and Now (217 Galisteo St.) is a pop-up gallery presenting an exhibition that commemorates the original Hill's Gallery, which was founded by artist Megan Hill in 1970 and closed in 1981. The show includes work by John Connell, Helen Beck, Doris Cross, and others. As part of the exhibition, a rotating show, The Vortex, features work by contemporary artists; first up are David Anderson, Bruce Lowney, and John Tinker. The reception is Friday, Oct. 26, at 5 p.m. Call 512-415-7770.

Susan Contreras: La Boda (The Wedding), 2007, oil on canvas. Local artist Arthur López curates Fine Folk of New Mexico, an exhibition of work by Erin Currier, Susan Contreras, Paul Pletka, Delilah Montoya, and others that celebrates the art and culture of New Mexico. The show is at the Community Gallery in the Santa Fe Community Convention Center (201 W. Marcy St.). The opening reception is Friday, Oct. 26, at 5 p.m. Call 955-6705.

Tamara Wilson: Stitch Thought (detail), 2012, felt. Stitch Thought is an installation of home furnishings rendered entirely in felt by Albuquerque artist Tamara Wilson. The installation includes 100 felt light bulbs as well as felt furniture. Stitch Thought is in the Spector Ripps Project Space at the Center for Contemporary Arts (1050 Old Pecos Trail.). There is a 6 p.m. opening reception on Friday, Oct. 26. Call 982-1338.

David Kapp: West-East, 2012, collage and mixed media on paper. Zane Bennett Contemporary Art (435 S. Guadalupe St., 982-8111 ) presents West/East — Los Angeles/New York, a show of paintings by David Kapp, and Joshua D’s Wall and Recent Works, an exhibit of glass sculptures by Michael Petry. Kapp’s abstract cityscapes are full of color, energy, and movement.

Petry’s Joshua D’s Wall references the biblical story of Jericho. He works in collaboration with glass artists from Murano, Italy. The exhibits open with a 5 p.m. reception on Friday, Oct. 26.

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October 26 - November 1, 2012

Arlene Ladell Hayes: The Bird Story, 2010, oil on canvas. Bill Hester Fine Art (830 Canyon Road) presents The Magic Show, an exhibition of Arlene Ladell Hayes’ paintings. The artist’s figurative imagery has elements of magical realism. The exhibit opens Friday, Oct. 26, with a 5 p.m. reception.

Call 660-5966.

AT THE GALLERIES Aarin Richard Gallery 924 Paseo de Peralta, Suite 1, 913-7179. Painted Hide/Painted Canvas: Abstract Art of the 19th & 21st Centuries, through Wednesday, Oct. 31.

Arroyo Gallery 200 Canyon Rd., 988-1002. Paul Steiner: Figures & Landscapes, through Wednesday, Oct. 31.

Chalk Farm Gallery 729 Canyon Rd., 983-7125. Matrix of Love, paintings by Vladimir Kush.

Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Winston Roeth: New Paintings, through Thursday, Nov. 1.

David Richard Gallery 544 S. Guadalupe St., 983-9555. It Hit the Fan, work by Billy Al Benston; Light Lens, work by Fred Eversley; Molded, Poured, and Cast, work by Doug Edge; through Nov. 3.

Harry’s Roadhouse 96 Old Las Vegas Highway, 989-4629. Leap of Faith, paintings by Tobi Clement, through Wednesday, Oct. 31.

Institute of American Indian Arts 83 Avan Nu Po Rd., 424-2300. No Places With Names: A Critical Acoustic Archaeology, GPS-based interactive installation by Teri Rueb, Larry Phan, and Carmelita Tapaha, through Friday, Oct. 26.

Lannan Gallery 309 Read St., 954-5149. The Faces of Lannan, photographs by Don Usner, through Nov. 11.

McLarry Modern 225 Canyon Rd., 983-8589. New abstracts

by Enrico Embroli, through Friday, Oct. 26.

Nüart Gallery 670 Canyon Rd., 988-3888. Centered, abstracts

by Antonio Puri, through Nov. 11.

Santa Fe University of Art & Design Benildus Hall Atrium Soundspace, 1600 St. Michael’s Dr., 424-5050. Chamber Music 2: Atrium, four-channel sound installation by Steve Peters, 8 a.m.-10 p.m. daily through Wednesday, Oct. 31.

Vivo Contemporary 725-A Canyon Rd., 982-1320. Natural Order, group show, through Wednesday, Oct. 31.

Wade Wilson Art 409 Canyon Rd., 281-788-7609. Abstracts

by Justin Garcia, through Saturday, Oct. 27.

Windsor Betts Gallery 143 Lincoln Ave., 820-1234. Ancestors, paintings

by Dick Jemison, through Wednesday, Oct. 31.

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. Visit santafe.edu/library for online catalog. Open 1-5 p.m. Monday-Friday to current students (call for details).

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. Stitch Thought, installation of felt living room furnishings by Tamara Wilson, reception 6-8 p.m. Friday, Oct. 26, Spector Ripps Project Space, through Dec. 9 ï Dust in the Machine, group show, through Nov. 25. Gallery hours available by phone or online at ccasantafe.org, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe and the Faraway: Nature and Image, through May 5, 2013. Open 10 a.m.-5 p.m. SaturdayThursday, open 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; NM residents free, 5-7 p.m. first Friday of the month.

Georgia O’Keeffe Museum Education Annex 123 Grant Ave., 946-1039. Bone Wind Fire, paintings by Jill Sharpe, through Nov. 15.

Governor’s Gallery State Capitol Building, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 476-5058. Works by recipients of the Governor’s Awards for Excellence in the Arts, through Dec. 7.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. 50/50: Fifty Artists, Fifty Years ï Dual(ing) Identities, work by Debra Yepa-Pappan ï Grab, screenings of a film by Billy Luther ï Red Meridian, paintings by Mateo Romero ï Vernacular, work by Jeff Kahm; all exhibits through December. Open 10 a.m.5 p.m. Monday and Wednesday-Saturday,

Butterfly Dancers, by Debra Yepa-Pappan, in the exhibit Dual(ing) Identities, Museum of Contemporary Native Arts, 108 Cathedral Pl.

noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250.

Woven Identities: Basketry Art From the Collections ï They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 ï Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 ï Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon2 p.m. the third Wednesday of each month.

Open 10 a.m.-5 p.m. Tuesday-Sunday.

NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

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

New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through Feb. 28 ï Young Brides, Old Treasures: Macedonian Embroidered Dress ï Folk Art of the Andes, work from the 19th and 20th centuries ï 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.

San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin ï New Deal Art: CCC Furniture and Tinwork; Transformations in Tin: Tinwork of Spanish Market Artists; through December ï Recent Acquisitions, Colonial and 19thcentury Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists ï The Delgado Room, late Colonial period re-creation. 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200.

Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10

ï Native American Portraits: Points of Inquiry, through Nov. 4 ï 47 Stars, tongue-in-cheek installation and items from the collection in celebration of New Mexico’s Centennial, through Nov. 25 ï Illuminating the Word: The St. John’s Bible, 44 pages from two of seven volumes, a page from the Gutenberg Bible, and early editions of the King James Bible; Contemplative Landscape, exhibit featuring work by photojournalist Tony O’Brien; through Dec. 30 ï 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. No charge on Fridays 5-8 p.m.; Open 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; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.6, revolving series of group exhibits, reception 5-8 p.m. Friday, Oct. 26, through Dec. 2, reception Nov. 2 ï Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; through Jan. 6 ï Treasures Seldom Seen, through December ï It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. TuesdaySunday. Open 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; free for NM residents over 60 on Wednesdays; NM residents free on Sundays.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. More Real?

Art in the Age of Truthiness, group show, through Jan. 6. 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 ï New work by Orlando Dugi and Ken Williams, Case Trading Post. Open 10 a.m.5 p.m. Monday-Saturday, 1-5 p.m. Sunday.

Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

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In the wings MUSIC Sonia Pop-folk singer/songwriter (aka Sonia Rutstein) with Indigie Femme, 7:30 p.m.

Friday, Nov. 2, Santa Fe Sol Stage & Grill, 37 Fire Pl., $18 in advance, solofsantafe.com, $23 at the door.

Santa Fe Pro Musica Per Tengstrand: solo piano recital, music of Schubert and Liszt, 7:30 p.m. Friday, Nov. 2; SFPM Orchestra featuring Tengstrand, music of Grieg, Schubert, and Beethoven, 3 p.m.

Saturday, 6 p.m. Sunday, Nov. 3-4, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org.

Guy Forsyth Americana-roots singer/songwirter, 7:30 p.m.

Saturday, Nov. 3, Sol Stage & Grill, 37 Fire Pl., $17, 988-1234, ticketssantafe.org.

Henry Mancini tribute Bobby Shew, trumpet, John Proulx, vocals and keyboard, Michael Glynn, bass, and Cal Haines, drums, 4 p.m. Sunday, Nov. 4, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $25 in advance at brownpapertickets.com and at the door, call 989-1088 for details.

Notes on Music: The Life and Music of Debussy Musical lecture by Santa Fe Concert Association artistic director Joseph Illick and soprano Gina Browning, 7:30 p.m. Monday, Nov. 5, United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, discounts available, 988-1234, ticketssantafe.org.

Nick Waterhouse R & B singer/guitarist, 8 p.m. Monday, Nov. 5, Sol Stage & Grill, 37 Fire Pl., $10, 988-1234, ticketssantafe.org.

G-Easy Rapper, 7:30 p.m. Thursday, Nov. 8, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

Parkington Sisters Acoustic experimental-folk band, 7:30 p.m.

Thursday, Nov. 8, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

KSFR Music Café The radio station’s series continues with tenor Saxophonist Brian Wingard, with John Rangel on piano, Colin Deuble on bass, and John Trentacosta on drums, 7 p.m. Friday, Nov. 9, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

The Met Live in HD Adès’ The Tempest, Saturday, Nov. 10; Verdi’s Un Ballo in Maschera, Saturday, Dec. 8; both screenings 11 a.m. and 6 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, encores $22, discounts available, ticketssantafe.org, 988-1234.

Canticum Novum Chamber Orchestra & Chorus The Chamber ensemble opens its ninth season with music of Geminiani, Mozart, and Mendelssohn, 5 p.m. Saturday, Nov. 10, 3 p.m. Sunday, Nov. 11, pre-concert lectures by Oliver Prezant precede both concerts, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234.

Ottmar Liebert & Luna Negra Fundraising concert with the guitarist and his band, 6:30 p.m. Sunday, Nov. 11, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$75, 988-1234, ticketssantafe.org, proceeds benefit the Waldorf School.

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October 26 - November 1, 2012

Lúnasa Acoustic Irish quartet, 7:30 p.m.

Thursday, Nov. 15, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, discounts available, 988-1234, ticketssantafe.org.

Serenata of Santa Fe Chamber music ensemble in Classic Drama, featuring pianist Norman Krieger, music of Chopin, Lazarof, and Beethoven, 6 p.m. Friday, Nov. 16, Scottish Rite Center, 463 Paseo de Peralta, $20, serenataofsantafe.org.

Reverend Peyton’s Big Damn Band Americana and blues, 8 p.m. Friday, Nov. 16, Santa Fe Sol Stage & Grill, 37 Fire Pl., $14, 988-1234, ticketssantafe.org.

Karrin Allyson The jazz singer/pianist performs in a benefit for the Georgia O’Keeffe Museum, 7 p.m. Saturday, Nov. 17, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $35 and $75, 988-1234, ticketssantafe.org.

Red Elvises Russian-American theatrical rock band, 8 p.m.

Saturday, Nov. 17, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, solofsantafe.com.

Concordia Santa Fe The wind ensemble’s Chamber Music Series continues with L’Histoire du Soldat, 2 p.m.

Sunday, Nov. 18, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations welcome, 913-7211.

Santa Fe Symphony Orchestra & Chorus Handel’s Messiah, 4 p.m. Sunday, Nov. 18; the Weiss-Kaplan-Newman Trio join SFSOC in a celebration of Beethoven, 4 p.m. Sunday, Dec. 16; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

New Mexico Bach Chorale Winter Solstice Celebration, Bach’s Christmas Oratorio, chorales, and German carols, 5:30 p.m.

Sunday, Nov. 25, Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25, discounts available, 474-4513 or beakspeak@alla-breve.us.

Wovenhand Alt.-country/neo-folk band, 8 p.m. Tuesday, Nov. 27, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

World Party Alt.-rock band, 7:30 p.m. Tuesday, Dec. 4, Santa Fe Sol Stage & Grill, 37 Fire Pl., $21, 988-1234, ticketssantafe.org.

David Hidalgo and Alejandro Escovedo Singer/songwriters, 7:30 p.m. Thursday, Dec. 6, Lensic Performing Arts Center, 211 W. San Francisco St., $32-$62, 988-1234, ticketssantafe.org.

Chanticleer A cappella men’s chorus, 7:30 p.m. Friday, Dec. 7, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $10-$50, 988-1234, ticketssantafe.org.

The Mountain Goats Folk-rock band, Matthew E. White opens, 7:30 p.m. Friday, Dec. 7, Santa Fe Sol Stage & Grill, 37 Fire Place, $18, ticketssantafe.org, 988-1234.

UPCOMING EVENTS Horse Feathers Acoustic folk band, 7:30 p.m. Saturday, Dec. 8, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

Washington Saxophone Quartet 7 p.m. Sunday, Dec. 9, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$30, 988-1234, ticketssantafe.org.

The Romeros with Concerto Málaga The guitar quartet and the chamber ensemble offer seasonal favorites, 7:30 p.m. Monday, Dec. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.

Sutton Foster Broadway performer, 7:30 p.m. Thursday, Dec. 27, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

‘Count Dracula’ Greer Gason Theatre presents an adaptation of Bram Stoker’s tale of horror, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Nov. 30-Dec. 9, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org.

Sacred Music, Sacred Dance Performance by the Drepung Loseling Monks of Tibet, 7 p.m.

Saturday, Dec. 15, James A. Little Theater, New Mexico School for the Deaf, $20, advance tickets available at Ark Books (133 Romero St., 988-3799), Project Tibet (403 Canyon Rd., 982-3002), and at the door.

Golden Dragon Acrobats Chinese troupe in the premiere Cirque Ziva, 7 p.m. Thursday and Friday, 1 and 7 p.m. Saturday, Dec. 20-22, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$35, discounts available, 988-1234, ticketssantafe.org.

THEATER/DANCE

HAPPENINGS

National Theatre of London live in HD The season continues with a contemporary adaptation of Shakespeare’s tale of consumption, debt, and ruin, Timon of Athens, 7 p.m.

Thursday, Nov. 8, Lensic Performing Arts Center, 211 W. San Francisco St., $22, discounts available, ticketssantafe.org, 988-1234.

‘Freud’s Last Session’ Fusion Theatre presents Mark St. Germain’s play centered on a meeting of the minds between Sigmund Freud and C.S. Lewis, 8 p.m. Friday, 2 and 8 p.m. Saturday, Nov. 16-17, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$40, 988-1234, ticketssantafe.org.

Circus Luminous Circus-arts troupe Wise Fool New Mexico’s 10th annual Thanksgiving tradition, 7 p.m.

Friday, 2 and 7 p.m. Saturday, 4 p.m. Sunday, Nov. 23-25, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$30, discounts available, 988-1234, ticketssantafe.org.

David Sedaris Q & A and book signing in support of the humorist’s latest book, Squirrel Seeks Chipmunk: A Modest Bestiary, 8 p.m.

Wednesday, Nov. 28, Lensic Performing Arts Center, 211 W. San Francisco St., $55, ticketssantafe.org, 988-1234.

R & B artist Nick Waterhouse on stage Monday, Nov. 5, Santa Fe Sol Stage & Grill

Recycle Santa Fe Art Festival Friday-Sunday, Nov. 2-4, the annual event includes the Trash Fashion & Costume Contest, juried adult and kids’ art exhibit, kids’ make-and-take recycled-art activities, and art market, Santa Fe Community Convention Center, 201 W. Marcy St., recyclesantafe.org.

Lunafest: Short Films by, for, About Women 11th annual national touring film festival, panel discussion 4 p.m. Saturday, Nov. 3, screening 4:45 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $15 and $25, 982-2042 or girlsincofsantafe.org, proceeds benefit the Breast Cancer Fund and Girls Inc. of Santa Fe. Lannan Foundation Literary Events Wednesday, Nov. 7, scientist David Suzuki speaks on climate change with indigenous-rights activist Clayton Thomas-Müller; Wednesday, Nov. 14, poet Kevin Young and author Colson Whitehead discuss their works; Wednesday, Dec. 5, author Hamid Dabashi discusses Iran with Alternative Radio host David Barsamian, Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org.

Wordharvest: 2012 Tony Hillerman Writers Conference Annual event, ThursdaySaturday, Nov. 8-10, faculty members include Santa Fe historian Thomas E. Chávez, Western Writers of America award-winner John D. Boggs, New Mexico author Steve Brewer, film/TV director Chris Eyre, Hotel Santa Fe, 1501 Paseo de Peralta, visit wordharvest.com for registration and full schedule.

Holiday Pie Mania 2012 Santa Fe Harvest Festival presents a pie auction and raffle in support of The Food Depot’s Building Hope Project, 2-5 p.m. Saturday, Nov. 10, Builders Source Appliance Gallery, 1608 Pacheco St., no charge.

24th annual AID & Comfort Gala Celebrity-chef dinner 7 p.m. Saturday, Nov. 17, performances by Frenchie Davis, Donna Sachet, Burlesque Noir, and DJ Austin Head, 8 p.m., Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder, Pojoaque Pueblo, off U.S. 84/285, $50-$300, tickets available online at southwestcare.ejoinme.org, proceeds benefit Southwest CARE Center’s AID & Comfort fund.

Tribute to Susan Berk: A Community Legacy Hosted by the New Mexico Committee of the National Museum of Women in the Arts; 5-8 p.m. Saturday, Dec. 1, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $25 and $100, 988-1234, ticketssantafe.org.

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27 Saturday (continued) Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098.

The Santa Fe Flea at the Downs 8 a.m.-3 p.m., south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafeflea.com, final weekend.

Santa Fe Tango Argentine Tango Milonga, 8 p.m.-midnight, Dance Station, 901 W. Alameda St., Solana Center, $10, 982-3926.

NIGHTLIFE (See Page 65 for addresses) ¡Chispa! at El Mesón Andy Kingston Trio, jazz, 7:30-10:30 p.m., no cover.

Cowgirl BBQ Baracutanga, samba and butucada, 8:30 p.m., $5 cover.

El Farol Halloween costume party with rockabilly band Rob-A-Lou, 9 p.m., $5 cover.

Evangelo’s Led Zeppelin homage band Moby Dick, 9 p.m., $5 cover.

Hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover.

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

La Fiesta Lounge at La Fonda Latin-fusion band Nosotros, 8-11 p.m., no cover.

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

The Mine Shaft Tavern Halloween party and costume contest with rockers Stephanie Hatfield & Hot Mess, 9 p.m., $10 cover, 7-11 p.m., no cover.

The Palace Restaurant & Saloon Cats & Ghosts at the Palace, DJ Breakaway and Halloween costume and pumpkin-carving contests, 8 p.m.-midnight, $5 cover.

Pranzo Italian Grill Pianist David Geist and vocalist Julie Trujillo, show tunes, 6 p.m., $2 cover.

Second Street Brewery Bluegrass duo Open Range, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Roots-rock duo Man No Sober, 6-9 p.m., no cover.

Taberna La Boca Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. Americana-roots singer/songwriter Ian McFeron, 8 p.m., no cover.

Tiny’s Showcase karaoke with Nanci and Cyndy, 7-11 p.m., no cover.

CLASSICAL MUSIC Santa Fe Symphony Orchestra & Chorus Fall Fantasy, music of Mussorgsky, Dvoˇrák, and Falla, 4 p.m., pre-concert lecture 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

IN CONCERT AU Experimental-pop band, 8 p.m., O’Shaughnessy Performance Space, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 in advance at holdmyticket.com, $15 at the door.

THEATER/DANCE Arcos Dance Contemporary dance company, 2 p.m., National Dance Institute of New Mexico Dance Barns, 1140 Alto St., $20, discounts available, 473-7434, arcosdance.com (see story, Page 26).

‘Bingo!’ Meow Wolf and Santa Fe Performing Arts’ theater series continues with a variety show of experimental performance art and one-acts, 4 p.m., Armory for the Arts, 1050 Old Pecos Trail, $15 a the door, discounts available, 984-1370, final weekend.

‘Eleemosynary’ Theaterwork’s 17th season in Santa Fe continues with a play examining the relationships among a grandmother, mother, and child, 2 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, 471-1799, final weekend.

Julesworks Follies Local-talent showcase series; Whatever You Do, Part 7: Smile in Spite of, play by Julesworks; readings; stand-up comedy, 6 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, $5 at the door, 310-9997.

‘Moon Over Buffalo’ Ken Ludwig’s comic play presented by Santa Fe Playhouse, 2 p.m., 142 E. De Vargas St., $20, discounts available, 988-4262, final weekend.

BOOKS/TALKS

28 Sunday

Agnes Martin and the Legacy of Modern Art in New Mexico Presentation and luncheon with speaker Christina Bryan Rosenberger and recognition of art writer/curator MaLin Wilson Powell hosted by the New Mexico Committee of the National Museum of Women in the Arts, 11:30-2 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $35, 988-1234, ticketssantafe.org.

Illustrated lecture by sculptor Karen Yank follows at 1:15 p.m. at Zane Bennett Contemporary Art, 435 S. Guadalupe St. My Life in Photography: A Career Overview Photographer Donald Woodman speaks in conjunction with his donation of his works to the New Mexico History Museum’s Palace of the Governor’s Photo Archives, 3 p.m., Meem Community Room, 113 Lincoln Ave., by museum admission, 476-5200.

Senator Peter Wirth Q & A 11 a.m., presented by JourneySantaFe, Collected Works Bookstore, 202 Galisteo St., 988-4226.

GALLERY/MUSEUM OPENINGS

OUTDOORS

Red Sky/New School Studios 1519-1521 Upper Canyon Rd., 301-9142.

Red Crow Collective open studios, 2-5 p.m.

OPERA IN HD Performance at the Screen The Screen’s HD series continues with Verdi’s La Traviata from the Sydney Opera House, 12:30 p.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

Nine Turquoise Mines Guided walk through Cerrillos Hills State Park by miner Todd Brown, 3 p.m., 16 miles south of Santa Fe off NM 14, parking area about a half mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

Leonora Curtin Wetland Preserve Open 9 a.m.-noon, guided tours 10 a.m., 27283 Interstate 25 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, call Santa Fe Botanical Garden for details, 471-9103, final weekend.

Amy Coppersmith

pasa week

Ian McFeron and his band play at 8 p.m. Saturday, Oct. 27, Taberna La Boca, 125 Lincoln Ave.

EVENTS 18th annual Laboratory of Anthropology Library book sale Rare books, first editions, and ephemera from the Samuel Larcombe estate; 1-4 p.m., 710 Camino Lejo, Museum Hill, no charge, 476-1264.

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, or 983-3168, 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 8 a.m.-1 p.m. weekly. Live music: 10 a.m.4 p.m., electro-acoustic harpist Roark Barron; 1-4 p.m. multi-instrumentalist Gerry Carthy, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 670-6544.

The Santa Fe Flea at the Downs 8 a.m.-3 p.m., south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafeflea.com, final weekend.

NIGHTLIFE (See Page 65 for addresses) Cowgirl BBQ Qorichaska Trio, reggae/folk/jazz, 8 p.m., no cover.

El Farol Nacha Mendez, pan-Latin chanteuse, 7-10 p.m., no cover.

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

La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover.

Vanessie Pianist Lindy Gold and friends, Great American Songbook, 7-11 p.m., no cover.

29 Monday BOOKS/TALKS How the Maccabees set the Stage for Christianity Lecture by Rabbi Marvin Schwab, 2 p.m. Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $5, 982-2226.

A Geologic History of the Valles Caldera A Southwest Seminars Lecture by Fraser Goff, 6 p.m., 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 65 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.

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

La Fiesta Lounge at La Fonda Blues band Night Train, 7:30 p.m., no cover.

Rouge Cat DJ Aztech Sol, 9 p.m., no cover.

Taberna La Boca Flamenco guitarist Chuscales, 7-9 p.m., call for cover.

Vanessie Holloway & Russell, Great American Songbook, 7-11 p.m., no cover.

30 Tuesday CLASSICAL MUSIC Academy of St. Martin in the Fields British chamber ensemble, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

BOOKS/TALKS Miriam Sagan The Local poet reads from and signs copies of Seven Places in America: A Poetic Sojourn, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see review, Page 14).

EVENTS Council on International Relations event Latin-cuisine buffet and screening/discussion of the film The Secret in Their Eyes, 5-9 p.m., La Plancha at La Tienda, 7 Caliente Rd., Eldorado, $35 in advance includes buffet and film, $15 film only, 982-4931, sfcir.org. ▶▶▶▶▶▶▶▶ PASATIEMPO

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Glass-blowing demonstration and glass-recycling project Presented by the New Mexico Glass Workshop and the Institute of America Indian Arts, 10 a.m.-4 p.m., IAIA, 83 Avan Nu Po Rd., call 473-0087 for details.

International Folk Dances Lesson 7-8 p.m., dance 8-10:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098, through November.

La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover.

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

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 7-10 p.m., no cover.

The Palace Restaurant & Saloon Dance band Controlled Burn, 6:30 p.m., no cover.

Second Street Brewery Joe West & Friends, eclectic Americana, 6-9 p.m., no cover.

Taberna La Boca Nacha Mendez, pan-Latin Chanteuse, 6:30-9:30 p.m., no cover.

Vanessie Bert Dalton Duo, jazz, 6:30 p.m., call for cover.

NIGHTLIFE (See Page 65 for addresses) Cowgirl BBQ Chimney Choir, Americana/folk, 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 Fiesta Lounge at La Fonda Blues band Night Train, 7:30 p.m., no cover.

Rouge Cat Weekly Ultra-Fabulous Dance Competition, call for time and cover.

Second Street Brewery at the Railyard Acoustic open mic with Case Tanner, 7:30-10:30 p.m., no cover.

Stats Sports Bar & Nightlife Reggae Dancehall Tuesdays with Brotherhood Sound and DJ Breakaway, 10 p.m., $5 cover.

Tiny’s Open-mic night with John and Synde, 7-10 p.m., no cover.

Vanessie Pianist David Geist and friends, Great American Songbook, 7-11 p.m., no cover.

31 Wednesday IN CONCERT Alloy Orchestra The trio accompanies the 1925 silent horror classic, Phantom of the Opera, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10-$20, 988-1234, ticketssantafe.org (see story, Page 32).

Talking Heads

▶ Elsewhere ALBUQUERQUE Museums/Art Spaces

Pros and Cons, by Vladimir Kush, Chalk Farm Gallery, 729 Canyon Rd.

Electrocution DJs Paul Anthony, Sin 7, Jimmy James & Entheogen, and others; also, costume contest, 4 p.m.-2 a.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $23.50, holdmyticket.com.

THEATER/DANCE ‘Ciconia Ciconia’ opening night New Mexico School for the Arts’ student (9th-12th grades) stage adaptation of Elizabeth Wiseman’s opera, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, discounts available, 988-1234, ticketssantafe.org, daily through Nov. 3.

BOOKS/TALKS The Modernist Landscape: Georgia O’Keeffe Part of New Mexico Museum of Art’s docent-led gallery talks, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075.

School for Advanced Research lecture Gathering Dust: Producing Therapeutic Natures in Post-Socialist Siberia, by Tatiana Chudakova, noon-1 p.m., 660 Garcia St., no charge, 954-7203.

NIGHTLIFE

Sandra Cisneros Author Sandra Cisneros and illustrator Ester Hernández read from and sign copies of Have You Seen Marie?, their tale of a woman’s search for a missing cat in the wake of her mother’s death, 6 p.m. Thursday, Nov. 1, at Collected Works Bookstore, 202 Galisteo St., 988-4226.

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October 26 - November 1, 2012

(See Page 65 for addresses) ¡Chispa! at El Mesón Jazz guitarist Pat Malone, 7-9 p.m., no cover.

Cowgirl BBQ Halloween party with the Bus Tapes, folk/rock, 8 p.m., no cover.

El Farol Salsa Caliente, 9 p.m., no cover.

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

La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover.

The Mine Shaft Tavern Halloween dance and costume party with rockabilly band Anthony Leon & The Chain, 9 p.m., $10 cover.

The Palace Restaurant & Saloon Bluegrass band Free Range Ramblers, 7:30-10:30 p.m., no cover.

Second Street Brewery at the Railyard Halloween show with Kiss tribute band Love Gun, 8-11 p.m., no cover.

Taberna La Boca Jazz guitarist Pat Malone, 7-9 p.m., no cover.

1 Thursday GALLERY/MUSEUM OPENINGS Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 660-0048.

Paint Forward, work by John Barker, preview opening 4-6 p.m., through Dec. 28.

Independent Artists Gallery 102 W. San Francisco St., second floor, 983-3376. Photographs by Virginia Lierz, through November.

William & Joseph Gallery 727 Canyon Rd., 982-9404. Vote, group show, through November.

IN CONCERT Mike Watt & The Missingmen Punk-rock band, Heapin’ Helpin’ opens, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

THEATER/DANCE ‘Ciconia Ciconia’ New Mexico School for the Arts’ student (9th-12th grades) stage adaptation of Elizabeth Wiseman’s opera, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, discounts available, 988-1234, ticketssantafe.org, daily through Nov. 3.

BOOKS/TALKS Renesan Institute for Lifelong Learning lecture Larry Rasmussen speaks on The Wonder of Water, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274.

Sandra Cisneros and Ester Hernández The author and the illustrator in a reading and signing of their novel Have You Seen Marie?, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Trent Zelazny The author reads from and signs copies of Too Late to Call Texas, 6 p.m., Op. Cit. Books, 930-C Baca St., 428-0321 (see story, Page 16).

NIGHTLIFE (See Page 65 for addresses) Cowgirl BBQ Taxi Dancer, jump blues, 8 p.m., no cover.

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

Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. 100 Years of State & Federal Policy: The Impact on Pueblo Nations, through February ï Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Día de los Muertos Altares, contemporary and traditional altar installations, Domenici Education Center & Disney Center for the Performing Arts, through Nov. 9 ï Via Crucis of the Camino Real, photography essay documenting roadside memorials from Abiquiú to Juan Mata Ortiz in Chihuahua, Mexico, through Nov. 14 ï Nuestros Maestros: The Legacy of Abad E. Lucero (19092009), paintings, sculpture, and furniture, through January 2013 ï ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m.

Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge.

UNM Art Museum Center for the Arts Building, 505-277-4001.

Dancing in the Dark, Joan Snyder Prints 19632010, exhibit of prints spanning 47 years of moments in Snyder’s life, through Dec. 15 ï The Transformative Surface, film and digital works by faculty; through Dec.15. Open 10 a.m.4 p.m. Tuesday-Saturday; $5 suggested donation.

Events/Performances ‘The Jewel in the Manuscript’ A new play by Santa Fean Rosemary Zibart based on the life of Fyodor Dostoevsky, 8 p.m.

Friday and Saturday, 2 p.m. Sunday, through Nov. 11, Adobe Theater, 9813 Fourth St. NW, $15, discounts available, 505-898-9222, adobetheater.org.

Sunday Chatter Cellist Joel Becktell and folksinger Colleen Johnson, 10:30 a.m. Sunday, Oct. 28, poetry reading by Rich Boucher, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door.

Jane Bunnett The Toronto-based soprano saxophonist is joined

by Cuban pianist Hilario Duran and NEA Jazz Master percussionist Candido Camero, 7:30 p.m.

Thursday, Nov. 1, Outpost Performance Space, 210 Yale Blvd. S.E., $20 and $25, 505-268-0044.

ESPAÑOLA Bond House Museum 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945).

Open noon-4 p.m. Monday-Friday, no charge.

Misión Museum y Convento 1 Calle de los Españoles, 505-747-8535. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598.

Open noon-4 p.m. Wednesday-Friday, 11 a.m.3 p.m. Saturday; no charge.

LOS ALAMOS Bradbury Science Museum High-Tech Halloween; annual event featuring spooky presentations on robotics, cryogenics, and physics; plus, scorpions and spiders, 4-6:30 p.m. Friday, Oct. 26. 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m.

Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge.

Mesa Public Library Gallery 2400 Central Ave., 662-8247. UNMUTE: Text and Image in American Art, 1970-2000, prints and artists’ books from the New Mexico State University Art Gallery, through Nov. 28.

TAOS Museums/Art Spaces Harwood Museum of Art Maye Torres: Unbound, drawings, sculpture, and ceramics. Three exhibits in collaboration with ISEA2012 Albuquerque: Machine Wilderness — Curiosity: From the Faraway Nearby ï Falling Without Fear ï Charles Luna. Four openings Saturday, Oct. 27, through Jan. 27. 238 Ledoux St., 575-758-9826. Open 10 a.m.-5 p.m. Monday-Saturday through Wednesday, Oct. 31, closed Mondays Nov. 5, 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.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. 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 with ID no charge on Sunday.

Millicent Rogers Museum 1 504 Millicent Rogers Rd., 575-758-2462. Unknown Was a Woman, group show of pottery, baskets, and weavings, through December. Open 10 a.m.5 p.m. daily. $8, Taos County residents with ID no charge on Sunday.

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

Visual Impressions, paintings by Don Ward, weekend artist demonstrations through Jan. 6 in Fechin Studio. Open 10 a.m.-5 p.m.

Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances The Met at Taos Center for the Arts The simulcast series from the Metropolitan Opera continues with Renée Fleming and Johan Botha in Verdi’s Otello, 10:55 a.m. Saturday, Oct. 27, Taos Community Auditorium, 145 Paseo del Pueblo Norte, $20, 18 and under $10, 575-758-2052.

▶ People who need people Artists/Craftspeople 62nd Annual Traditional Spanish Market 2013 Artists may submit work for jurying on Feb. 2; applications due by Jan. 25; guidelines available upon request; visit spanishcolonial.org for details and applications, 992-8212, Ext. 111.

Landscape Dreams Photo Contest Santa Fe Creative Tourism seeks contestants’ images of New Mexico places, portraits, and moments, Friday, Nov. 30 deadline; visit newmexicophotocontest.com for information and guidelines.

MasterWorks of New Mexico 2013 Entries open to New Mexico artists for the 15th Annual Spring Art Show, April 5-27, Expo New Mexico Hispanic Arts Building, fairgrounds, Albuquerque; miniatures, pastels, watercolors, oil/acrylics; deadlines, details, and prospectus available online at masterworksnm.org; for additional information contact Barbara Lohbeck, 505-260-9977.

Santa Fe Plaza Park Artist/Artisan Program The city is accepting applications from Santa Fe County residents for license terms valid from January 2013 through December 2017; handcrafted art only; pick up forms at City Hall, 200 Lincoln Ave., or download at santafenm.gov; hand deliver by 5 p.m. Wednesday, Oct. 31; Constituent Services, 955-6949.

Actors/Performers/Writers 2012 PEN Literary Awards Send in submissions or nominate someone to be considered in the fields of fiction, science writing, essays, sports writing, biography, children’s literature, translation, drama, or poetry; deadline Feb. 1; visit pen.org or write to awards@pen.org for more information.

Santa Fe Bandstand 2013 Visit santafebandstand.org if interested in performing in the seven-week series on the Plaza; deadline Friday, Nov. 30.

Santa Fe Playhouse Submit 15-minute scripts for Benchwarmers 12; February 2013 performances; must be new or not yet produced; postscript deadline Monday, Oct. 29, or drop off at 142 E. De Vargas St.; email playhouse@santafeplayhouse.org or call 988-4262 for submission packet and protocols; for more information visit santafeplayhouse.org.

Taos Shortz Film Fest call for entries Held March 7-10 at the Taos Center for the Arts; deadline, Nov. 15, $25 entry fee; late deadline Dec. 15, $33; Taos residents special deadline Nov. 15, $11; student deadline Nov. 15, $15; entry forms and submission guidelines available online at taosshortz.com.

▶ Under 21 Halloween Havoc concert Savage Wisdom, HN-88, Carrion Kind, and Xmortis; also, a costume contest, 7 p.m. Friday, Oct. 26, Warehouse 21, 1614 Paseo de Peralta, $5, 989-4423.

▶ Short People Halloween on Ice Skating party with prizes, candy, spooky music, and special effects, 5-9 p.m. Friday, Oct. 26, Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 includes skate rental.

The Hive: Haunted Attraction Evenings Friday-Wednesday, Oct. 26-31, Santa Fe Brazilian Jiu-Jitsu Academy, 1121 Calle la Resolana, $10, ages 12 and under $5, a third of the proceeds benefits the children’s charity, Shop at the Top, call 995-0156 for schedules.

Carlos Gilbert Elementary Halloween Carnival Games, prizes, cash raffle, and a haunted house, noon-5 p.m. Saturday, Oct. 27, 300 Griffin St., 467-4700. ◀

Get the Led out Halloween is just a few days away, and the usual suspects, including Kiss tribute band Love Gun, are scheduled to haunt local music venues in the spirit of the holiday. But before Halloween, at 9 p.m. Saturday, Oct. 27, a few members of Love Gun have some pressing business to take care of at Evangelo’s (200 W. San Francisco St., 982-9014).

On Oct. 17 and 18, Celebration Day, a feature-film presentation of Led Zeppelin’s 2007 reunion concert at Moby Dick London’s O2 Arena with the late Led Zep drummer John Bonham’s son Jason sitting behind the kit, landed in select theaters across the U.S. (“Celebration Day” is the third track from the 1970 Zep album, Led Zeppelin III).

Because life isn’t fair and really just boils down to a series of disappointments interrupted by tiny slivers of mostly unrequited hope — and because Santa Fe isn’t considered a large enough market (a serious error in judgment by the film’s distributor, Fathom Events) — the film didn’t screen in Santa Fe. To fill the rock ’n’ roll void created by this heinous act, Led Zeppelin tribute band Moby Dick — aka Love Gun’s same lineup, Mikey Baker (guitar), Andrew Primm (guitar), Peter Williams (bass), and Micah Chappell (drums) — hit Evangelo’s stage on Saturday night, with wigs and beer and sweat a-flyin’. The band promises new cover material. For five measly bucks, a valid ID that says you’re at least 21, and a solemn promise not to ask for anything that includes the word “Budweiser,” you can step back in time and hear these guys wail something fierce.

2bers to the wind The year Led Zeppelin played the 02 Arena reunion show, Albuquerque duo the 2bers picked up an award for best hip-hop duo at the New Mexico State Fair Talent Showcase, and with good reason. Since 1999, 2bers rappers and singer-songwriters Blesinfinite (Luke Hale) and Eph’Sharpe (Colin Troy) have continued to bring something fresh and infectious to Southwest-bred hip-hop, and the band’s latest album, Dig, released in August, is a triumph in this regard. From the countrified instrumental track “Saddle Light” to the slammin’ looped drums and vocal gymnastics of “How to Relax,” Dig gets under your skin and lingers. And that’s a good thing.

Catch the 2bers with local hip-hop prank gangstas State of the Mingo with guests Jungle 1, Ride, and DJ Saewhat at 9:30 p.m. Wednesday, Oct. 31, at The Underground at Evangelo’s (200 W. San Francisco St., 577-5893). Admission for the 21-and-older show is $5 at the door.

AU, shucks I live close to the Santa Fe University of Art & Design (1600 St. Michael’s Drive), which means I’m lucky to catch a lot of the bands — both touring acts and various ensembles from the university’s contemporary-music program — at the O’Shaughnessy Performance Space inside Benildus Hall.

At 8 p.m. Sunday, Oct. 28, Portland, Oregon, experimental-rock outfit AU hits the hall, and the duo brings along Deerhoof guitarist John Dieterich, who remixed the track “Solid Gold” off the AU album Both Lights, released in April on the Hometapes imprint. Check out the killer video for the track circulating on www.vimeo.com.

Advance tickets for the all-ages show are $12 at www. holdmyticket.com (keyword: SFUAD), $15 at the door.

— 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

71

ANNUAL YELLOW

TAG CLEARANCE

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Limited to stock on hand. No rain checks. Some items are one of a kind or limited quantities. Sorry no holding. Items must be taken day of purchase.

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Ocate Road

Walmart

Hours 9:00 to 5:00 ï 7 DAYS A WEEK

Good thru 11/1/12 ï while supplies last ï stop by today and see our Great selection.

72

October 26-November 1, 2012

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ALWAYS FRIENDLY PROFESSIONAL NURSERY SERVICE

Jaguar Drive

Newmans NEWMAN’S

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FAMILY OWNED & OPERATED SINCE 1974

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It is time to disconnect and shut down irrigation systems for the winter. Drain your irrigation systems as best as possible to help prevent damage from freezing. Take any battery powered timers and remove the batteries for winter storage. Also it is very important to disconnect any hoses from outdoor spigots. If you have not brought your house plants inside it is definitely time to do so. If your house plants have outgrown their pots and are root bound it is a good idea to repot them into the next size of container.

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Pete Moss’ Garden Tip:

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7501 CERRILLOS RD.

471-8642