Pasatiempo, August 23, 2013

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture August 23, 2013

Claire Lynch 39th Annual Santa Fe Bluegrass and Old Time Music Festival

Wendy McEahern

last spaces for rent

A Tierra Concepts’ Creation

Contact Eric Faust 505.780.1159 Eric@TierraConceptsSantaFe.com www.pachecopark.com

• 970 sq' - 3,800 sq' available • ideal for office and retail • within walking distance to the Railrunner • boasts great amenities • restaurant on site • hi-speed internet • great landscaping • great neighbors • the owners are on site Visit Pacheco Park and see why this could be your best business decision ever.

Home Sweet

where the santa feans eat…

Re claimed wood and iron furniture. Large slab dining tables.

Sectionals. Great beds. Coffee tables. Organic mattress. Nature art.

lunch / dinner / sunday brunch New! Happy Hour Special: Our ‘Classic’ appetizers – 50% off

Selected Wines-by-the-glass, ‘Well’ cocktails & House Margarita – $5.00 (4 – 6 p.m. Mon. thru Fri.)

FULL BAR ● FREE WI-FI ● HDTV

505 • 984 • 1788 please visit our website www.santacafe.com

231 washington ave santa fe 2

PASATIEMPO I August 23 - 29, 2013

www.

s e q uoiasantafe

.com

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

ORIGINS® IS A REGISTERED TRADEMARK USED UNDER LICENSE. ©2013 MARGOLIS, INC. • MODELED BY NINA PILGRIM, WEARING DRESSED TO KILL

STOREWIDE SALE 2 for 1 Cottons & Linens DESIGNERS ON SALE

Carter Smith, Alexis, Susan Green, Cathy Bacon, Hari Jewelry, Zonda

Designer Closet 60-70 OFF %

Chan Lui, Comfy

FASHION SHOW FRI & SAT, 12:15 BURRO ALLEY CAFE

Origins

®

505-988-2323

originssantafe.com 135 W San Francisco • Santa Fe • info@originssantafe.com

Voted 1 of the 10 Best Ethnic Boutiques in the World - Frommer’s Guide

&

b o t w i n

e y e s

e y e

g r o u p

o p t i c s s a n t a

f e

Luxury Eyewear

Cartier, Chanel, Chrome Hearts, Anglo American, Anne et Valentin, Dolce & Gabbana, Etnia Barcelona, FACEa FACE , Ronit Furst, i.c!berlin, Lindberg, Oliver Peoples, RetroSpecs, Theo, . Eyephorics…

OptOmetric physicians

Bruce Eckhardt

101 W. SAN FRANCISCO St. • 988-1866 • 800-874-9297 • OPEN 7 DAYS A WEEK

Dr. Mark Botwin Dr. Jonathan Botwin Dr. Jeremy Botwin

Providing comprehensive eye care services to the residents of Santa Fe and northern New Mexico for two generations.

444 St Michaels Drive 5 0 5 . 9 5 4 . 4 4 4 2 BotwinEyeGroup.com PASATIEMPOMAGAZINE.COM

3

18th Annual

FARM TOUR

pot!

Get beh i

e er D

he Di nd t ap

Fact: 1 in 3 families in America struggle to afford diapers for their babies

An initiative of The Food Depot, Northern New Mexico’s food bank

Schwanfelder Family

Sunday, August 25th 9am-3pm Participating Farms: •

Purple Adobe Lavender Farm •

The Succulent Garden

•

KJ Farms •

•

Eve’s Farm

Synergia Ranch

Farm directions available at the market or on our website:

would like The Food Depot newest to introduce our iaper addition – the D elp improve Depot! Please h s by the lives of babie s to families providing diaper donations in need. Drop off s, Sam’s at any Albertson’ Club, Smith’s, or tion.

Whole Foods loca

Join us for Diaper Depot Events Saturday, August 24, 2013 10 am - 2pm At each diaper drive location, individuals can drop off donations of diapers or make a financial contribution. There will be a raffle at each location.

For more information, visit www.thefooddepot.org/ DiaperDepot

www.santafefarmersmarket.com/events/farm-tour/

Fechin Art Workshops present

4K ULTRA HD VIDEO TECHNOLOGY

Saturday, August 24 @ 10AM

Saturday, August 31, 12pm-3pm Harwood Museum, GREGG KREUTZ Arthur Bell Auditorium

HUIHAN LIU

Please join us and Andrew Turner from SONY for this FREE seminar.

4K is the latest innovation in video and this seminar will let you see it, understand what it is and how it works, and get your questions answered by the experts.

Experience the creative process in a Dual Demonstration of oil painting NEXT MONTH: Turntable Basics OPEN TUESDAY—SATURDAY 9 AM—5 PM 215 N GUADALUPE 505.983.9988

4

· SANTA FE, NM 87501

· CONSTELLATIONSANTAFE.COM

PASATIEMPO I August 23 - 29, 2013

For more information and tickets, go to www.fineartservices.info or call 575.751.0647

fine art services Elise Waters Olonia

ASPEN SANTAFEBALLET

SEASON PRESENTING SPONSOR

AUGUST 31 | 8pm The Lensic, Santa Fe’s Performing Arts Center

Rosh HaShanah & Yom Kippur

Warm & Welcoming Environment • Traditional, Meaningful Services Children’s Programs • Free & Open to All

Complete Schedule At KolBeRamah.org 551 W Cordova Road, Suite F • 505-216-6136

DiamonDs, Clothing, Chile, Coffee & free Wi-fi

Retiring dancer Katie Dehler’s last Santa Fe performance!

Tickets: 505-988-1234 aspensantafeballet.com

CORPORATE SPONSORS 

PREFERRED HOTEL PARTNER 

OFFICIAL AND EXCLUSIVE AIRLINE OF ASPEN SANTA FE BALLET

505.820.6304

505.820.6542

505.820.7996

GOVERNMENT / FOUNDATIONS 

Melville Hankins

A DESTINATION FOR THE WHOLE FAMILY 233 Canyon Road, SuiteS 1 2 3 4 • Santa Fe, nM • 505.820.6542

BUSINESS PARTNER 

Family Foundation

Investment Management

MEDIA SPONSORS 

Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts.

PHOTO: ROSALIE O’CONNOR

PASATIEMPOMAGAZINE.COM

5

THE SANTA FE NEW MEXICAN

August 23 - 29, 2013

www.pasatiempomagazine.com

On the cOver 34 claire lynch Grammy-nominated bluegrass singer Claire Lynch and her band headline the 39th Annual Santa Fe Bluegrass and Old Time Music Festival at the Santa Fe County Fairgrounds. Co-headlining is Foghorn Stringband, an old-time band from Portland, Oregon, with a national following. Many other local and regional bands (not to mention workshops and contests) round out the weekend’s festivities. On the cover, Lynch poses with one of her oldest stringed friends in a photograph by Stacie Huckeba.

BOOKs 14 16 18 20

mOving images

in Other Words On the Come Up Done With tombstone Son of a Gun Journey to Japan Dizzy Sushi Border brothers Waiting for José

58 59 60 61 62

mUsic anD PerFOrmance 22 26 27 28 32 41 42 44

listen Up A tale of two tenors Pasa tempos CD Reviews terrell’s tune-Up Timebomb tracks season preview Santa Fe Concert Association Deux for the road Stars of American Ballet Onstage Tap Into the Now! Pasa reviews Juan Siddi Flamenco Theatre Co. imitation of life Fiesta Melodrama

Unfinished Song Crystal Fairy Downloaded Prince Avalanche Pasa Pics

calenDar 68 Pasa Week

anD 11 mixed media 13 star codes 66 restaurant review: Joe’s Dining

art 46 renaissance renaissance Elise Ansel 50 art in review The Transcendentalists 56 World of wander Jeffrey Schweitzer

art OF sPace 52 man with a mission John Gaw Meem

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

The Drifter: Drinking From the River (detail), 2010, by Jeffrey schweitzer

■

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

■

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

■

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

■

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

■

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

■

staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

■

cOntriBUtOrs loren Bienvenu, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, David J. salazar, casey sanchez, michael Wade simpson, steve terrell, hollis Walker, Khristaan D. villela

■

PrODUctiOn Dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

■

Robin Martin Owner

www.pasatiempomagazine.com

■

■

aDvertising DirectOr Tamara Hand 986-3007

■

marKeting DirectOr Monica Taylor 995-3824

■

art DePartment DirectOr Scott Fowler 995-3836

■

graPhic Designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

■

aDvertising sales Julee clear 995-3825 mike Flores 995-3840 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Ginny Sohn Publisher

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

First Ultherapy to arrive in New Mexico!

Learn how to receive a free Ulthera brow treatment and Juvederm filler 50% off!

a small school that prepares you for a big world

success defined by courage and character

engaged minds inspired leaders active citizens

Sterling Aesthetics and Lily Love MD announce the first Ultherapy to arrive in New Mexico

THOUGHTFUL PURPOSE Prep means Prepared. Ready for Anything.

Call us for a complimentary consultation 505-428-0402 Sterling Aesthetics And Lily Love, MD 1651 Galisteo St. Suite 6, Santa Fe

Tuition Assistance awarded annually to 32% of our families

Saturday only, auguSt 24th 9amďšş5pm

All shade Trees

30% Off All Sizes $29.99 to $299.99

rAiN BArrels ortho Bug B Gon rose & Flower e v a S 40% insect Killer

4lbs Sale 65 gallon $132.00 Regularly $219.99

$5.99

Regularly $14.99 7501 Cerrillos rd. 471-8642 PASATIEMPOMAGAZINE.COM

7

Opening Gala

Concert Heidi Melton, soprano

Brandon Jovanovich, tenor SFCA Orchestra Joseph Illick, conductor

DAY

SALE Sale Starts !

Now

All Summer Sportswear & Select Shoes

up to 40% off Mon-Sat 9:30-6:00 Sunday 11:00-5:00

121 Sandoval St. Santa Fe, NM 505.983.5155 alpinesports-santafe.com

u•

All-Wagner Program

SoYBu • ojAi • tEvA • Ahnu • Ex-officio • LoLR • MAMMut • pAtAgoniA • cARvE DESignS • SALoMon • ARc’tERYx • LowA • g

The Santa Fe Concert Association presents

LABoR

MAMMut • pAtAgoniA • cARvE DESignS • SALoMon • ARc’tERYx • LowA • gRAMicci • kEEn • chAco • nA

Overture to The Flying Dutchman Duet from Lohengrin Overture to Tannhäuser Duet from Die Walküre

momentum August 25, 2013 4:00pm Lensic Performing Arts Center

Tickets Santa Fe at the Lensic: 505-988-1234 | $25, $45, $70, $95 Santa Fe Concert Association: 505-984-8759 | www.santafeconcerts.org Thanks to the following sponsors:

Marina Brownlow • Pam Egan Linda Fillhardt • Russell Thurston

iVO V contemporary

The Santa Fe Concert Association 324 Paseo de Peralta, Santa Fe, New Mexico 87501

8

PASATIEMPO I August 23 - 29, 2013

August 21 – October 8 Opening Reception Friday, August 23 5pm – 7pm

725 Canyon Rd, Santa Fe • 505-982-1320 • www.vivocontemporary.com

R•

SFCA

vE DESignS • SALoMon • ARc’tERYx • LowA • gRAMicci • kEEn • chAco • nAu • SoYBu • ojAi • tEvA • Ahnu • Ex-officio • LoL AR

Micci • kEEn • chAco • nAu • SoYBu • ojAi • tEvA • Ahnu • Ex-officio • LoLR • MAMMut • pAtAgoniA • c RA

Desert Academy

Engaging the mind. Engaging the world.

our school year Begins tuesday, september 3, 2013

Now eNrolliNg grades 6-12

Photo ŠKim Kurian, 2012

International Baccalaureate World School

College PreParatory grades 6-12 Now at 7300 old saNta Fe trail www.desertacademy.org

PASATIEMPOMAGAZINE.COM

9

Market Fresh Cooking at the Santa Fe Farmers Market

10:00 am Tuesday, August 27th In the Farmers Market Pavilion, 1607 Paseo de Peralta

Come enjoy a cooking demonstation by:

Valeria Alarcon

Holistic Health Coach Certified Nutritionist

moleculedesign.net END OF SUMMER 5% DISCOUNT COUPON 2 weeks only!

Aug 23- Sept 6 1226 Flagman Way, Santa Fe Tuesday-Saturday 10-5 A percentage of all Zozobra sales support Kiwanis Club of Santa Fe. ZozobraTM ® Image used with permission of the Kiwanis Club of Santa Fe ©2011 “Will Shusterʼs Zozobra” TM ® The Kiwanis Club of Santa Fe All Rights Reserved

Charms and Pendants in sterling silver and 14kt yellow gold. Price starts at $45.

Now available for purchase on our website, www.fairchildjewelry.com

this year he has a lot To answEr for!

505.984.1419 • 800.773.8123 • fairchildjewelry@aol.com • fairchildjewelry.com 10

PASATIEMPO I August 23 - 29, 2013

MIXED MEDIA It’s 4th Friday of the Month!

It’s time to get groovin’ at The Gallery at Eldorado. Come listen to the smooth jazz of the BERT DALTON TRIO. Feast on delectable lobster or Kobe beef sliders, nachos and more. Top it off with luscious beverages g served from AGAVE lounge g — what a FANTASTIC night!

Friday, August 23rdd • 5:00 pm - 9:00 pm (and every 4th Friday of each month) For more information: 505.995.4530

Photos Ana Gallegos y Reinhardt

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

Book Signing with

Lauren P. DeLLa Monica Graffiti wall at Warehouse 21; top, La Montañita Co-op

author of Painted Landscapes: Contemporary Views

Off the wall: graffiti workshops and battles

There is little agreement among those who see graffiti as an art form and a means for social protest and those who see it as vandalism (especially when it’s done by “pesky teenagers”). People occupying the middle ground often say that whether graffiti qualifies as good or bad art is of secondary importance to where it appears. Teen advocates like Warehouse 21 and the Santa Fe Art Institute seek to defuse some of the tension by providing workshops and, perhaps more important, designated walls for graffiti.

Every Saturday, Santa Fe Art Institute hosts a free two-hour workshop on graffiti and street art (including poster and stencil work). The program is designed to help young people (ages 11 to 19) learn new techniques and explore “the connection between hip-hop culture and fine art.” The free workshops take place from 11 a.m. to 1 p.m. at the Santa Fe Art Institute, 1600 St. Michael’s Drive (Saturday, Aug. 24 and 31, workshops are at Santa Fe Place Mall, off Cerrillos and Rodeo Roads). See www.sfai.org or call 424-5050 to confirm venue.

Workshop participants might want to compete in Warehouse 21’s first annual King of the Small Wall Graffiti Battle on Friday, Aug. 23, from 5 to 8 p.m (registration is at 4 p.m.). The contest is meant to complement existing graffiti installations on Warehouse 21’s campus and to provide young artists with an alternative to vandalism. The cost is $8 to participate and $3 to observe, with a mystery prize for the winner. The event takes place at Warehouse 21, 1614 Paseo de Peralta. For details visit www.warehouse21. org or call 989-4423.

— Loren Bienvenu

this book explores american landscape painting today, its relevance in the contemporary art world and its historic roots.

Published by Schiffer Press.

SaturDay, auguSt 24, 2013 at 2 P.M. OPen tO the PuBliC | ADMiSSiOn iS FRee 1011 Paseo de Peralta, Santa Fe | Call John 505.954.5757 for more info

PASATIEMPOMAGAZINE.COM

11

Hosting a local community event?

lets make it a date Share your upcoming events with more than 300K monthly pasatiempomagazine.com and santafenewmexican.com readers with a free post on The Santa Fe New Mexican’s online community calendar.

santafe newmexican .com/calendar 12

PASATIEMPO I August 23 - 29, 2013

Quickly and Easily Post: Community Events Live Music and Nightlife Performances Recurring Meet-Ups Lectures Classes and Workshops and more‌

You turn to us.

STAR CODES

Heather Roan Robbins

As the sun entered thoughtful, analytical Virgo on Aug. 22 and Mercury joins it on Saturday, Aug. 24, school supplies look more intriguing and political critique sharpens. Mercury appears to be moving fast right now, so things happen quickly once a decision is made — and all while a Jupiter-Uranus-Pluto square minimizes impulse control and magnifies discontent, brilliance, and electrical snafus.

Stress levels can rise as we start to look ahead at the autumn’s work.

Savor the lingering summer days as emotional Venus squares brooding, in-depth Pluto and opposes erratic Uranus this week. Virgo energy can confuse worry with competence.

We should use our newly honed Virgoan critical capacities for good. The best of Virgo energy is that of a healer. We just have to keep our attention focused on whatever we want. If we weed but forget to nurture our crops, all we will have is an empty patch or a lonely life.

This weekend can be a little tough on relationships and political hot spots as an Aries moon makes us rebellious about other’s opinions just as Mercury enters Virgo and offers opinions galore. Venus squares Pluto and brings our attention to what we’ve lost. Dial that righteousness down and tap into the Virgo healing mode instead.

Mercury opposes Neptune on Sunday, feeding our imaginations but bringing mistakes of distraction, depression, or misunderstanding. Do not give up. Turn the imagination to all the hopeful possibilities. Mercury forms a stabilizing, clarifying sextile with structural Saturn midweek. We can use the weekend’s creativity by mixing it with common sense.

Friday, Aug. 23: People’s energy and obsessions bump into one another as the moon conjuncts Uranus in feisty Aries. Allow people to let off steam without taking it personally. We can feel sore or heart-scalded tonight, and we could all use a whopping dose of acceptance.

Saturday, Aug. 24: We long for what we’ve lost or can’t reach as Venus squares Pluto. Important events may test our hearts, but let’s not read too much of this into intimate relationships. Responses may be unusually direct and honest, though a fear of being trapped may make us look more inaccessible than we really are as the moon squares Mars.

Sunday, Aug. 25: Tough overnight aspects leave us resonating with emotion — intuitively aware but easily confused about who’s responsible for what. Watch the conspiracy theories as Mercury opposes Neptune. Let feelings flow. Get healthy and organized under an earthy Taurus moon.

Monday, Aug. 26: An erratic Venus-Uranus opposition leaves us rebellious and excited, but that Taurus moon helps us adjust. Our emotional attention span may be short, but we can meet and greet. Keep decisions short term; leave for an hour, not a lifetime.

Tuesday, Aug. 27: Wake up and smell the coffee as Mercury sextiles Saturn and clears the recent fog. Don’t let beauty slip away — be fed by Venus as she squares Jupiter today. Kind social graces can heal more than we think.

Conversation picks up as the moon enters verbal Gemini and Mars enters expressive Leo tonight.

Wednesday, Aug. 28: Nervy energy can help us multitask if we stay present, but we can become anxious if we get carried away as Mercury trines Pluto.

Tonight, speak from the heart.

Thursday, Aug. 29: Expect technological quirks and flashes of brilliance along with some wacky thinking as Mercury quincunxes Uranus. Keep ears open and the conversation flowing. Listen for important communications about legal matters and the chain of authority and avoid power plays by working in an egalitarian way. ◀

505.983.8977 604 N. GUADALUPE ST. DE VARGAS CENTER 5STARBURGERS.COM

www.roanrobbins.com PASATIEMPOMAGAZINE.COM

13

In Other wOrds book reviews On the Come Up by Hannah Weyer, Doubleday, 310 pages Hannah Weyer’s first novel, On the Come Up, is based on the true story of Anna Simpson, a black teenager from Brooklyn who became the star of the hit indie film Our Song. It’s written entirely in what the jacket-flap describes as “an urban vernacular that’s electrifying and intimate.” Weyer, a white documentary filmmaker, gets the vernacular right — as far as this white, formerly urban reviewer can tell — though her choice to tell the bulk of the story in the third person, rather than the first, detracts slightly from the intimacy that is promised.

Because the point of a literary novel is to convince readers of its “truth” regardless of whether the inspiration for the book came from a real-life story or not — and a huge, wonderful part of writing and/or reading novels is the opportunity to use one’s imagination to see a world outside one’s own experience — it’s unfortunate to have to spend time in a review focusing on the race of the writer relative to the race of the novel’s protagonist. Anyone can write about whatever they want; there is no credibility test other than whether or not a story is interesting and well written. Maybe Weyer couldn’t separate her life as a documentarian from her life as a fiction writer or she wanted to give credit to the young woman whose story so inspired her, but the result is a kind of political defensiveness that is detrimental to art. Putting the novel’s identity politics front and center on the cover and jacket copy forces the reader to form an opinion, however partial and subject to change it might be, about the author’s choices before reading a word.

On the Come Up is a good novel and doesn’t need explanation in order to make it acceptable to a diverse readership. Weyer has given us a lead character to really care about as well as a dynamic and detailed roster of supporting characters and a strong narrative voice that echoes in your head long after the story ends.

When the story begins, AnnMarie Walker is just about to turn 13. She lives with her mother, Blessed, in the Far Rockaway neighborhood of Queens, New York. She’s been in and out of foster care and has also lived with relatives; she does not feel especially close to or safe with Blessed, who suffers from health problems and often has strangers in the house, ostensibly to care for her. AnnMarie sees her world as essentially hostile but has become numb to various abuses, making her not sad but tough.

Weyer’s use of urban vernacular prevents AnnMarie’s voice from sounding unnecessarily different from the surrounding prose and prevents the surrounding prose from sounding like a tourist who got lost in Far Rockaway.

AnnMarie’s friends are her whole world. She gravitates toward an older crowd, and her male friends seem to occupy a different space than her female friends do, with the guys on the corner and the girls gathering in their apartments. AnnMarie is a talented singer with aspirations of becoming a rapper or performer, which attracts the attention of a much older boy named Darius, a self-described music producer, high-school dropout, and sometime thug. He never, ever uses protection, which AnnMarie doesn’t give much thought to until she gets pregnant.

While attending a high school for pregnant teens, she spots a notice for movie auditions and decides to make her way alone to the open call in Manhattan, where she has never been before. In one of those improbable moments of good fortune that populate literature and fill readers’ lives with hope, she gets the role. And in the real-life way of improbable moments of good fortune, it doesn’t really change anything about her life. Despite starring in a movie, she is still 15, still a single mother whose baby’s father can’t be counted on for anything, still living with her mother, still poor.

In the last quarter of the novel, Weyer relies too heavily on the reader’s knowledge that On the Come Up is based on a true story. A few jarring moves rush the ending, as if its conclusion is inevitable because it really happened. Where AnnMarie ends up by the time she’s 18, and with whom, is not inevitable but a choice she makes that shows just how much she has grown during the course of the novel. Gone is the girl who is charmed by Darius, willing to turn her back on what she cares about just for some attention, and gone is the girl who thinks one big break will be her ticket to anywhere at all — though she does get to go to Utah for the Sundance Film Festival. Her world is bigger because she decides to make it bigger, and she constantly struggles against her own inclination to close herself off to real help, whether it’s in the form of public-assistance daycare for her daughter or romantic love for herself. She goes from being a justifiably angry kid just trying to get by to being an adult who understands that life is a struggle for almost everyone — and it’s OK to admit it.

— Jennifer Levin

14

PASATIEMPO I August 23 -29, 2013

SubtextS Memphis motel What most of us know about room 306 in Memphis’ Lorraine Motel comes from a single dramatic blackand-white photograph of its balcony taken on April 4, 1968. There on the second story, Dr. Martin Luther King lies in a pool of his own blood. A man kneels over him as others point off into the distance, presumably to the place where the shot that felled the civil rights leader originated. The photo was taken by a cameraman from South Africa, Joseph Louw, who was producing a documentary on King’s upcoming Poor People’s March on Washington. Louw, staying nearby in room 309, had run into King the night before, as lightning flashed and thunder rolled. The experience was unsettling. He heard the shot some 24 hours later and rushed outside to see and capture what we all have since seen, thanks to him. That photograph haunts American history as much as any recorded.

That story and many more just as fascinating are found in Rabbi Ben Kamin’s Room 306: The National Story of the Lorraine Motel (Michigan State University Press). In it, we learn that the place where King was assassinated was first opened as a whites-only hotel in the mid-1920s and served as a brothel. It was purchased shortly after World War II by Walter Bailey, who named the place for his wife Lorene and for the Nat King Cole hit “Sweet Lorraine.”

(Lorene, age 52, would suffer a stroke moments after King was shot and died a few days later.) It was one of the few places that black musicians visiting the city’s Beale Street could stay, and over the years it hosted Cab Calloway, Sarah Vaughan, Count Basie, Ray Charles, and Aretha Franklin.

Kamin’s book is full of such background details, but its focus is on the people around King at the time of his death and those involved with saving the Lorraine as the National Civil Rights Museum. Kamin reads at Collected Works Bookstore (202 Galisteo St., 988-4226) at 6 p.m. on Monday, Aug. 26, just two days prior to the 50th anniversary of King’s “I Have a Dream” speech. He will be introduced by historian Hampton Sides, author of Hellhound on His Trail: The Electrifying Account of the Largest Manhunt in American History. Room 306 exists as it did that day, right down to the unmade bed.

— Bill Kohlhaase

“Holding your hand through the entire process” • Over 20 Years Experience

Expert Personalized | Service & Instruction

Dirty Words in Deadwood: Literature and the Postwestern edited by Melody Graulich and Nicolas S. Witschi, University of Nebraska Press, 293 pages When HBO launched Deadwood in 2004, audiences were greeted by the streetscape of the gritty 1876 mining camp and a cast of Wild West characters that included the loathsome and the lovable. For three seasons, it was either loved or hated — either the show’s dense, edgy dialogue and its historical perspective drew the audience in, or its vulgarity, violence, and complexity pushed potential viewers away.

Creator David Milch was already known for his work on the urban television crime dramas Hill Street Blues and NYPD Blue. His Deadwood reputation for a well-crafted “post-Western” has now outlasted the show’s broadcast time.

While much of the discussion around Deadwood has centered on the historical accuracy of what it portrays, what would happen if literary scholars and film critics examined the series the way they would break open a Hawthorne novel or an O’Neill play? How does Milch’s take on Calamity Jane and Wild Bill Hickok demonstrate a deeper narrative theme rather than a regurgitation of what’s been written about the facts of their lives? Milch is, after all, the holder of a degree from Yale and (as he proves in a Q and A early in this compilation) a deep thinker.

This collection of 11 essays, published seven years after the final frame of Deadwood premiered on cable TV, revisits the series and enriches an understanding of its context in the genre of Western literature and film.

The book’s contributors, who teach English literature and produce dramas and documentaries, consider the series alongside the established canon, explaining references to themes and characters that might otherwise be missed — movies such as The Gunfighter, The Magnificent Seven, Little Big Man, and Clint Eastwood’s Unforgiven and books by Henry James and Henry David Thoreau, among others.

For example, the characters of Flora and Miles, two youngsters who appear in a couple of Deadwood episodes toward the end of the first season, have names that are borrowed from James’ The Turn of the Screw, published in 1898. Their characters highlight themes of innocence and manipulation with a gothic flair, explains Wendy Witherspoon, a critic who wrote her Ph.D. dissertation about 19th-century literature of the American West.

One weakness from these highly educated writers is that they occasionally carry their analysis via constructions that fling around incomprehensible jargon. Nevertheless, academics hone in on aspects of the series that the first-time or even third-time viewer might not pick up on without this kind of instructive critique. This book isn’t likely to capture your interest, however, unless you followed Deadwood more or less from its birth to its death.

If you did, you’ll walk away with even more regard for the genius of the show. Far from just integrating vulgarity into densely structured dialogue — a device that has earned its writing comparisons to that of Shakespeare — it follows the development of community. When I read some of the dialogue on a page rather than hearing it or scanning subtitles, some lines that went over my head in earlier snapped into focus. That also made me eager to see what’s next from Milch — reportedly a new HBO series called The Money, which tells the story of a New York media family.

— Julie Ann Grimm

• No “Geek Speak”

Home or Office | Onsite Repairs

• Same Day Service

PC or Mac | iPhones & iPads

“The Mortgage Experts” Personalized Face-to-Face Service Professional Mortgage Planning Conventional, Jumbo, FHA, VA Call for a free 30-minute Mortgage Consultation

Scott RobinSon

BRANCH MANAGER scott.robinson@gatewayloan.com NMLS #202265

502 W. C o r d o v a R d , S uite B • S a nta Fe • 4 2 8 -6 4 6 3

Patio.Dining 326 S. Guadalupe • 988-7008 • www.ziadiner.com PASATIEMPOMAGAZINE.COM

15

Jennifer Levin I For The New Mexican

Done with tombstone Justin St. Germain’s mournful memoir

William B. Bledsoe

o

n Oct. 26, 1881, the most famous gunfight in the American West took place at the O.K. Corral, in Tombstone, Arizona. The 30-second battle between the Earp brothers, the Clanton brothers, the McLaury brothers, Billy Claibourne, and Doc Holliday has sustained the booming frontier town turned impoverished rural outpost ever since.

“The only thing that keeps Tombstone alive is tourism based on one event,” said Justin St. Germain, who grew up there. “The actual gunfight wasn’t the good guys versus the bad guys. It was two groups of pretty bad people fighting. It was an arbitrary violent event, and when you celebrate it that much, with daily reenactments, it just seeps into people’s consciousness. The town’s official seal is two six-guns, crossed. The official motto is ‘The town too tough to die.’ There is so much ridiculous machismo embedded into that place.”

St. Germain, currently the Joseph M. Russo Professor of Creative Writing at the University of New Mexico, is the author of Son of a Gun: A Memoir, published this month by Random House, which he reads from on Thursday, Aug. 29, at Collected Works Bookstore. It is his first book.

St. Germain, who is in his early 30s, was a graduate student in creative writing at Stanford University when he decided to embark on a memoir about the murder of his mother, Deborah St. Germain. On Sept. 20, 2001, she was shot by her fifth husband, Duane Raymont Hudson, a former police officer. Hudson was found three months later in a New Mexico state park, dead of a self-inflicted gunshot wound.

Woven into the memoir is the history and legacy of Tombstone and the sense of futility that permeates the town.

“At Stanford I was writing a lot of short stories about Tombstone and growing increasingly frustrated. The things that preoccupied me about what happened to my mother were creeping into the stories where they didn’t belong and often kind of ruining them,” he recalled. “A professor of mine said that there was some true story that was trying to come Justin St. Germain out. His advice was that I was going to have to write it or I would keep circling it indefinitely.”

The book’s first section recounts the time around the murder — what happened right afterward and what St. Germain knew about his mother and Hudson’s life at that point. St. Germain was in college in Tucson and living with his older brother, Josh, when Hudson killed their mother. The couple had been living off the grid in a mobile home in a rural area near Tombstone. Though Justin and Josh were wary of this choice, they weren’t afraid of the way Hudson treated their mom — not the way they had feared some of their previous stepfathers.

In the book’s second section, St. Germain returns to Arizona to find answers, not in an attempt at sleuthing or even investigative journalism but to satisfy his own curiosity about the specifics of the crime and to look at how his mother’s life ended the way it did. He begins with the family’s move to Tombstone from Pennsylvania when St. Germain was 6. He talks to the original investigating officer, gets the police report, drives around the state to visit relatives and family friends, and meets up with some of his former stepfathers in an attempt to understand his mother as an adult embroiled in one terrible relationship after another.

16

PASATIEMPO I August 23 -29, 2013

“Given the circumstances she was put in, she was a really remarkable mother.

That idea is made more complex because despite the fact that she loved us a lot, she put us in a lot of scenarios with terrible men. I was never physically abused — none of my stepdads ever laid a hand on me — but when you see them abusing your mother — well you just hope that she would get herself out of that situation.” One of the more violent men, called Max in the book (St. Germain changed his name for legal reasons) “made our entire household awful for years.

It just kept going on. My brother and I just hated him.”

One of the oddest passages features Brian, the man with whom the St. Germains moved to Tombstone. He meets Justin at a gem show and promptly launches into conspiracy theories around his Deborah’s murder, claiming to have sources inside the CIA. He has a copy of the police report and other information, having gone on his own fact-finding mission years earlier, but he won’t give St. Germain the file until he listens to a sales pitch. “I was eight or nine when he and my mother broke up, and I don’t remember him being a great father figure, but he wasn’t so bad. Our meeting was bizarre, because the entire premise in his eyes was to try to sell me on what he insisted wasn’t a pyramid scheme. I didn’t even know what to make of a lot of what he said. Does he really have CIA contacts? I don’t know.

He was a defense contractor in the past, so I guess it’s possible. We kept bouncing back and forth between memories and him trying to sell me. Mixed in with everything he said that night was some really heartfelt and genuine sadness about what had happened to my mother.”

St. Germain’s mother was murdered just days after the Sept. 11 terrorist attacks, and St. Germain had become inured to the conspiracy theories floated at the time. Likewise, Brian’s talk of the CIA involvement in his mother’s murder didn’t ring true for him. Some people, including his grandmother, thought terrorists might be behind the crime. “I understand the reason they do that. People don’t want to accept how simple it can really be for someone to kill somebody else, how little it really takes,” he said. Hudson’s true nature — as revealed by his actions as well as by the suicide note found near his body — was a surprise to St. Germain. The questions that his discoveries about Hudson and his reconnections with his other stepfathers prompt for him furnish some of the most affecting parts of the memoir.

“I know the statistics on domestic violence. If you’ve been exposed to it your whole life, you are astronomically more likely to engage in it yourself. I’ve never expressed anger physically, but it’s a huge fear. I don’t want to become the thing I hate the most. There’s this certain kind of masculinity that is kind of tyrannical.

You have these ideas embedded in you about what it means to be a man, but you can still choose what kind of man you’re going to be. I go to therapy, and writing the book helped me a lot in terms of containing some of the emotions around my mother’s murder. The emotions aren’t gone, and they never will be, but they used to feel like they were seeping into everything.”

Now that the memoir is published, St. Germain is getting good reviews and doing readings. He has gone back to Tucson, but doesn’t plan to read in Tombstone or even visit there again. “Everything there is such an intense reminder of what happened,” he said. “And the thing is — and I’m sure there’s some complex socioeconomic explanation for this — everyone from my generation that I grew up with is gone. I feel like a tourist when I’m there. It’s changed, and it feels hollowed out. My brother lives 20 miles away, and he never goes back either.” ◀

details ▼ Reading & signing by Justin St. Germain, author of Son of a Gun: A Memoir ▼ 6 p.m. Thursday, Aug. 29 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

A COMMON SIDE EFFECT OF MEDICAL WEIGHT LOSS. Lose 21 Pounds in 4 Weeks.*

There’s no magical formula for losing weight.There is however a medical one. Discover the difference a medically monitored weight loss program make.

IMS

internal

MEDICINE SPECIALISTS

Taking New Patients and Same Day Appointments!

$20 off an initial consultation the center for medical weight loss® 405 Kiva Court, Santa Fe 87505

(505) 988-8005 www.santafeweightloss.com

*Based on a stratified sample of 94 men over a six-year period.

FENCING

OPEN HOUSE Discover fencing — an exciting and challenging sport for all ages ages. Visit New Mexico Fencing Foundation’s free Open House tomorrow: Saturday, August 24 from 11:00–1:00 at 1306 Clark Road (across from Jackalope).

Youth and adult instruction available.

See www.nmfencing.org for more details.

Danny Mays, PA (working with Josh Brown, MD) Over 20 years experience in primary care

APPOINTMENT line: (505) 395-3003 IMS’s independent staff is here to take care of you at our modern, new office and at the hospital.

1650 Hospital Drive, Suite 800

Santa Fe, NM 87505

PASATIEMPOMAGAZINE.COM

17

MELISSA J.WHITE’S JOURNEY TO JAPAN Bill Kohlhaase I The New Mexican ears before she traveled to Japan, when she was a teenager growing up in the Chicago suburb of La Grange, Illinois, Melissa J. White challenged herself to get lost. She would ride the train into Chicago’s Union Station and then, with her head down, head to the nearest exit. “I would just walk and try not to look until I got outside and then open my eyes. I tried to make that feeling of being lost last as long as possible. My brain would start to work in a way that it does when things won’t resolve. All I had to do was look up and see the different skyscrapers and everything would fall into place, everything would be resolved. That’s what it was like in Japan. You had that stimulus from living in a world where things don’t easily resolve. You never really knew where you were.”

White went to live in Japan in 1988, a year after she graduated from St. John’s College in Santa Fe. She had been footloose ahead of the trip, visiting Hawaii and Mexico, hitchhiking the California coast, and traveling up to Kenai, Alaska, with her partner, who also accompanied her to Asia. There were several reasons for going. “I wanted to see where the Buddhism I practiced came from,” she writes in her recently published book, Dizzy Sushi. “I wanted to see the rock gardens of Ryoan-ji that were raked every morning, the practice hall of Eihei-ji monastery and the raku tea ceremony bowls. In my mind, there was no culture more diametrically opposed to ours than that of the Japanese. I’d come with the intention of changing the course of my life dramatically.” Her life did change dramatically, but not in the way she might have predicted. “I’ve always been interested in experiences that whip your head around. Traveling is a great way to see the world differently. It’s also a great way to see yourself differently.”

During her visit to Japan, White kept scrupulous journals, writing once and sometimes twice each day. She recorded not only what she saw and did but also 18

PASATIEMPO I August 23 -29, 2013

the dialogue between her and her partner — Walker, as he’s called in the story — dialogue that records the anxiety that comes of being in an unfamiliar land while dealing with familiar emotions, desire and jealousy among them. It’s a feeling that any stranger in a strange land experiences, one of being off-balance and in a position of not being able to understand or communicate the uncertainty. The situation makes the brain work differently. That’s why the word “dizzy” in the book’s title is so appropriate (“dizzy sushi” is slang for a kind of Japanese fast food served on conveyors or revolving carousels). The world takes on a different spin when you travel, an effect that is especially important to writers. “[Before going to Japan] I was in San Francisco trying to write,” White said. “I needed something that would really jar me. And Japan certainly does that.”

The young visitors experience situations familiar to all on-a-shoe-string travelers with limited language skills: looking for places to stay, seeking out acquaintances, searching for jobs. Locating certain addresses becomes a puzzle because street numbers aren’t in consecutive order but instead indicate when homes were built.

Even using public telephones provides an experience in both cultural and technological contrasts. Upon arriving in Tokyo and calling to find an available room, the pair soon runs out of coins. A stranger gives them a calling card that allows them to continue using the phone. “This is an old-style rotary dial phone, yet someone gives us this card that works in it. It’s the analog versus the digital world right there in that experience. That kind of thing does something to my brain that just turns it on. You get to see these strange paradoxes, these strange juxtapositions. Your brain likes that kind of stuff, those kinds of things that don’t fit in your normal daily narrative.”

Many of White’s experiences take on universal meaning even when framed inside cultural context. The books’ opening sentence — “The first thing I saw in Japan

was a corpse.” — establishes a reoccurring theme of death that includes a messy suicide on the railway tracks. These scenes contrast with the “surface cleanliness” she finds in Japan. “In fact the ‘sin’ of the first Japanese god and goddess was to see the putrefaction of death,” she writes. “No, there’s no gang graffiti on the bus seats, but college boys puke in plastic bags, swaying over you, and all you can do is pray.” Another cultural aspect of Japanese society that reflects on White’s personal experience in Japan is gender identity. When she can’t immediately find work as an English teacher, an acquaintance urges her to become a hostess in one of the many male-only bars. There she realizes how different she is, as an American. On public streets, traditionally dressed older women walk side by side with young, stylishly dressed women. Large advertising displays feature scantily clad Western women. Both White and her partner take on modeling jobs. Yet one of her fears is that her companion will take up with a Japanese woman. “I’m not sure how conscious I was [of gender roles] when I was writing this,” she explained. “When you’re 20, you’re trying to figure yourself out. If I’d gone to Paris instead, I would still be talking about these same issues. It’s part of our identity at that age to figure out what’s male and what’s female or why do people look at me or my boyfriend the way they do. Also, it was really strange at that time to be an American there. When any Westerner goes to Japan they become a rock star. It doesn’t matter what you look like. I didn’t take to that well and got sick of being treated differently.

I felt like I would never fit in.”

After returning to Santa Fe she spent the next two years editing her journals with local poet Miriam Sagan and a group known as “Edit Femmes,” an effort that gave the text the shape it now has. She picked it up again in 2006, this time cutting out a lot of material that, she said, slowed the narrative down. Before publication last June, she put a few pages of what she’d cut back in — mostly sections that reflected cultural events and practices that she participated in that did affect the narrative. The book, she said, remains largely true to what she wrote while there. “I tried to keep the feel of the moment-to-moment experience from my journals, with editing for clarity and style. I wrote in a journal very religiously the entire 11 months I was in Japan, so I was always jotting down notes and dialogue, as well as spending a lot of time writing on the trains back and forth to Osaka.”

While the book provides fascinating, often contrasting views of Japanese culture in the late 1980s, it’s propelled by the gradual evolution of White’s relationship to her partner, her acquaintances, and, most important, to herself.

And it’s not really spoiling the book’s resolution, as she calls it, or revealing too much of the dynamic between White and the man called Walker, to say that they are still together. “It’s a story written straight from the notebooks, a work of creative fiction, not a memoir but a creative retelling of what our life was,” White said. She was a bit concerned what her partner might think of her work. “But he loved it, he said he didn’t remember reading this before. ‘There’s something different about it,’ he said. He’s looking at it from the experience of having been there, but he’s reading my experience of it, my take on that world.

My sense of it, the way it came out on the page, is that in some way he was reminded of just how young we were.

And that’s a good thing.” ◀

details In my m i nd t more d here was no c , iametri cally op ulture I’d com than that of posed to o e with t the Jap urs h e course intention anese.

--- Melis of my life of changi sa J. W dramatic ng the hite ally.

$20

three courses before 6:30 p.m., 7 nights a week

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

8p

m

JAPANESE TAPAS & SUSHI

Late Night Special

to

clo

sin

4

$ 99

g,

ev

2 Locations

er

sushi

yn

igh

Downtown next to Lensic on Burro Alley

Across from Regal Cinema 14

992-0304

438-6222

t

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

▼ Melissa J. White reads with poet Joan Logghe ▼ 6 p.m. Friday, Aug. 23 ▼ Collected Works Bookstore, 202 Galisteo St., 988-4226

Friday, August Friday 10th to Friday August 23rd -Friday Friday, February 1st to Friday AprilFriday 5th toto Friday, Febry0th to Friday, December 2nd Frida Friday March 22nd Friday Thursday August 29th Thursday, August Thu 16th toThursday, Thursday, June to Thursd Thursday, Fary Thursday 16th 7th Thursda ThursdayFebruary April 11th Thursday March 28th Thursd 4:30 –to 6:30pm 4:30-6:30pm 4:30 to 6:30pm 4:30-6:30 4:30 6:30 4:30 to

San Francisco St.Red Pilsner Marble Brewery Ale

All premium draft4:30-6:30pm pints $3.50 Draft Pints $3.50 MENTION THIS AD FOR DISCOUNT

PASATIEMPOMAGAZINE.COM

19

Julie Ann Grimm I The New Mexican

BORDER BROTHERS

Harel Shapira’s life among the Minutemen

AP Photo Matt York; sign AP Photo Tom Hood

ociologist Harel Shapira had only been with the Minutemen for a short time when it dawned on him. Despite hot rhetoric about protecting the border between the Harel United States and Mexico, they weren’t Shapira really sitting up all night in the desert to catch illegal immigrants.

In fact, Shapira said in an interview with Pasatiempo, he realized that he was often the only person at the Arizona border camp who wanted to talk about immigration.

Mostly, the talk was about being soldiers.

“If I just sat there, the things they talked about were military strategy and nostalgia for the past, and so much about these patrols that they do. They were so excited and invested in what they were doing. They would talk about what kind of ammunition they are using or what kind of guns they have back at home and their experience in Vietnam. It was just a really eye-opening moment. I was the one bringing in these questions about immigration, but they were there to do something else.”

In Shapira’s book Waiting for José: The Minutemen’s Pursuit of America, it’s only on rare occasions that the people known as the Minutemen Civil Defense Corps actually encounter immigrants. They are “conspicuously absent” from the situation, Shapira notes. The mission of the voluntary militia, he asserts, is more about its members than about the elusive “José.”

Shapira embedded himself with an odd collection of camouflage-wearing, guntoting, night-vision-scoping guys to research his doctoral dissertation for Columbia University, spending a month at a time at the Minutemen camp on six occasions, visiting many at the their homes and conducting interviews at a diner not far from the base camp. His unique position enabled him to craft this panoramic examination of the group from its early roots in the wake of Sept. 11, 2001, through a fiery pinnacle of publicity and activism, to a quiet implosion in 2007.

Although all of them may not have realized it, Shapira writes, the men went to the border seeking something they had lost in their own lives and what they perceive to have been lost in the nation. These mostly white, mostly retired, mostly divorced, mostly ex-military men wanted to “reclaim a different, younger, better version of America and themselves” that never existed to begin with.

20

PASATIEMPO I August 23 -29, 2013

Applying basic principles of ethnographic research, Shapira was interested not so much in what the Minutemen had to say, but what they did and why. In describing what they wear, what they carry, and how they spend their time, his book has the kind of authenticity that comes from painstaking observation. You can’t phone it in. You have to go.

Arizona became a more deadly and well-traveled path for immigrants after national border policy tightened physical barriers in Texas and California, funneling foot traffic through the Sonoran Desert. The Minutemen believed the Border Patrol needed help with the challenge.

The author also studied a border activism group called Samaritans, whose participants patrol the same desert with the aim of providing humanitarian aid to imperiled crossers. His observations of the similarities in the practices (despite the differences in the ideologies) of the two groups are noteworthy.

In their early days, mainstream and fringe media reports had boiled down the complex issue of immigration to an oversimplified explanation that left the Minutemen “trapped in twin straitjackets of racism and patriotism,” he writes.

While Shapira does not debunk this stereotype, his readers get a much deeper understanding and maybe even empathy for these characters. Their plight is a symptom of a cultural disconnect where civic engagement and simple contact with other people seems ever slipping away.

“Underneath a self-professed bravado, there is fear. They are terrified,” he writes.

“In their imagination, they are subject to violence but not agents of violence; worried about a violence that is always on the verge of being inflicted on them. And in their imagination they are the weaker party, fighting off terrorists, drug dealers, and rapists. This is not about ‘poor José Sanchez looking for work.’ ” Immigrants are vilified repeatedly in America’s history, even as it claims the story line of a nation of immigrants, Shapira writes. “If José is a target, it is because he represents a larger, and much longer, battle, and a much deeper set of frustrations.

The construction of José as an enemy is party of a longer story of conflict — not between Mexicans and Americans, but between Americans and Americans.”

Shapira wrote the book in New York, but he recently relocated to Austin to begin a teaching job at the University of Texas. “The border states are such hotbeds of this immigration politics and right-wing politics. I’m excited, from a research point of view, to be in that environment.” ◀ “Waiting for José: The Minutemen’s Pursuit of America” by Harel Shapira is published

by Princeton University Press.

YOUR MORNING FIX.

Daily headlines from santafenewmexican.com and Fridays from pasatiempomagazine.com.

SANTAFE NEWMEXICAN .COM/ NEWSLETTERS

You turn to us.

PASATIEMPOMAGAZINE.COM

21

LISTEN UP

James M. Keller

Paul Appleby

A tale of two tenors

For a concert-goer, the past few weeks seemed like whitewater rafting. The river of music flowed ceaselessly, picking up momentum as it went along, its eddies and rapids succeeding one another so relentlessly that they allowed little time for recharging in between. Some anticipated moments provided memorable thrills when they arrived, some proved to be duds, and most fell somewhere in between.

We can’t discuss them all in these columns, but a number of them call out for special comment.

The Santa Fe Concert Association’s “Festival of Song” series provided a recital forum for two tenors who are appearing at Santa Fe Opera this summer: Paul Appleby on Aug. 11, Michael Fabiano on Aug. 14. Both hourlong events took place at the Scottish Rite Center and were accompanied adroitly by Joseph Illick, but apart from that, they stood about 180 degrees from each other. Appleby has a voice of modest dimensions, and that proved a detriment to fulfilling his duties as Fritz in La Grande-Duchesse de Gérolstein; throughout the season, many listeners told me that they had trouble hearing him, which was my own experience on opening night. In the more intimate expanse of the Scottish Rite Center, and assisted by a piano rather than an orchestra, he projected just fine. He put together an interesting song recital that consisted entirely of serenades, but he selected his material thoughtfully to avoid what easily might have become a succession of sameness. He was strongest in his opening set (lieder by Schubert, Brahms, Wolf, and Strauss) and his closing piece (Britten’s Serenade for Tenor, Horn, and Strings). His voice is very easy to love. A few minutes into the German set, his timbre briefly approximated the dense, veiled sweetness of Fritz Wunderlich, and there can be no higher compliment that than. He might want to refine his phonetics on certain occurrences of the German “ch,” which here was rendered with a whooshing “sh” sound no matter where it fell, but his technical apparatus sets him up to truly excel as a lieder singer. He sang sensitively in English, too. Britten’s cycle is an odd piece, a throughcomposed cycle of six poems by various authors plus a prologue and epilogue that spotlight the solo horn. Britten composed the piece in 1943 for the renowned but short-lived hornist Dennis Brain, and he specified that in the prologue and epilogue that hornist was to play only on the instrument’s natural partials; the resultant 22

PASATIEMPO I August 23 -29, 2013

microtones yield a rustic flavor. In this performance, hornist Gabriella Finck went a step further, actually playing those sections on a natural horn — basically a coiled tube with a mouthpiece on the end — and then switching to a concert French horn for elegant renditions of the other portions. (Violinists Richard Rood and L.P. How, violist Alexandra Leem, cellist Joseph Johnson, and double bassist Miles Davis all contributed admirably, under Illick’s direction.)

Appleby’s central set comprised songs in French by Duparc, in Italian by Carlo Pedrotti (famous for having taught the legendary tenors Tamagno and Bonci) and Mascagni, and in Russian by Tchaikovsky. His approach seemed somewhat at odds with the Italian language, which he shortchanged by not holding onto its vowels (particularly its open vowels) with vibrancy through to the release of a note. But as a singer of German lieder he could develop into an exceptional artist. As things stand, he tends to project a one-size-fits-all pleasantness. Since his singing technique is nicely in place, he can now delve into how to convey the specific drama of the songs he programs.

Michael Fabiano is a singer of an entirely different stripe. Portraying Alfredo in La traviata at Santa Fe Opera he could probably be heard halfway to Los Alamos. In the Scottish Rite Center, his volume could be almost painful; and since he had selected repertoire that led him repeatedly into the realm of the high A flat, A, and B flat, the onslaught grew fatiguing to the ear while the recital was still young. His comfort zone is Italian repertoire, which responds favorably to the vigorous dynamism of his singing. But what was the point of his recital? He seemed to approach it as if it were an audition, showing off over and over the thing he does most impressively: hitting a climax that is high, bright, and loud. If that was his intent, he succeeded.

He has an excellent voice of its type, even if his interpretations displayed not much breadth of character and were too often accompanied by grimacing of the sort we associate with silent-movie acting. The art of the song recital is something distinct from that; it invites subtlety in programming and in interpretation. Fabiano did include seven actual art-songs among his 13 selections (counting encores), but all of these were rendered with operatic swagger that made them come across like actual arias. This resembled the ostensible song recitals one heard when the Santa Fe Concert Association began its “Festival of Song” concerts in 2011 — young singers dusting off their audition arias — and Illick assured us when that season had ended that in future years care would be taken to make sure the soloists would live up to the series’ name. We get lots of opera in this town, but little in the way of song recitals. Listeners who appreciate the latter will surely join me in urging the Concert Association to keep its focus when programming this series and remind the soloists that such a recital offers an opportunity to display the breadth of their art rather than its narrowness.

Paul Appleby’s voice is very easy to love.

A few minutes into his German set, his timbre briefly approximated the dense, veiled sweetness of Fritz Wunderlich, and there can be no higher compliment than that.

Madrigals and more

The Santa Fe Desert Chorale occupied the Cathedral Basilica of St. Francis of Assisi on Aug. 10 for an all-French concert directed by Joshua Habermann. The first half was given a cappella, and its best moments involved Debussy’s Trois chansons de

Santa Fe Desert Chorale

Chamber conclusion

The Santa Fe Chamber Music Festival concerts on which the Gesualdo madrigals figured were advertised as a “festival within a festival” in which each concert included a Mozart piano trio and a Schumann chamber work, in addition to the Gesualdo. The concept was that the composers each wrote their respective pieces within a single year, which wouldn’t have guaranteed compelling programming even if this factoid had been true (which it wasn’t). The Mozart trios were consistently good (I heard K.502, 542, 548, and 564), providing a lesson in how chamber continued on Page 24

Anne-Marie McDermott

PASATIEMPOMAGAZINE.COM

23

Ken Howard

Charles d’Orléans, realized with impressive finesse. The oddest item was surely Rameau’s “Ô nuit,” which I gather has become a choral pop-hit since it was featured in the 2004 film Les choristes, about a French boychoir. It’s a good example of cognitive dissonance on a stylistic level. The music is pillaged and much adapted from a passage in Rameau’s 1733 opera Hippolyte et Aricie, in which a two-part chorus of priestesses (treble voices only) alternates with a High Priestess to celebrate the goddess Diana. For the modern choral hit, the piece has been reharmonized (by somebody name Joseph Noyon) in soupy, late-Romantic style and retrofitted with a new text (by a certain Édouard Sciortino) about the serenity of nighttime. In the resulting piece, one hears French Baroque contours and can imagine how splendid they would be if rendered in the style of their time; but what one actually hears is realized in an incongruous way. Imagine looking at a portrait of Louis XV wearing a bowler hat — something like that. Anyway, the chorus gave it a loving performance.

The second half of the concert was given over to Maurice Duruflé’s Requiem.

The composer prepared three different versions of it, the one used here being his setting accompanied by organ ( Jonathan Dimmock) and cello (Dana Winograd).

The Desert Chorale almost always sings unaccompanied, and it seemed as if they found a sort of liberation in having an instrumental underpinning to play off of.

They soared in a marvelous crescendo in the Kyrie and let loose unabashedly in the Libera me. Mezzo-soprano Susan Graham was the spendid soloist in the Pie Jesu movement, which she delivered with solemnity and authority. There is also supposed to be a baritone soloist in two of the movements, but that part was assigned to the choral baritone section in this interpretation for reasons I cannot explain. It was, in all, a fine performance of a substantial and important piece. Since Graham had been heard so fleetingly (her solo lasts only three and a half minutes), Habermann prepared a choral accompaniment to the Reynaldo Hahn mélodie “À Chloris,” one of Graham’s accustomed encores, and it brought the concert to a lovely close.

The Desert Chorale appeared on four programs at the Lensic Performing Arts Center during the final week of the Santa Fe Chamber Music Festival, in each case singing a different handful from Book Five of Gesualdo’s madrigals, a collection of fivepart secular vocal compositions published in 1611 and notable for its composer’s propensity for chromaticism. I heard three of these concerts, in which 12 voices from the choir were conducted not by Habermann but rather by Mathew Tresler, one of the group’s tenors, with theorbo-player Richard Savino providing discreet underpinning (which would help keep the pitch from going awry). The chorus’ ensemble skills came across as sub-par in the rather dry acoustic of the Lensic, and the less said about the undifferentiated interpretations the better. But here is what baffled me. Madrigals are essentially works of vocal chamber music, and in their heyday they were performed with one singer on a part. Including Gesualdo madrigals on programs of a chamber music festival seemed bizarre to begin with, but if they were to be there, then why would they not be performed as the chamber music they are, rather than the choral works they aren’t? It all made no sense to me.

Tresler also conducted the Desert Chorale in a concert titled “The Triumphs of Oriana: The Birth of the Madrigal” at Loretto Chapel. In this reverberant acoustic the group (again 12 singers) sounded far, far better, including in several Gesualdo madrigals that also figured in their Santa Fe Chamber Music Festival repertoire.

A little echo covers a multitude of sins. An especially appealing aspect of this program was that small groups of one-on-a-part singers occasionally handled pieces in the course of the show, which provided a break from the choral singing and also suggested how madrigals were envisioned in the late Renaissance. Indeed, some of the most affecting music-making came from these small groups, in works by Costanzo Festa and Thomas Weelkes, although the choral singing also sounded good, particularly gleeful in four selections from the English madrigal collection The Triumphs of Oriana (traditionally thought to have been written to celebrate Elizabeth I, although recent musicological research has cast that into some question).

Listen Up, continued from Page 23 groups can successfully balance differing sonic ideals. Here, violinist Ida Kavafian offered extroverted playing with a bright, glossy tone; cellist Peter Wiley assumed a generally reticent posture with an unusually deep tone (almost resembling a double bass at times); and pianist Anne-Marie McDermott mediated between them. The result, while less “unified” than one might have anticipated, nonetheless covered a surprisingly broad range of expressive possibilities. Schumann’s string quartets challenge with their persistently dense texture, and the Orion String Quartet did well by the Second String Quartet (on Aug. 13), most impressively in the first movement, where the players coordinated nice gradations of dynamics and expressive upward portamentos.

In Schumann’s Piano Quartet, the scherzo scurried like leaves blowing in a cemetery on Halloween, and the slow movement, which is holy ground for lovers of chamber music, was everything one might hope.

One of the most excellent performances of the festival’s summer arrived on Aug. 14, with Schumann’s Piano Quartet. McDermott was again the pianist, and Steven Tenenbom (of the Orion foursome) played viola. Although those two are members of the long24

PASATIEMPO I August 23 -29, 2013

standing piano quartet known as Opus One, and although the other two members of that ensemble (Kavafian and Wiley) played on the same program, they were inexplicably separated for this piece, in which the violin was handled by William Preucil and the cello by Eric Kim, the former pointed yet rich in his tone, the latter forward and clarion. It was a topnotch performance, achieving a sense of sonic space in its texture, showing rhythmic elasticity in some of the themes, and richly infused with a sense of quiet passion. The scherzo scurried like leaves blowing in a cemetery on Halloween, and the slow movement, which is holy ground for lovers of chamber music, was everything one might hope (and kudos to Kim and Tenenbom for their songful approach).

The pianist Garrick Ohlsson, who is the festival’s artist in residence this year, appeared (along with Preucil and the Orions) in Chausson’s Concert for Violin, Piano, and String Quartet on Aug. 11. It was a big-boned, surging performance of this somber piece, although the players did lighten up for the more crystalline Sicilienne movement, which is rather in the style of Fauré. The Chausson unfortunately followed the world premiere of a string quartet titled Falling Angels, which the festival commissioned from Thierry Lancino, the unfortunate part being that we therefore had two markedly doleful pieces in a row. Lancino’s piece, played by the Orions, seemed a meditation on Tristan und Isolde in which harmonic shapeshifting of a Wagnerian sort combined with shades of Barber’s Adagio for Strings. It built up slowly using easily apprehended rhythmic-motivic patterns, reaching a high-point outburst but mostly inhabiting quiet territory. It succeeded in sustaining its cheerless mood, but by the end one worried that it may have Garrick Ohlsson needed more basic material to fuel its 21 minutes.

Ohlsson also appeared in a pleasing performance on Aug. 18 of the Sextet for Piano and Winds written from 1885 to 1889 by Ludwig Thuille, a composer from a region that was under Austrian dominance when he was born (in 1861) but that is today the city of Bolzano, Italy, in the Dolomites.

It’s a rewarding piece not often encountered, occasionally straying into Brahmsian territory, bustling with jovial high spirits in its finale. I did not find the wind contingent to be ideally matched, but some of the players impressed completely.

Flutist Tara Helen O’Connor brought great character to her finely crafted phrases, and clarinetist Patrick Messina (who had opened the program with a virtuosic rendition on an unaccompanied piece by Jörg Widmann) displayed an engaging tone, dovetailing with special finesse in passages with hornist Julie Landsman and bassoonist Theodore Soluri. Ohlsson kept mostly in the background, though in passages that called for it he displayed firm yet tensile strength.

The same description might extend to the solo recital Ohlsson played on Aug. 15.

One never doubted the magisterial security of his technique, but its very monumentality could sometimes stand as an emotional barrier. Chopin’s familiar Barcarolle was given quicker than we usually hear it, the water of this particular Venetian canal flowing swiftly and the spirit being unusually songlike. The same composer’s F-Minor Fantasy seemed to be taking the same tack, but near the end Ohlsson rendered a modulating passage in a way that sounded shocking and suddenly gripping. A group of pieces from Charles Tomlinson Griffes provided an unusual touch; he was a sort of American Debussy, slipping off the harmonic cliff now and again. In Griffes’ Barcarolle, Ohlsson worked up to an overwhelming fortissimo.

Michael Hersch’s Tenebrae received its world premiere here — another dark, dark piece, sometimes evoking Liszt or Musorgsky in its creepiness, and at one point suggesting Bartók in the throes of a panic attack. To conclude, he offered some real Liszt, the Faust-inspired Mephisto Waltz No. 1. It was filled with powerful pianism, though quite lovely in the clearly-voiced conversation between Gretchen and Faust in the central section. Ohlsson is not a flashy player — certainly not by current standards of pianistic flashiness — but he consistently conveys an impressive presence at the keyboard. ◀

Love Isn’t Free!

Donate today. sfhumanesociety.org 505-983-4309 x202

A Most Unusual

SALE! Simply Amish™

20% OFF

100 Caja del Rio Road Santa Fe, NM 87507

ANY SPECIAL ORDER

30

$

Small or Large. And it’s not necessary to order sets.

But hurry and be sure to order during these two weeks only: Aug. 23rd through Sept. 9th

Order during this sale to Have by the Holidays

of Food for

m os.co

geTa Splur

15

$

You Save 50%!

Simply Amish™

CLEAR STANDARD OF EXCELLENCE

Simply Amish®. Rich, solid hardwoods. Hand-finished excellence, inside and out. It’s the skill of genuine Amish craftsmen, passed down from one generation to the next. Made in America’s heartland by the Amish www.simplyamish.com

Exclusively available at SplurgeTaos.com

To rec e iv e t h i s o f f e r , v i si t Splu r ge Taos .c om be for e midn igh t Wednesda y, Aug ust 28 and purc h a se t h e S p l u r g e c e r tific ate , w h ic h c an be r e de e med fo r the a bo ve o ffer.

T h i s a d v e rt is em ent is no t a Splurg e certificate.

/FURNITURE

1735 Central • Los Alamos • 662-2864 • facebook.com/CBFoxLA

PASATIEMPOMAGAZINE.COM

25

PASA TEMPOS

album reviews

Tomasz sTanko TY seGaLL new York QuarTeT Sleeper (Drag City) Wislawa (eCm) The Polish Ty Segall wants to sleep all day. trumpeter Tomasz Stanko dedicates And he wants to go away. Coming off the his new double album to the Nobel Prizetitle track of his newest studio album, are winning poet Wislawa Szymborska. Working these the words of a garage-rock idol prewith his new quartet on 11 of his own commaturely exhausted from the demands of positions (several titled after her poems), the life on the road and an overly aggressive 70-year-old demonstrates his allegiance to recording schedule? Segall’s discography improvisational jazz and a high level of creative includes more than 50 titles (a lot of them energy. The title track’s intro by pianist David Virelles is placid singles, EPs, or splits), an impressive feat for someone born in and dissonant. Then Stanko enters, slowly and mournfully painting 1987. If he is understandably weary, the newest release is far from colors with his stark, breathy trumpet. In the middle, Virelles yawn-inducing. Sleeper is more introspective than Segall’s 2012 release evolves the music with a gently abstracted, note-clustered fantaTwins (one of three full-lengths from that year). While Twins is a distorted sia, Stanko shifts into a more searching mood, and bassist Thomas garage-rock opus heavy on Kurt Cobain inflections, Sleeper fits more Morgan excels in a quiet solo before the quartet saunters toward the end. into the realms of psychedelic folk. Segall seems to have exchanged his The second tune, “Assassins,” is a peppier proceeding, with drummer morose grunge accent for a somewhat affected British one — reminiscent Gerald Cleaver steaming along in tikkity-takkety cymbal land while Stanko of John Lennon or of Ray Davies of The Kinks — perhaps in the interest of wastes little time working up to his well-known rising arpeggios sounding more contemplative. Sleeper relies on relatively simple and high-note trills and shrills. The hornless midsection is a acoustic guitar lines and sparse percussion, abandoning the pretty thrilling display of chemistry by the others. Stanko is distortion but not the heavy reverb that defines the signature most comfortable on the minimalist side of the spectrum, “Ty-fi” sound. If in previous albums Segall drowned out his his emphatic declarations only occasional and heraldic, feelings with distortion, here he seems intent on keeping but “Tutaj — Here,” “Faces,” and “A Shaggy Vandal” are ‘Sleeper’ relies on relatively instrumental noise from obscuring the more thoughtful wide ranging and exciting. This darkly beautiful music sentiments now developing during the autumn of his is often not about swing, but it will beautifully accomsimple acoustic guitar lines and 20s (middle age for a garage rocker). — Loren Bienvenu pany your finest contemplations. — Paul Weideman sparse percussion, abandoning YoLanDa konDonassIs American Harp (azica) wILL CaLHoun Life in This World (motéma) A harp recital can easily come across as much of a muchWill Calhoun is best known as the drummer in hard-rock the distortion but not the heavy ness, since a great deal of the available repertoire focuses cross-over band Living Colour, and his new release isn’t on the instrument’s appealing prettiness at the expense what you might expect. It’s haunted by jazz spirits, most reverb that defines the of dramatic interest. Yolanda Kondonassis, however, has notably late-period Miles Davis, called to life by trumpeter assembled an hour of solo music by seven composers Wallace Roney. Roney sticks in the mute to suggest Tutu-era signature ‘Ty-fi’ sound. that covers considerable expressive territory while still Davis, playing lyrically on a pair of moody, soft-beat tunes respecting the harp’s intrinsic strengths. Once an annoying written by Calhoun and bassist Charnett Moffett. Other Davis item by John Williams is disposed of, the program gets moving with “Stalk,” a haunting new piece by Hannah Lash, who says ties: bassist Ron Carter, a veteran of Miles’ mid- and late-’60s her work is derived from a nightmare in which she was drawn into a quintet, appears on the Wayne Shorter tune “Etcetera,” featuring alto garden of beautiful but deadly flowers. The most imposing work, at nearly saxophonist Donald Harrison’s fine musings. More jazz shades drop by. Pianist Marc Cary — great throughout — runs stop-and-go piano chords behind 18 minutes, is Lowell Liebermann’s engaging Music for Harp, op. 116 (from Harrison’s sax on John Coltrane’s “Naima.” Calhoun’s trio arrangement 2012); it’s a rich, ever-shifting exploration of the instrument’s tonal and harmonic possibilities, hewing mostly to quietude though breaking into of Thelonious Monk’s “Evidence” honors the composer’s herky-jerky a seductive dance in the middle. Gentle loveliness arrives via Stephen rhythms even as it brings something new to its form. “Love for Sale,” Paulus’ Berceuse and John Cage’s much-performed “In a Landscape,” with John Benitez on bass, carries a Latin feel and serves as a showcase but unique pleasures lie in store in the final track: Elliott Carter’s for Calhoun’s simmering brush work. The best pieces here have Bariolage, from 1992. Listeners often African influences, especially Cheick Tidiane find Carter’s music thorny, and indeed Seck and Calhoun’s “Afrique Kan’e,” with the this piece does not pull punches in terms buzzy strings of gamelan ngoni blending with Seck’s piano riffs. Roney, still muted, tosses of its rhythmic complication and forbidMiles aside to play with vigor and speed. ding disposition of melodic material.

Calhoun’s drumming is never one thing but And yet the harp wields its tempering appropriate to the music’s diverse moods influence, and listeners will likely find and styles. A surprisingly sophisticated themselves warmly embracing the mix, with nothing hard-rock about it. piece in the course of repeated visits.

— Bill Kohlhaase — James M. Keller

26

PASATIEMPO I August 23 -29, 2013

TERRELL’S TUNE-UP Steve Terrell

Timebomb tracks

covers of hits and obscurities by Otis Redding, the Rolling Stones, The Who, and Bruce Springsteen. Armstrong even turns a song I used to hate — “Summer of ’69” by Bryan Adams — into one that I kind of like now. Maybe it’s the piano riff, lifted from “What I Say” by Ray Charles.

There are several reggae and ska-flavored numbers here, which isn’t surprising if you’re familiar at all with Rancid’s work. But I never suspected that Armstrong was such a sucker for country and folk songs. Among the hillbilly tunes he has done so far are John D. Loudermilk’s “Abilene”; the oft-covered “Long Black Veil” (done as an acoustic instrumental); Johnny Horton’s “When It’s Springtime in Alaska”; requisite murder ballads like “Banks of the Ohio” and “Little Sadie” (the latter being 100 times better than Bob Dylan’s version on Self Portrait); a reverent take of Charlie Rich’s “Sittin’ and Thinkin’ ”; Hank Williams’ “Ramblin’ Man” (kudos here to honky-tonk pianist John Morrical and steel man Doug Livingston); and Woody Guthrie’s Depression-era tale “Hard Travelin’.”

“I Wanna Be Sedated” — with fiddle, pedal steel, and country singer Lindi Ortega trading verses with Armstrong — isn’t the first country cover of The Ramones’ classic (Texas country rockers Two Tons of Steel did it more than 10 years ago). But this one’s a dandy. But perhaps the best country surprise in the Timebomb project so far is “(Between the Two of Us) One of Us Has the Answer.”

This is an original that Armstrong co-wrote with Nashville songwriter Dave Berg, with pretty background harmonies by Aimee Allen, from a band called The Interrupters.

Armstrong is apparently also fond of the hot jazz of the ’20s and ’30s, as evidenced by the Timebomb recordings of “St. James Infirmary,” “Sheik of Araby,” and “St. Louis Blues.” He also has fished in the jump-blues pool (“Choo Choo Ch’Boogie” by Louis Jordan) and mined the doo-wop hills (“How Will I Know” by The Strands and “If You See Mary Lee” by The Rainbows). And he even tries his hand at early ’60s teen pop with “Dance, Dance, Dance” — not The Beach Boys’ song, but a perky obscure one originally recorded by a group called Pearl & The Deltars.

Reading Armstrong’s notes that accompany some of the songs is fun, not to mention informative. For his cover of The Everly Brothers’ “Bye Bye Love,” he writes, “Husband and wife Boudleaux and Felice Bryant were among the first in Nashville to make a full-time career of songwriting. They wrote some of the most popular tunes of the ’50s and ’60s, and many of the Everly Brothers’ hits. The Bryant’s had some 1,500 songs recorded by over 400 artists. RESPECT!” Respect, indeed. I was already a fan of the Tim Timebomb, aka Tim Armstrong (foreground), with friends Bryants’ works, but I bet a good number of the younger Rancid fans checking out Tim Timebomb weren’t aware of these seminal songwriters. Armstrong is doing a service to the culture, so even though I’m not crazy about the way he recites the lyrics of “Bye Bye Love” instead of singing them, I have to admire what he’s doing here.

Rancid has never been one of my favorite bands, though having seen them live a couple of times back in the mid-’90s (at Lollapalooza ’96 in Phoenix and the ’97 Tibetan Freedom Concert in New York), I’ve always considered them a few cuts above virtually all the other “skatepunk” bands that flourished in the mid ’90s.

(RESPECT!) But this fun and daunting project has given me a new appreciation for Armstrong and his musical pals.

Which reminds me: I need to go listen to today’s Tim Timebomb offering. ◀

It might just be a musical exercise he’s sharing with the public. It’s definitely a weird obsession. But under the name Tim Timebomb, Tim Armstrong, best known as frontman for the punk band Rancid, is engaged in a crazy project that slips the surly bonds of genre.

Armstrong, backed by various musicians — including band mates from Rancid and other musical endeavors — has been releasing a song a day on his website (www.timtimebomb.com), a YouTube channel, and Spotify. Everything is streaming for free, most of the songs are available for download at the usual places, and more are being added every week.

That’s right, a song every day, Monday through Sunday, including Christmas, Easter, and the Fourth of July. There are nearly 300 now. And — assuming he didn’t suddenly quit this week — there are several more available as you’re reading this than there were when I was writing it. (Enjoy it while it’s free. I wouldn’t be surprised if the whole shebang isn’t turned into a massive box set one day.)

“Some of the songs are my own originals, some are collaborations I’ve done with other artists, bandmates, and friends,” Armstrong explains on the website.

“We play a lot of different styles from Punk, Ska, Reggae, Country, Roots, etc.”

He kicked off the project on Oct. 29, 2012, with an original rocker called “Honor Is All We Know.” Says Armstrong, “I wrote this song during the financial bailout of Wall Street, addressing the idea of hard times and the importance of standing by your friends.”

There are reworkings of Rancid songs (among them “Dope Sick Girl,” “As Wicked,” “Ruby Soho,” and, of course, “Timebomb,” which has an arrangement closer to Tom Waits than Rancid) and songs culled from his 2012 musical film series RockNRoll Theater. There are covers of other punk tunes (Bad Religion’s “Los Angeles Is Burning” done on acoustic guitars; “Step Down,” a song by New York punks Sick of It All; an instrumental version of The Jam’s “In the City”; and Social Distortion’s “Bad Luck,” featuring a steel guitar and Armstrong singing in a fake British accent). And there are takes on classic-rock songs — he does Elton John’s “Saturday Night’s Alright (for Fighting)” as ska, Van Morrison’s “Brown Eyed Girl” as a reggae instrumental, and Stealers Wheel’s “Stuck in the Middle With You” reimagined, according to Armstrong, as a Motörhead song.

Songwriters from Elmore James to Irving Berlin, from Dee Dee Ramone to Tom Lehrer, from Ernest Tubb to Francis Scott Key are represented in this growing batch of tunes. There are numbers by Tom Waits, Bob Dylan, and Elvis Costello,

PASATIEMPOMAGAZINE.COM

27

Richard Wagner

Brandon Jovanovich

James M. Keller I The New Mexican

Racing into a new season Santa Fe Concert Association

28

PASATIEMPO I August 23 -29, 2013

U

ntil a couple of years ago, concert-goers in Santa Fe had almost a month off during the shoulder season that separated the abundance of opera, choral, and chamber music in July and August from the less intense, but nonetheless plentiful, offerings of the larger part of the year. Those times are past. Our rest-of-the-year organizations are now jumping into the breach. Santa Fe Opera brings down the curtain (so to speak) on its final performance of the year at about 11 p.m. on Saturday, Aug. 24, and at 4 p.m. the very next afternoon — which is to say 17 hours later — the Santa Fe Concert Association gives the downbeat on what it terms its “Season Opening Gala.” Just two weeks after that, on Sept. 8, the Santa Fe Symphony’s 2013-2014 season gets underway. For the last couple of years, the symphony has officially begun its season in late September or early October, but it offered a “pre-season Showcase of the Stars” a couple of weeks earlier. This year, its season officially begins with the “Showcase of the Stars” concert, which, from a concert-goer’s perspective, is more logical.

The Santa Fe Concert Association is similarly ambivalent about just when everything starts. The organization now offers a vocal recital series during the last two weeks of the opera season, and at the first of those performances, on Aug. 11, Joseph Illick, the association’s artistic director, walked onstage to welcome the audience to what he declared to be the organization’s first concert of the new season. From that point on, the group presented three vocal recitals and two dance evenings before it reaches the opening gala, which would seem to be the sixth concert in the organization’s new season. Anyway, however music lovers choose to do their arithmetic, they should not settle too deeply into their easy chairs at this moment, since the summer season is dovetailing seamlessly with the offerings of autumn.

That opening gala seems to flow right out of opera season in theme as well as in scheduling, as it is at heart an operatic concert focusing entirely on music by bicentenarian Richard Wagner. On Sunday, Aug. 25, Illick will conduct the Concert Association Orchestra in the overtures from two Wagner operas — Der fliegende Holländer (The Flying Dutchman) and Tannhäuser — and will be joined by soprano Heidi Melton and tenor Brandon Jovanovich in hefty scenes from two others. From Lohengrin, listeners will hear an extended span from Act 3, Scene 2, the bridal chamber scene. That’s the part where Elsa of Brabant and her lover (who we know to be Lohengrin) get to know each other a little better, and finally she breaks

Heidi Melton

David Finckel, Wu Han, and Philip Setzer

the taboo he has set and asks him his name, which he has previously insisted is off limits. (Opera, you know.) In the concert’s second half, the scene is the conclusion of Act 1 of Die Walküre. It is another of Wagner’s uncomfortable romantic blossomings encumbered by identity issues. In this case, a heroic stranger who has introduced himself as Wehwalt (Woeful) is getting very, very cozy with Sieglinde, who has knocked out her husband with a sleeping potion. As things progress, she finally insists that he must be called not Wehwalt but rather Siegmund (Guardian of Victory). We’re cool with that: Why should anybody have to go through life lugging the name Wehwalt?

The awkward part is that they also acknowledge that they have recognized each other as brother and sister, but they nonetheless forge ahead into the inevitable. A sword has been stuck in the trunk of an ash tree at the home of Sieglinde and her husband, a lucky break for unarmed Siegmund, who remembers that his father had once told him that he would fortuitously find a sword in his time of need. He pulls out the sword (nudge, nudge, wink, wink) and, as The New Grove Dictionary of Opera puts it, “They embrace rapturously and the curtain falls with decorous swiftness.”

The two soloists, Americans both, come with excellent Wagnerian bona fides. Melton has appeared onstage as Elsa (at the Badisches Staatstheater Karlsruhe) and Sieglinde (at San Francisco Opera and the Deutsche Oper Berlin), and local viewers may have seen her two seasons back in the Metropolitan Opera Live in HD broadcast of Götterdämmerung, in which she portrayed the Third Norn, helping weave the threads of destiny. Jovanovich, who was a Santa Fe Opera apprentice singer in 1996 and 1997 and went on to win the 2007 Richard Tucker Award, appeared at Santa Fe Opera in 2010 as Lieutenant B.F. Pinkerton in Madama Butterfly, but he has starred elsewhere in several leading Wagnerian roles, including both Siegmund and Lohengrin at San Francisco Opera.

Santa Fe Concert Association’s 77th season will continue with 10 further concerts, two dance presentations (by the company Ballet Next, on April 25 and 26), four installments in Illick’s “Notes on Music” evenings (a popular series of lectures with live musical illustration), and three go-rounds of a family-friendly, abridged version of Rossini’s opera The Barber of Seville (in English, on Jan. 10, 11, and 12, at the Scottish Rite Center). Half of the classical-music concerts spotlight young performers who are near the continued on Page 30

Yuja Wang

David Russell

PASATIEMPOMAGAZINE.COM

29

Santa Fe Concert Association, continued from Page 29

Transform Your Body! dkb Level I Boot Camp is a strength,

cardio, and fat-loss program grounded in kettlebell technique and other cutting edge fitness modalities.

6 weeks, 3 days/week Only $300!

Starts September 10 Morning + evening sessions available!

984-9000 info@dkbfitness.com

JOIN TODAY:

transform your body • transcend your goals

www.dkbfitness.com • 3201 Richards Lane, Suite B, Santa Fe, NM 87507

Dr. Glenda King

*Board Certified

Foot and Ankle Care & Surgery Call now for an appointment!

Office Hours: Monday–Friday 9–5 *Certified by the American Board of Podiatric Surgery

2019 Galisteo Street, Unit A4 • 505.988.3338

The Biggest Sale of The Season is Going on Right Now!

20 –50 OFF %

%

*

Every sale item in all 3 stores!

HUGE OUTDOOR SALE!

†

All Mens’, Womens’, Kid’s Sh oes Outside will be 50% off (60% if you have this coupo n!)

Saturday August 24, 10 a.m

One day special pricing on outdoor items only †

. to 3 p.m.

Weather Permitting

On Your Feet • Get it Together • On Your Little Feet *Bring this ad in for an additional 10% off sale items only! Coupon expires 8/31/13. You must have this coupon in hand at time of purchase for your extra 10% discount. No exceptions! Sanbusco Market Center • Info line 983-3900

Distinctly Memorable EyeIt! Care Expect More and Get

Dr. Mark Bradley Ophthalmologist

Board Certified Ethical & Caring Professional Serving Santa Fe since 2002

Now accepting former patients and inviting new patients.

details ▼ Santa Fe Concert Association Season Opening Gala concert

Call 466-2575

▼ 4 p.m. Sunday, Aug. 25 (gala party follows; call SFCA, 984-8759, for tickets)

Hours by Appointment • 1925 Aspen Drive, Ste. 500-B

▼ $25-$95; 988-1234, www.ticketssantafe.org, visit www.santafeconcerts.org for complete schedule

Accepting Most Insurance

30

beginning of their professional careers: violinist Caroline Goulding as soloist in the Beethoven Violin Concerto, joining Illick and the orchestra on Christmas Eve (at the Lensic Performing Arts Center); pianist Claire Huangci, visiting on New Year’s Eve as co-soloist (with Illick) in Poulenc’s Concerto for Two Pianos (at the Lensic); chamber works for piano and winds by Mozart, Poulenc, and others, played by students from the Curtis Institute of Music (March 19 at St. Francis Auditorium); and a recital by pianist Vadym Kholodenko (April 1 at St. Francis Auditorium), who won the gold medal at the 2013 Van Cliburn International Piano Competition.

The remaining four classical offerings involve bigger names, and together they cover a broad spectrum of repertoire. The trio of violinist Philip Setzer, cellist David Finckel, and pianist Wu Han make not infrequent stops in these parts, and they can be relied on to offer chamber music playing at a very high level. Finckel recently retired after a 34-year stint with the Emerson String Quartet, but Setzer continues with that group, which he helped found in 1976. Finckel and Wu Han, who are married, serve as co-artistic directors of three concerns: the Chamber Music Society of Lincoln Center; Music@Menlo, an imaginatively curated summer festival in the Bay Area; and the South Korean festival Chamber Music Today. When the threesome passes through the Lensic on Sept. 16, they will therefore bring an impressive amount of expertise to their rendition of piano trios of Beethoven, Shostakovich, and Dvoˇr ák.

Pianist Yuja Wang pays a visit to the Lensic on Oct. 10. Still in her mid20s, this Beijing-born musician has gained much attention in the past few years for her mastery of music that makes acute technical demands. Her virtuosity is indeed remarkable, and it accompanies a well-honed musical intelligence. One anticipates that few attendees will doze off during her upcoming recital of works by Prokofiev, Chopin, and Stravinsky. A strikingly different sort of solo recital is scheduled for March 7, when classical guitarist David Russell appears courtesy of the Concert Association in the more intimate space of the Great Hall of St. John’s College. Born in Scotland but raised in Menorca, Russell has achieved a place of prestige in the guitar-playing world. In 2005 he won a Grammy for his recording Aire Latino, and in 2009 he was awarded honorary membership in Amigos de la Guitarra, the most venerable guitar society in Spain. Three years will have passed since his last concert in town, so Santa Fe’s substantial community of guitar aficionados will be ready to get reacquainted with his artistry.

The Santa Fe Concert Association habitually presents a vocal ensemble at the Cathedral Basilica of St. Francis of Assisi during the run-up to Christmas, with a small handful of noted groups taking turns in the rotation. This year the honors fall (on Dec. 6) to The King’s Singers, the ever-popular male sextet from Britain, a perennial favorite of Santa Fe audiences. This a-cappella ensemble has been going since 1968, although the current member of longest standing joined the group only in 1990, and three of the singers have signed on since 2009. Their concerts are crafted for enjoyment, usually including some Renaissance bits, some “modernish” classical items, and selections of popular music or folk songs arranged to spotlight their strengths. Given the season, they will surely include an assortment of Christmas music as well. Actually, the Santa Fe Concert Association is hosting another group in a seasonal concert, too: eight Canadian siblings of the Leahy family (on Dec. 2 at the Lensic).

Anyone to whom that appeals — and you know who you are — should step-dance on down to the Lensic box office sooner rather than later, and not put off those holiday listening plans until the last minute. ◀

PASATIEMPO I August 23 -29, 2013

▼ Lensic Performing Arts Center, 211 W. San Francisco St.

useums alleries m g

ttractionsvenues a RESTAURANTSspas heatermusic t shoppingMOVIES If IT’S IN SANTA fE, IT’S ON ExplORESANTAfE.cOM

You turn to us.

PASATIEMPOMAGAZINE.COM

31

Michael Wade Simpson I For The New Mexican

Sail away New York City is swarming with servicemen and women on leave.

Three sailors enter a bar, have a beer, and begin to angle their way into the good graces of the first girls they find. They compete for dates not by making small talk or buying drinks but by dancing.

This is the ballet Fancy Free, choreographed by Jerome Robbins, with music by Leonard Bernstein, later adapted into the 1944 Broadway musical On the Town and a 1949 movie starring Gene Kelly and Frank Sinatra. Fancy Free is considered by many to be an American dance masterpiece.

Stars of American Ballet Daniel Ulbricht, founder of Stars of American Ballet, and his band of dancers moonlighting from New York City Ballet and American Ballet Theatre bring Fancy Free and other classic works to Santa Fe on Friday and Saturday, Aug. 23 and 24, with different programs each night. The visit, sponsored by the Santa Fe Concert Association, is the group’s third. Although the company is composed of just eight dancers and presents a stripped-down repertory of mainly pas de deux performed to recorded music, it is still an opportunity to see some of the top ballet dancers in America performing works by brilliant choreographers — including Robbins, George Balanchine, Antony Tudor, and a more recently celebrated artist, Christopher Wheeldon. The mission, according to Ulbricht, is to travel to some of the smaller cities in America in order to expose dance audiences and particularly young dancers to high-quality work. Ulbricht makes time, once again, to lead a master class for young ballet students while he’s in town.

In No Fixed Points: Dance in the 20th Century, authors Nancy Reynolds and Malcolm McCormick discuss how radical Fancy Free was at the time. “No tights or toe shoes were on view; certainly no wigs or boots. In their place were street wear — sailor suits for the men, high heels, knee-length skirts, and shoulder bags for the women who wander by.” Robbins and Bernstein were both at the beginning of their careers in 1944, and went on to collaborate on the musical West Side Story. For Fancy Free, “Robbins requested a score that would be by turns ‘bang-away, hot boogie-woogie, dreamy, torchy,’ and perhaps most tellingly, ‘not sentimental or romantic at all,’” Reynolds and McCormick write. “Fancy Free was a roaring hit.”

“Robbins was a genius,” Ulbricht said in an interview with Pasatiempo. “It was the first ballet he choreographed, and there is a freshness to it that is alive today — the nuances, the way it is crafted.” Ulbricht and Robert Fairchild, both with New York City Ballet, will reprise the sailor roles they perform with their home company. The third sailor will be played by Sascha Radetsky, a soloist from American Ballet Theatre. The companies perform the piece regularly, but the trio has never performed the piece together.

“Anytime you have a different cast member, there is a new energy.

You pick up on their cues.”

“Fancy Free is about the camaraderie of the sailors,” Ulbricht said. “We’re looking out at the skyline of New York, not at the audience. We’re not acting. We’re reacting. Even the way each

32

PASATIEMPO I August 23 -29, 2013

sailor walks is distinctive. One of them is from Chicago; he’s been to New York before. One is from a small town in the Midwest; he’s kind of a leader. The other one is a tough guy from California.

That’s the one I play.” A reproduction of Oliver Smith’s set for the original production has been created just for this tour, which began in spring a few thousand miles away, in Mongolia. “That went beyond art,” Ulbricht said. “We had two programs and a live orchestra. We were able to bring Balanchine and Robbins to people who had never seen them before. We had the chance to learn some of their native dances as well.” After the dancers returned to the U.S., the tour took them to Dallas a week before they head to Santa Fe. The group next plays Jackson, Mississippi, and Longview, Texas, before returning to New York.

Ulbricht said that he is in a good place in his career right now, but he seems to be preparing himself for a post-performing career by taking on all the duties of an impresario. “We’ve brought 25 different ballets to Santa Fe now. And I have some ideas up my sleeve for next year.” In addition to his work with New York City Ballet, he is an associate artistic director of the New York State Summer School of the Arts in Saratoga Springs, and he serves as an artistic advisor for the Manhattan Youth Ballet. “There are scheduling issues,” he said. “We just hired a manager, but I still buy all the plane and hotel tickets. I’ve been putting the lever down on my freelance career and doing more producing and directing. I fell in love with the process.”

Dancers appearing during the engagement in addition to Ulbricht, Fairchild, and Radetsky are Lauren Lovette, Tiler Peck, Rebecca Krohn, and Jared Angle from New York City Ballet, and Stella Abrera from American Ballet Theatre. Ulbricht said he invited the two dancers from ABT in order to include an excerpt from Giselle and a pas de deux from the Antony Tudor piece Leaves Are Fading, neither of which is in the repertory of New York City Ballet. That company is represented by a pas de deux from Stars and Stripes, a Balanchine ballet set to the music of John Philip Sousa. Other pieces on the program include Zabouski, a Russianflavored duet choreographed by Peter Martins, New York City Ballet’s ballet master in chief; a solo for Ulbricht that is also choreographed by Martins and set to songs by Ray Charles; and two pieces by Wheeldon: Liturgy, to music by Arvo Pärt, and Carousel (A Dance), a pas de deux from a piece inspired by the Rodgers and Hammerstein musical. There is also a piece set to Aretha Franklin hits called Rock Steady, by Larry Keigwin, a contemporary choreographer who frequently works with pop music. ◀

details ▼ Stars of American Ballet ▼ 7:30 p.m. Friday & Saturday, Aug. 23 & 24; pre-show talk 6 p.m. Aug. 24 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$75; 988-1234, www.ticketssantafe.org ▼ For information on the master class with Daniel Ulbricht, call National Dance Institute of New Mexico at 983-7646, Ext. 125.

Top, from left, Daniel Ulbricht, Robert Fairchild and Andrew Veyette in Jerome Robbins’ Fancy Free; photo Paul Kolnik Bottom left, from the movie On the Town Background photo, Back the Invasion, 1944, New York City

PASATIEMPOMAGAZINE.COM

33

Something old (time) and something blue (grass) Loren Bienvenu I For The New Mexican

F

rom front porches and packed living rooms to stadiums and fairgrounds, North American roots music is once again saturating social gatherings of folks of all ages. “Everywhere we go there are young people playing old-time,” said Nadine Landry, bassist with the Foghorn Stringband. “I would say it’s even more than a musical style; it’s a community builder. You all get together and play music, have a potluck, have a dance.”

Foghorn is one of the most respected and long-running old-time bands in the country. Based in Portland, Oregon, it performs at about 200 festivals, house shows, and music/dance camps a year, including the 39th Annual Santa Fe Bluegrass and Old Time Music Festival, which takes place at the Santa Fe County Fairgrounds Friday through Sunday, Aug. 23 to Aug. 25. In addition to Foghorn, this year’s lineup includes more than a dozen local, regional, and national acts, as well as contests and workshops.

For Landry, hearing Foghorn play actually led to her interest in old-time music in the first place. She never expected to one day join the band. Growing up on the east coast of Quebec in a musical family, she began making regular trips to the Alaska Folk Festival in Juneau in the early 2000s and saw Foghorn there in 2003. “That was the first time I saw the power of old-time. It was quite the moment. People were hanging from the rafters.”

She bought an upright bass around this same period from a friend who was leaving town. Along with his instrument, she “ended up with all his gigs.” After a few years of musical experience, she encountered Foghorn members Caleb Klauder (mandolin and vocals) and Stephen “Sammy” Lind (fiddle) performing in the tiny village of Pelican, Alaska — population 163. “They saw me dancing in the front and said come on up here.”

She sat in and played a few tunes with the band and has been a full-time member ever since.

Asked to explain the musical form, Landry said, “Old-time is a way of life, in a way. It’s connected to Cajun music and honky-tonk. But it’s kind of all about dancing and having a good time.” The standard old-time repertoire is a combination of folk ballads and dance tunes with roots in the musical traditions of Europe, particularly the British Isles. The instrumentation is generally acoustic and string-based, with an emphasis on the fiddle, banjo, and guitar. To this day, it remains a tradition passed down from person to person, in contexts like the many weekend camps at which Foghorn provides workshops.

“It’s nice to be able to share old-time music. It’s not something you learn with books. It’s not super academic in that sense. It’s just ideas that are passed down from another person, an oral tradition, where you learn everything by ear. That’s how I learned — right on the fly.”

The current craze over the music might be attributable to a sort of cultural nostalgia for simpler times. Landry and friends recently performed at a Portland-area festival called Pickathon, and the audience reception drove home how popular old-time is for the current generation.

34

PASATIEMPO I August 23 -29, 2013

“There was a Friday night dance with probably a thousand dancers, all on one dusty hill. It was amazing,” she said.

While there might not be a thousand dancers at the Santa Fe County Fairgrounds, where Foghorn appears on Friday and Saturday, some of those in the audience might remember the band’s last appearance at the festival several years ago. Landry was not yet in the band, but she shared a story that has now entered Foghorn’s archive of touring lore.

“Apparently there’s an amazing cowboy boot and outlet shop [in Santa Fe],” she recounted, “and the band told the audience if people bought enough CDs, they would all go buy cowboy boots, so people went nuts at the merch booth. Then these five guys all went and bought new boots for the next set and showed ’em off in front of the audience, and they went crazy again.” She pointed out that the band is promoting new material, including songs from its 2012 release Outshine the Sun. “I’m going to need a new pair of boots myself, so maybe that will get us some.”

Co-headlining the three-day event is singer Claire Lynch, who helps put the bluegrass in this year’s festival. Lynch has been a leading force on the bluegrass circuit for more than 30 years. Her credentials include multiple Grammy nominations and two International Bluegrass Music Awards for Female Vocalist of the Year. Most recently she was honored with a 2012 United States Artists Fellowship, placing her in a pool of the nation’s most respected artists from many disciplines — other 2012 fellows include writer Annie Proulx and jazz drummer Jack DeJohnette.

Lynch called the fellowship a big honor for a bluegrass musician. She spoke with Pasatiempo from Montana during a rare day off from her current tour. (“I think my whole life is mobile,” she joked.) Coming from a musical family, Lynch started singing at a very young age at family gatherings and in church. She began playing acoustic instruments at age 12 and jumped straight into bluegrass music. “I had been raised on folk, gospel, and pop, radio pop, whatever was popular those days, but bluegrass came on the tail end of the folk movement. So in the 1970s it got really popular on college campuses, and we were sort of part of it during that monumental phase.”

She sees similarities between the bluegrass boom of that era and the current one, attributing both to a broadening access to media. “My generation, most of us weren’t raised on a farm. We were either urban or suburban dwellers. Mountain music wasn’t our only source of music — we were listening to Top 40!”

However, like Landry, she pointed out that an important part of the music is the way it is passed down. Part of the reason she loves festivals, and one of their salient characteristics, is that they don’t just provide a place for big-name musicians to play in front of captive audiences — most festivals encourage musical interaction on many levels, from campfire jam sessions to educational workshops. She values the familyoriented aspect of festivals and the accompanying emphasis on teaching the next generation.

Stacie Huckeba

Claire Lynch Band

Foghorn Stringban d Mike Melnyk

Referring to the masses of fiddle- and banjo-wielding children one sometimes encounters at festivals, she remarked, “We’re breeding them and educating them and sharing standard tunes. It’s a wonderful way for people to learn. To get to the point of improv, you’ve got to learn some of this stuff, as Bill Monroe would say, ‘the way it was writ.’ ” “I’m seeing a lot of jam-type music,” she said. “A lot of it is improvised. I don’t think the average listener would know that, but being a player myself and listening, I can see how they might have organized a particular movement that sounds like it came out of a spontaneous moment.”

She sees improv as a defining feature of the new wave of bluegrass and old-time music, adding that these days “it seems like the old-time movement is a bit stronger than the bluegrass movement. But it’s all definitely instrument-oriented, with the same instruments.”

As a longtime veteran of the festival circuit, she knows about the developments of traditional music better than most. In fact, this won’t be Lynch’s first time at the Santa Fe festival — though the last time “was in the 1900s,” she joked. “It’s been a long time. I love New Mexico. It’s a certain kind of audience, a lot like the Colorado one. There’s an openmindedness to the people in the West. They’re very accepting of what we do. It’s comfortable and fun.” ◀

details ▼ 39th Annual Santa Fe Bluegrass and Old Time Music Festival ▼ 6 p.m.-11 p.m. Friday, Aug. 23; 9 a.m.-10 p.m.

Saturday, Aug. 24; 9 a.m.-4 p.m. Sunday, Aug. 25 ▼ Santa Fe County Fairgrounds, 3229 Rodeo Road. ▼ $20-$50; under 16 no charge; advance tickets at www.southwestpickers-festival.org

PASATIEMPOMAGAZINE.COM

35

*)('&%$#! #!*'", Think you can’t afford quality +,$*$+

MINOR WHITE WALTER CHAPPELL

dental care?

SPECIAL EVENT! Northside Dental will be open Saturday September 7th for new patients and walk-ins!

8:30 AM - 12 PM All exams are FREE! X-rays start at $10.00 fillings and extractions start at $50.00.

August 31st - October 17th, 2013

*As time permits. 18 and over. No medicaid.

Call for details.

CALL NOW!

505-820-3551 Se Habla Espanol.

Minor White, Two Barns, Dansville, New York, 1955

806 calle mejia • santa fe, nm • w w w. n o r t h s i d e d e n t a l c l i n i c . c o m • g a b r i e l r o y b a l d d s s p o n s o r

ALAN ROGERS, M.D., P.C.

Comprehensive .Compassionate .Patient Centered Health Care

Family Physician | Board Certified ABFM In Santa Fe since 1987

983-6911 530-A Harkle Road

www.alanrogersmd.familydoctors.net

$50 Credit On Initial Visit With This Ad

Please call for directions and appointment 505.988.5116 www.photographydealers.com | srltd@photographydealers.com 36

PASATIEMPO I August 23 - 29, 2013

Peter SarkiSian, Book 1, 2011. CourteSy of the artiSt and JameS kelly ContemPorary, Santa fe.

what’s happening

Walter Chappell, Carrot Tops, 1974

No longer accepting insurance, but reasonable fees.

tonight August 23 | Friday 5:30 – 6:30 pm

public lecture

Video artist Peter Sarkisian talks about his work and career. Santa Fe-based artist Sarkisian is an innovator working at the cutting edge of multi-media art. Juxtaposing projected video and physical object, his installations explore the intersection of moving image and sculpture. St. Francis Auditorium. Free.

New Mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | nmartmuseum.org |

ON STAGE Chapter 2: Sylvia McNair sings the American Songbook

Sylvia McNair staked her place in opera houses and concert halls in the 1980s. Her precise and flexible soprano flourished most remarkably in Baroque and Classical repertoire, and she won two Grammy Awards for recordings of such material: in 1993 for Handel’s oratorio/opera Semele and in 1996 for a Purcell recital. In the last decade, however, her life changed in big ways — a marriage ended, she battled cancer — and she decided to change her artistic milieu, too, leaving opera and classical recitals to focus on cabaret.

“Having appeared as a soloist multiple times with nearly every major opera company and symphony orchestra in the world, this songbird has flown the classical coop,” she declared. She appears with pianist Ted Taylor and bassist Jeremy Allen to perform in a benefit for Santa Fe Desert Chorale on Thursday, Aug. 29, at La Posada de Santa Fe Resort and Spa (330 E. Palace Ave.). Her program, an autobiography in song titled Subject to Change, includes pieces by Gershwin, Arlen, Rodgers, Bernstein, and Sondheim. The evening, which begins at 6 p.m., includes cocktails and dinner in addition. To arrange entrée ($300 per person; $200 is tax deductible), call the chorale at 988-2282. — J.M.K.

Musical mogul: Ryan McGarvey

Rhonda Pierce

The hills and slopes of Sipapu are alive with the sound of music on Saturday, Aug. 24.

Music on the Rocks is an allday, all-ages festival featuring nine performers, most falling in the blues and alt-country categories. Blues guitarist Ryan McGarvey tops the bill. Since garnering national notice, the young Albuquerque native has not appeared very often in his native state. He won Guitar Player’s readers poll for “Best New Talent” of 2013, following his successful bid to play with Eric Clapton as part of an Ernie Ball contest that included 4,000 entrants. Santa Fe is represented by alt-rockers Eric George, Jeronimo Keith, and the Sean Healen Band. The free event kicks off at 10 a.m. and runs through the evening, rain or shine, at Sipapu Ski & Summer Resort (5224 N.M. 518, Vadito). Call 800-587-2240 for details or visit www.sipapunm.com. — L.B.

New faces of 2013: Starting Here, Starting Now

Theater students at the Santa Fe University of Art and Design present the musical revue Starting Here, Starting Now by lyricist Richard Maltby Jr. and composer David Shire. Maltby and Shire started working together when they were students at Yale, got their first Broadway credit with a song they contributed to New Faces of 1968, and achieved their breakthrough success in the ’70s when the Manhattan Theatre Club produced Starting Here, Starting Now, which won a Grammy nomination for Best Original Cast Recording. The show consists of 25 sophisticated songs that explore the

THIS WEEK

Fusion evening: Tap Into the Now!

It’s not often that African drums and dance come together with skilled tappers and local musicians, but when they do, it’s for Stepology’s Tap Into the Now! performance, which hits the Lensic Performing Arts Center (211 W. San Francisco St.) at 7:30 p.m. on Thursday, Aug. 29, to close the Santa Fe Tap Festival. Master tap dancers including John Kloss and Mark Mendonca, who has performed at the Kennedy Center, Carnegie Hall, and Jacob’s Pillow, and pianist Bert Dalton share the highenergy evening with Elise Gent’s D’Jeune D’Jeune African Dance Ensemble and drummers. Tickets are $15 to $35 (discounts available) and can be purchased by calling 988-1234 and visiting www.ticketssantafe. org. Students can benefit from Stepology’s collective wisdom and experience at tap classes held on Tuesday and Wednesday, Aug. 27 and 28, at the National Dance Institute of New Mexico’s Dance Barns, 1140 Alto St. (visit www.stepology.com/ santafetapfest.html for schedule and fees). — D.S. ups and downs of urban romances. The young performers are directed here by Dallett Norris, whose career in theater and opera includes directing and producing an international tour of Gigi starring Louis Jourdan. The performances take place at 7 p.m. on Friday and Saturday, Aug. 23 and 24, and at 2 p.m. on Sunday, Aug. 25, at the Weckesser Studio Theatre on the SFUAD campus (1600 St. Michael’s Drive).

The play continues through Sept. 1.

Tickets, $10, can be acquired through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org).

— J.M.K.

PASATIEMPOMAGAZINE.COM

41

Implant Dentistry of the Southwest

PASA REVIEWS

If you are missing one

If you are missing one more teeth, or or more teeth, whywhy not not be a consider a Dental Implant? part of a study or clinical research?

They maythem be your bestmoney. solution.

Replace and save

Dr.Burt BurtMelton Melton Dr.

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

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

Painful Jaw? Hard to chew? Loud clicking? Headaches? You may have “TMJ.” Dr. Wartell has been helping people with jaw, face, and head pain for years. Many dentists, physicians and patients refer people to us.

We use conservative methods, without surgery.

Visit SantaFeTMJ.com. Call today for an appointment.

jaw pain & sleep apnea center Improving the quality of your life

505-474-4644

2019 Galisteo St, J2 Santa Fe, NM 87505

Robert L.Wartell, DMD

We are providers for Blue Cross Blue Shield Presbyterian Health Plan Lovelace Health Plan United Healthcare Medicaid

T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !

!

Touch-up

!

Repair

Polishing

CALL BARRY METZGER

505-670-9019

OR VISIT OUR NEW LOCATION

1273-B Calle De Comercio, Santa Fe, NM 87507

www.thewoodcarespecialist.com

42

PASATIEMPO I August 23 -29, 2013

Juan Siddi Flamenco Theatre Company The Lodge at Santa Fe, Aug. 16

Neither blood, sweat, nor tears

N

uevo flamenco is a term that has been bandied about for decades as flamenco musicians and dancers in Spain (and elsewhere) have endeavored to create new versions of this traditional form, much as chefs tinker with classic cuisine. There are groups like the Gipsy Kings, who create mainstream, pop versions of flamenco, and others, like the respected guitarist Paco de Lucía, who have made careers for themselves more abstractly fusing traditional flamenco with jazz and rock elements.

On the dance front, Sara Baras appears in pants and performs with an aggressive, male-style attack — heavy on the heel-work and less concerned with manipulating her costumes. Groups like Nuevo Ballet Español have taken flamenco out of the intimate confines of traditional bars and cabaret settings, filling up huge auditorium stages with dozens of dancers, taking ideas from modern dance, ballet, even hip-hop, and incorporating it into what is still very recognizably flamenco.

These thoughts came up when watching the Juan Siddi Flamenco Theatre Company perform during their summer residency at the Lodge at Santa Fe. Siddi first came to Santa Fe to work with María Benítez, who was a regal, intense, and traditional performer who built a dynasty in Santa Fe over the decades she performed here (and around the world). The question that comes to mind with Siddi and company, now in his sixth season, is whether what he is doing is nuevo flamenco or just light entertainment.

Having a pianist (Alex Conde, who grew up in Spain and trained as a classical pianist before coming to the U.S. to study jazz at the Berklee College of Music in Boston) and a cellist (Michael Kott, who tends to add a New Age flavor to the proceedings) onstage certainly creates a nontraditional sound. On the other hand, the two singers, Coral de los Reyes and Kina Mendez, lend Gypsy authenticity, while the guitarists, José Luis Valle Fajardo “Chuscales” (also the music director) and Alejandro Pais, are both nimble players, able to switch back and forth between traditional flamenco guitar and jazz-based styles. The dance sections tended to stay closer to traditional rhythms with colors added through the extra instrumentation.

Musical interludes, however, took on a whole different flavor, something like easy-listening New Age nuevo flamenco jazz.

Siddi is an excellent performer, the real deal, a technically impressive dancer with haughty arm carriage and the footwork of a jackhammer on overdrive. Yet he offers himself as dessert, not coming onstage until after intermission. Early on, the five female dancers of the company — Stephanie Narvaez, Illeana Gomez, Eliza Llewellyn, Radha Garcia, and Emmy Grimm — were crowded onto a tiny playing area, their dresses falling over the edges of the stage. Although the costuming was lovely, the lack of space made it impossible to appreciate the dancing of individuals, while an unamplified floor offered only a muffled projection of the all-important footwork.

Siddi has offered basically the same cast and program for several summers.

There seems to be no attempt to bring new energy to this endeavor, as if bringing in a never-ending stream of tourists requires nothing more than a glass or two of sangria and a couple of hours of moderately interesting dancing and smooth jazz. Traditional flamenco, the angst-driven art form that thrives on grimacing displays of passion, flying sweat, and dripping mascara, seems absent from this display. Except for Siddi’s 10-minute solo, the evening was depressingly risk-free, more Gipsy Kings than Blood Wedding.

— Michael Wade Simpson Performances of the Juan Siddi Flamenco Theatre Company continue through Sept. 1. Tickets are available from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org).

39th Annual Santa Fe

Bluegrass and Old Time Music Fesitval August 23-25, 2013 Headliner Hosted Workshops Contests, Band Scramble Barn Dance

Friday Night Country Dance Great Food & Camping Gospel Sunday Jamming!

SFCA

The Santa Fe Concert Association presents

Festival of

Dance

COuNTy FAiR GROuNDS Claire Lynch Band

Foghorn Stringband

Hard Road Trio, Anne & Pete Sibley, The Lost Howlin’ Coyotes, The Green Billies, Steel Pennies, Atomic Grass, Paw Coal & The Clinkers, ATC Acoustic Americana Band, Breaking Blue, Kitty Jo Creek, Flume Canyon Boys & Railyard Reunion

www.southwestpickers-festval.org This Festival is sponsored in part by:

The Southwest Traditional and Bluegrass Music Association

Stars of American Ballet Principals and Soloists of NY City Ballet and American Ballet Theatre

August 23 & 24, 2013 7:30pm Two different programs Balanchine, Robbins, and more!

Lensic Performing Arts Center

Tickets Santa Fe at the Lensic: 505-988-1234 | Tickets $20- $75 Santa Fe Concert Association: 505-984-8759 | www.santafeconcerts.org Thanks to the following sponsors:

The Santa Fe Concert Association 324 Paseo de Peralta, Santa Fe, New Mexico 87501

PASATIEMPOMAGAZINE.COM

43

David J. Salazar I The New Mexican

IMITATION OF LIFE F I E S TA

M E L O D R A M A

he chicken farming community in Eldorado was brought to the fore earlier this year when a lawsuit was filed against “the Eldorado Nine,” a group of residents who kept chickens in their backyards — which, their opponents argued, violated the subdivision’s covenants.

This year’s Fiesta Melodrama, beginning on Wednesday, Aug. 28, at the Santa Fe Playhouse, is aimed at refreshing the memory of this incident — the plight of two young chicken-farming heroines is at the center of the new production, A Fowl Play & a Fracking Good Time (one of its many alliterative monikers). The melodrama has directors Andy Primm and Eliot Gray Fisher practically clucking with excitement.

Fictional corporate sponsor GASPAC Enterprises, in its first foray into the theater, has hired a team of unnamed writers, who have spun a tale about small businessman Fred Frackerman (played by Mario Ulibarri) fighting to save the protagonists (Maddi Knox and Esmerelda Gonzales-Muñoz) who can’t afford the dues for the Eldorado Community Improvement Association. Frackerman offers a way for the women to make money and keep their farm: hydraulic fracturing (popularly referred to as fracking). When Frackerman meets opposition to his plan from Greg Peckinson (Iain May), he decides to run for mayor. He faces stiff opposition from everybody in Santa Fe, who have all thrown their hats into the mayoral ring.

It’s not difficult to see where the inspiration for this particular subplot is taken from. With eight individuals hoping to get their names on the ballot for the March 2014 election — including half the members of the City Council, a former Santa Fe County manager, a local resident, and the former chair of the state’s Democratic Party — art seems to imitate life very closely.

GASPAC executives Barryl F. Gas and Darill A. Wellnau (Mary Beth Lindsay and Felix Cordova) have pulled out all the stops in order to carry out their Las Vegas-inspired vision for the show. The entertainment includes musical accompaniment by the 44

PASATIEMPO I August 23 -29, 2013

Santa Fe Youth Orchestra, guest pianists Kevin Zoernig, David Geist, and Chris Ishee tickling the ivories at different performances, and burlesque dancers from the Zircus Erotique at the 10 p.m. shows. Also promised are local celebrities hosting a mayoral debate (rumored luminaries include The New Mexican’s Robert Nott and Julia Goldberg, host of The Voice of Santa Fe on KVSF-FM 101.5).

With a cast of 15, the melodrama showcases the efforts of both seasoned theater veterans and relative newcomers, including Ulibarri, who made his stage debut in Benchwarmers at the playhouse this year. Fisher, who has been involved with the melodrama since 2006, said: “All in the same show, you see people who’ve been acting for years, and others for whom this is their first time onstage. Somehow the magic of the theater works, and sometimes it’s hard to tell — the newbies rise to the occasion.”

“When people get bit by the melodrama bug, it’s just so much fun you want to do it more,” Primm said about the more seasoned actors, a group that includes Cliff Russell, who has taken part in the festivities for the past 12 years and plays a prospector who is also running for mayor.

Primm and Fisher hope this demographic will be reflected in the audience — they welcome returnees and look forward to enticing a new group of theater-goers to the melodrama mayhem. ◀

details ▼ Festival Melodrama ▼ 7:30 p.m. Wednesday & Thursday, Aug. 28 & 29 (opening street party 6:30 p.m. Aug. 28); runs 7:30 p.m. Wednesdays-Saturdays, 4 p.m. Sundays; late night performances 10 p.m. Friday & Saturday in September; through Sept. 8 ▼ Santa Fe Playhouse, 142 E. De Vargas St. ▼ $10-$20 (opening party & performance $30); 988-4262, www.santafeplayhouse.org

PASATIEMPOMAGAZINE.COM

45

Michael Abatemarco I The New Mexican

A Renaissance renaissance Elise Ansel reinterprets the masters

C

lassic European paintings — Renaissance, Baroque, and Rococo, with images of bacchanals, figures in the landscape, characters from myth, and scenes from Christian allegories — provide source material for Elise Ansel’s contemporary abstractions. Her reinterpretations of the original paintings simultaneously obscure them and provide a new way of seeing them. “I’ve always really loved Renaissance and early Renaissance masterpieces,” Ansel told Pasatiempo. “For a long time I had trouble finding a way to bridge this work with my practice as a contemporary artist. It was something I always wanted to do and finally came to a point where I thought OK, I’m going to take on these paintings. My approach was to focus on color, shape, and composition — that was the project I outlined for myself — but also to interpret them through gestural abstraction.” The Invisible Thread, an exhibition of Ansel’s paintings, is on view at Ellsworth Gallery.

Ansel’s works evoke the feelings and emotional content of the original paintings but without detailed renderings of figures. Some, such as Feast of the Gods, based on a 16th-century composition by Giovanni Bellini with additions by Titian, are clearly figures in a landscape.

Others, such as Consecration, inspired by Renaissance painter Paolo Veronese’s The Consecration of Saint Nicholas, also present figures but appear more like purely Abstract Expressionist canvases. “I’ve been an abstract painter for a long time, using both objective and nonobjective subject matter. As I began to work on them, the rich, beautiful stories embedded in them started to come through in my paintings. I also do several iterations of the same source material. So my first one would be tighter and would have bigger figurative elements. I sort of realized that within myself was this prejudice — and it’s a very contemporary prejudice — that they’re better if they’re more abstract and they’re better if they don’t have figurative elements. As I worked, that goal began to reform itself. I realized that figurative elements were important.”

In Ansel’s work, the human form is sometimes reduced to no more than a mere brushstroke, abstracted as much as possible while still retaining the integrity of the original image. Hence even a brushstroke reads as figurative. Renaissance painters often condensed narratives into a single composition so that the story could be read in the painting. “I think there’s something very cinematic about the original Renaissance paintings. Right now in contemporary art, story and narrative are important, but when I went to school they were less important than the formal elements.”

The work of Titian, Giorgione, and Poussin, as well as Ansel’s other influences, is not in any immediate danger of fading from memory.

Ansel’s approach is a fresh consideration of the material. “Part of how I see is by painting. I see things much more deeply and clearly when I try to work from these paintings. I have a feeling that other people would have that experience too. The process of working from it makes you see many, many more things in it. I had an interesting experience in the Accademia in Venice. There’s a Titian painting there, a Pietà. He continued on Page 48

46

PASATIEMPO I August 23 -29, 2013

Elise Ansel: Feast of the Gods, 2013, oil on canvas; top right, Consecration, 2012, oil on linen; bottom right, Paolo Veronese: The Consecration of St. Nichols, 1562, oil on canvas PASATIEMPOMAGAZINE.COM

47

All rights to the reproduction of the work of art identified herein are retained by the artist Vladimir Kush

Purple Dancers 27.5” x 34.5”

5:30pm - 7:30pm

Elise Ansel, continued from Page 46

TONIGHT Music by Robert Sequoia Open Wine & Beer Bar

Santa Fe’s Official Gallery for the

VLADIMIR KUSH EXHIBITION 530 & 532 Canyon Road 505 989 4210 thelongworthgallery.com

Travel Smart, use Rinaldo and Armida II, 2013, oil on linen

Le Bon

Voyage

luggage • bags • accessories 328 S. Guadalupe, Santa Fe • lbvbags.com 505.986.1260

Offering gourmet light fare and cocktails in a relaxing yet elegant atmosphere

DINING & COCKTAILS 5-10PM

at the Inn on the Alameda Santa Fe’s most enchanting Inn (walking distance from the Plaza)

303 E. Alameda • Santa Fe • 505.984.2121

Talk about early!

High Holy Days begin on September 4 and we saved you a seat!

2013/5774 High Holy Day Services: Erev Rosh Hashanah Wednesday, September 4 7:30 pm Rosh Hashanah Thursday, September 5 10:00 am

Friday, September 13 7:30 pm Temple Beth Shalom Kol Nidre 205 E Barcelona Rd Yom Kippur Saturday, September 14 10:00 am Santa Fe NM 87505 Call the office or check our web site 982-1376 ww.sftbs.org for details and ticket information.

48

PASATIEMPO I August 23 -29, 2013

did it close to when he died. His work became more abstract as he got older.

It became more loose, more gestural. In this painting there’s a little glop of white paint that represents the eye of the dying Christ. It’s clearly just a little glop of paint, but it flickered and came alive for me. That was my first experience with something that can be as alive and vital as a traditionally rendered, academic, figurative element can be.”

The show’s title, The Invisible Thread, suggests a lineage from past to present. “The title refers to the unconscious dialogue that painters have with other painters living and dead. It really refers to the incredible influence these paintings continue to exert upon me and everybody else.

I’m in the process of making that thread more visible.”

In their execution, Ansel’s reinterpretations are as much an homage to modernist painting as to the distant past. “This idea by Paul Cézanne — he called it la petite sensation, where each mark is both optical and emotional — I’m influenced by that. That idea was taken up by Francis Bacon, who talked a lot about sensation or feeling as opposed to illustration. My method of working focuses on the shape, the color, but also the feeling and the texture of each mark. In my mind, Matisse, Picasso, and de Kooning are the three real luminaries of the 20th century, and those three painters have an influence on this work, particularly Matisse, who worked with color and figure. There’s sort of this idea about Matisse that he was a brilliant colorist and pushed his work just to the brink of abstraction but kept the figurative element. That idea is really influencing the work I’m doing now.”

Ansel offers a refreshing take on the religious imagery that dominated much of Renaissance painting. Less didactic than their historical predecessors, the paintings in The Invisible Thread call on us to reconsider the source material in more painterly terms. The forested landscapes, skies, angels, saints, and gods of myth and legend depend less on the artist’s ability to capture fine details than on the viewer’s ability to provide missing information or to simply look at them in a more basic way. Ansel’s forms are reductive, but the essential shapes and colors are there in the originals.

“Part of what’s important is that we continue to look at these paintings, that they don’t just turn into dust. Somehow, I think, to our contemporary eye, the abstraction brings them back into the forefront.” ◀

details ▼ Elise Ansel: The Invisible Thread ▼ Opening reception 5 p.m. Friday, Aug. 23 (artist talk 3 p.m.); through Oct. 26 ▼ Ellsworth Gallery, 215 E. Palace Ave., 989-7900

“ONE OF THE BEST FILMS AT THIS YEAR’S SUNDANCE FILM FESTIVAL.’’ -MANOHLA DARGIS, NEW YORK TIMES

“A

REMARKABLE PERFORMANCE

FROM GABY HOFFMANN.” -

“A

HILARIOUS DRUG-FUELED ROAD MOVIE...MICHAEL CERA

IS TERRIFIC.” - THE PLAYLIST “A

-

LOOPY ADVENTURE.” WINNER

BEST DIRECTOR - WORLD CINEMA

Michael Cera gaby hoffmann

CRYSTAL FAIRY

SUNDANCESELECTS.COM

Crystal Fairy: Fri and sat at 4:10 and 8:15; sun at 7:30; Mon thru thurs 4:10 and 8:15

MUSEUM

HOURS THE WALL

MuseuM hours: Fri and sat at 2:00; sun at 5:15; Mon through thurs at 2:00

BACK BY POPULAR DEMAND

the Wall: Fri at 6:10; sat at 11:45 and 6:10; Mon through thurs at 6:10

SPECiAL EvENt

tHE SANtA FE JEWiSH FiLM FEStivAL PRESENtS

DECEPtivE PRACtiCE: the Mysteries and Mentors of Ricky Jay

sunday at 3:00 regular PriCes

QUEEN OF SpADES (LiCEU) SUNDAY 11:00AM Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

D I G I T A L

S U R R O U N D •E X

SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

Bargain Matinees Monday through Friday (First Show ONLY) All Seats $7.50 PASATIEMPOMAGAZINE.COM

49

ART IN

REVIEW

Raymond Jonson (1891-1982): City Forces, 1932, oil on canvas

The Art of the Transcendental Painters, Addison Rowe Gallery, 229 E. Marcy St., 982-1533; through Sept. 6 The Transcendental painting group formed one of the most prominent of the modernist art movements in New Mexico, and it embraced abstraction to a higher degree than most. The group stated its position in its manifesto clearly and succinctly: “The word Transcendental has been chosen as a name for the Group because it best expresses its aim, which is to carry painting beyond the appearance of the physical world, through new concepts of space, color, light and design, to imaginative realms that are idealistic and spiritual.” The group’s work was influenced by earlier movements and schools, including Cubism, De Stijl, and the Bauhaus. Although abstraction was their primary concern, the Transcendentalists often worked figuratively, a fact borne out by the work on exhibit in The Art of the Transcendental Painters at Addison Rowe Gallery. The show demonstrates how these artists — Raymond Jonson, Emil Bisttram, Stuart Walker, Howard Cook, and Beatrice Mandelman among them — carried out their mission. The movement was short-lived, shining for a brief time in the late 1930s and early 1940s, but its influence continued long after the movement came to an end.

Leading the pack was Bisttram, perhaps the best represented of the artists included at Addison Rowe. Early and late examples of his work provide a surprising glimpse into the depth and range of his artistic concerns. Bisttram’s early work included landscapes and figurative imagery, but his Transcendental work was often nonobjective. He relied on geometry as an underlying structure for his paintings, and several examples, including later abstractions that on the surface have more of an Abstract Expressionist appearance, retain this structure.

Jonson’s oils and Walker’s watercolors bear similarities: the repetition of forms, for example, and gradations of color. Works from the early 1930s such as Walker’s Afternoon and Jonson’s City Forces incorporate figurative components. Like Bisttram, Jonson’s early works included landscapes of the Southwest. Several 50

PASATIEMPO I August 23 -29, 2013

paintings by Bisttram, Jonson, Louis Ribak, and Mandelman date from the 1950s and ’60s, long after the heyday of the Transcendental movement, but the focus on abstraction remains. Jonson’s Polymer #1, a late piece from 1967, explores minimalist composition.

The strength of the exhibit lies in its scope. One can trace a thread — from traditional landscapes and still lifes to tightly constructed abstract works and then, postwar, to gestural action paintings and minimalist imagery — through all the bodies of work, particularly by Bisttram and Jonson, who co-founded the movement.

Florence Miller Pierce is a glaring omission, although the gallery tried to procure examples of her Transcendental work. Agnes Pelton is also absent, but Pelton, who embraced the movement’s more spiritual and idealistic artistic impulses, is quoted in the catalog.

The gallery provides several examples by Ed Garman in a variety of mediums.

Like Bisttram, Garman took an interest in geometry but not as an underlying pattern. He was interested in spatial configurations and color harmonies between reductive forms. Garman honored European modernist movements, including Constructivism (minus the Bolshevik political concerns).

The nonobjective abstraction championed by the Transcendentalists influenced the Abstract Expressionism that dominated the American art scene in the decades that followed. Howard Cook’s works provide good examples of this abstraction, but his contribution in this regard is often overlooked. It is time, perhaps, for a reevaluation of his Transcendental and later works.

Despite the absence of Pierce and Pelton, this overview of Transcendental paintings is an effective presentation. It’s not arranged chronologically, but it still provides opportunities to compare and contrast works made before and after the movement. The historical context and spare but pertinent wall text, quoting relevant statements by several of the artists, put the movement and its intentions squarely in perspective.

— Michael Abatemarco

“A

MOVING AND POWERFUL FILM.

FOREST WHITAKER IS MESMERIZING. OPRAH WINFREY GIVES A BEAUTIFUL PERFORMANCE.” Chris Nashawaty

FREE GIFT For a limited time, subscribe to the Santa Fe New Mexican and get this classic comic strip umbrella FREE! *

one quieT voice can igniTe a revoLuTion

Daily…

Weekend…

Sunday-Only…

The choice is yours!

You turn to us.

Call NOW

Written By DANNY

STRONG Directed By LEE DANIELS LeeDanielsTheButlerMovie.com

NOW PLAYING AT THEATERS EVERYWHERE! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

HHHHH A PERFECT MOVIE!

“

986-3010

*This offer is good only for new subscribers who have not subscribed within the last 30 days and live within The New Mexican’s home delivery area.

”

A PURE GEM… GRACED WITH SPARkLING ACTING.” “

A SUMMER LOVE STORY LOADED WITH POWER AND FEELING. I COULDN’ T STOP THINKING ABOUT IT.” SALON

“

from the writers of (500) Days of summer

©2013TSNVENTURES,LLC.ALLRIGHTSRESERVED.

Fe UA De Vargas Mall 6 EXCLUSIVE ENGAGEMENT STARTS TODAY Santa (800) FANDANGO #608

NO PASSES ACCEPTED

PASATIEMPOMAGAZINE.COM

51

ART OF SPACE

Paul Weideman

Man with a mission: John Gaw Meem

at Acoma: The Restoration of San Esteban del Rey Mission. Made of 22-inch-long adobe bricks, the church is 145 feet long and 44 feet wide, with walls about 5 feet thick.

The mission — incorporating the church and the convento of buildings surrounding a square placita as well as a cemetery and corral — was built between 1629 and 1644.

It is said the 35-foot ponderosa pine logs that were used for the vigas were transported from Mount Taylor, about 30 miles away, and were never allowed to touch the ground because they were considered sacred. “The stories about building the mission continue to be told,” Wingert-Playdon said. “They define the commitment of the first people who built the mission. Maintenance, repair, and rebuilding have left traces of the work of every tribal member who participated. Sometimes the church has been presented as something of the Franciscans, but what I felt was very interesting is that the building of the church was by the Acomas, and it’s as much theirs as it is the Franciscans’.”

Wingert-Playdon’s first “memorable encounter” with Acoma was in the spring of 1999, as the pueblo governor and the director of Cornerstones Community Partnerships prepared for a visit from first lady Hillary Rodham Clinton to announce a Save America’s Treasures grant to Cornerstones.

During the 2000s, that organization, which works with communities to restore historic adobe buildings, focused efforts on San Esteban del Rey. Wingert-Playdon is the chair of the architecture department at Temple University, Philadelphia, and executive editor of the journal of the international Architectural Research Centers Consortium. In 1999, she served as a volunteer with Cornerstones, doing emergency roof work on the old Acoma church. Her primary source for the book was the trove of letters between Meem and the Acoma project supervisors Lewis Riley (1924) and B.A. Reuter (1926 to 1929).

San Esteban del Rey stands as a record of more than 300 years of maintenance and repair, but there are signs of experimentation with both materials and construction. Archaeologist Michael Marshall, who did an analysis of the mission’s convento in 1975, wrote that church architecture in 17th-century New Mexico was indeed “highly experimental.”

“In Marshall’s records, he put down for example the kind of adobe plasters that were used on the interior, and what’s so interesting is that when you go to a project like this you think it’s one community and they would have something that they use over and over again,” Wingert-Playdon said. “But what he showed is that there were many different mixes, many variations in the adobe washes and adobe plasters. I remember in 2001 reading to the Acoma people on the team that was working with Cornerstones what Marshall had written about materials, and they knew about all of that, including from making pottery, but also because they know on the land where to find the materials.

I think that’s where the continuity lies.”

The work examined in the new book was begun in 1924 under the guidance of Burhnam Hoyt, Acoma Pueblo from the air; a Perry E. Borchers photograph, 1965; courtesy Library of Congress

The mission church at Acoma Pueblo is an exceptional treasure of New Mexico’s built environment, but in the early 20th century it was approaching “ruin” status.

During the 1920s, the Committee for the Preservation and Restoration of New Mexico Mission Churches (CPRNMMC), working with the pueblo, invested about $5,700 and a tremendous number of man-hours to restore the 17th-century San Esteban del Rey mission. The areas of focus included a major roof restoration, foundation and wall repairs, replastering, and rebuilding (in stone) the iconic towers.

The main part of the church has the largest load-bearing adobe walls in the American Southwest, according to Kate Wingert-Playdon, author of John Gaw Meem

52

PASATIEMPO I August 23 -29, 2013

continued on Page 54

Photos James M. Slack

architect for the CPRNMMC, with Meem assisting as coordinator of the work.

From 1926 until the project’s completion in 1929, Meem led the restoration.

The committee supervised the work and purchased roofing materials and lumber, while the Acoma people supplied labor and materials for adobe bricks and plasters. Work teams gathered clay, sand, and rock from the surrounding land and also mined adobe bricks, stone, shards, and dry adobe mix from the building itself. This latter source is sometimes controversial. “It depends on what type of preservationist you are,” the author said. “If you’re interested in the building as an object, you might see it as destructive. But if you look at it as a culturally based preservation practice, it’s completely logical, and it has been done for thousands of years.”

The first priority was the church roof, which is nearly 4,000 square feet inside the parapet walls. One of the interesting things about San Esteban del Rey is that it has no transverse clerestory — the row of windows set at the junction of lower and higher sections of the roof that bestows a magical-looking light on the altar. It was a pretty common feature in mission churches in New Mexico, and Acoma did have one, according to a 1692 account by Diego de Vargas. It no longer existed by the time Fray Francisco Atanasio Domínguez published The Missions of New Mexico, 1776: A Description.

“I think the plan has been to put that clerestory back; it’s a desire of both Cornerstones and the tribe. But it’s such a big project, and it’s so expensive to do anything today. The building was rebuilt after the Pueblo Revolt of 1680.

It’s hard to know what was damaged, but what’s remarkable is that it was rebuilt. Other churches were not. There was reportedly an amazing mission at San Marcos still standing after the revolt, and it was not rebuilt.”

The Meem-designed roof was a combination of old and new strategies, which the architect would become known for in his houses, churches, and institutional buildings in Santa Fe and Albuquerque through the next three decades. The San Esteban roof had latillas or boards on the old vigas, then over them roofing paper, a layer of puddled adobe, 2½ inches of reinforced concrete, more asphalt felt, and a layer of mud on top.

What a project on such a vast roof! At one point, possibly in the area where the clerestory had been, Lewis Riley encountered a section he described as “tough as leather,” as the bottom several inches of the adobe structure was mixed with yucca fiber, which workers could only remove by pulverizing it with hammers. Meem approved Riley’s proposal to leave some parts of that section of the roof intact, as they would be difficult to improve upon. “I think the real tragedy is that the roof wasn’t maintained,” Wingert-Playdon lamented. “Of all the things that were lost from that restoration, that would be the most remarkable to see today.” Instead, deficient maintenance resulted in the roof having to be replaced in the 1960s, and then again in 1980 using plywood and asphalt.

Reconstruction of the San Esteban towers brought in another emphasis to the restoration project: design aesthetics. “The north tower has large openings, and the south tower has smaller openings,” Wingert-Playdon said.

“They completely disassembled and rebuilt them. The original plan for the towers was put forth by Meem and [Santa Fe artist and preservationist] Carlos Vierra, but B.A. Reuter was convinced that the openings in the original south tower either didn’t exist or were small. He finally talked with an Indian elder, and they relied on his description to do smaller openings on the south tower.

That is an important part of this story, because they weren’t just relying on design expertise. Meem’s eye for lines and curves was really, really good, but oral history was also important to them.”

One issue: when you’re planning to recall the past in the appearance of the façade and towers, how far back do you relate? There are photographs Above, glimpses of the church and convento, 1934; courtesy Library of Congress

PASATIEMPOMAGAZINE.COM

53

San Esteban del Rey stands as a record of more than 300 years of maintenance and repair, but there are signs of experimentation with both materials and construction.

Art of Space,

continued from Page 53

from the late 19th century, but otherwise you only have the memory of living people. “I think the logic would have been that when they started this project it was a ruin. The towers had been changed. What you found in 1880 or 1890 would have been a ghost of what was there forever. In 1902, when they rebuilt them to those strange, square, boxy towers, there was still some of the old towers there, so they could guess the height and some of the other things.

Everything about the 1920s project at Acoma is presented in wonderful detail in John Gaw Meem at Acoma. One section focuses on Meem’s reconstruction of the north tower alternating with his work on an addition to Santa Fe’s La Fonda, the dominant feature of which was the tower at the hotel’s southwest corner. The author says it is not known for certain which final tower design came first.

“That tower got me very interested. My favorite chapter in this book, and the place where I learned the most, was trying to figure out the towers, and that led me to look at La Fonda.” Wingert-Playdon is now working on a book about La Fonda and the Fred Harvey Company. ◀ “John Gaw Meem at Acoma: The Restoration of San Esteban del Rey Mission” by Kate Wingert-Playdon is published by University of New Mexico Press.

Top left, San Esteban del Rey mission photographed circa 1905 by Edward S. Curtis; below left, the north tower photographed by Beatrice Blackwood in November 1926; photos this page courtesy UNM Press; top right, 1934 Historic American Buildings Survey drawing, Library of Congress 54

PASATIEMPO I August 23 -29, 2013

Proud Sponsors of the CCA Cinematheque

1050 Old Pecos Trail 505.982.1338 ccasantafe.org

Come see CCA’S STATE-OF-THE-ART DIGITAL PROJECTION AND SURROUND SOUND! TERENCE STAMP AND VANESSA REDGRAVE GIVE “

OSCAR -WORTHY PERFORMANCES!” ®

SUPPORT OUR CONVERSION AT CCASANTAFE.ORG PAUL RUDD EMILE HIRSCH “It reconciles David Gordon Green’s twin modes into a whole no other director could have,

!

“

The hAPPIesT TIMe you’ll hAve AT The MovIes All suMMer!”

DEEPLY FELT AND LIGHT AS LAUGHTER. One sequence of Rudd taking a swim in the rain is as gorgeous

TY BURR,

as anything I’ve seen onscreen in the last few years.”

– Alan Scherstuhl, VILLAGE VOICE

Rex Reed

“In tHe tRadItIon oF

THE BEST EXOTIC MARIGOLD HOTEL and QUARTET comeS a toUcHIng and JoYoUS movIe!”

MEET THE UNSUNG HEROES BEHIND THE GREATEST MUSIC OF OUR TIME

AN EXQUISITELY CRAFTED SLICE OF COMEDIC MELANCHOLIA

“

Warmly satisfying, the performances a re so enjoyable and unexpectedly touching.”

“Perfection!”

– David Rooney, THE HOLLYWOOD REPORTER

PETER TRAvERS,

A BEAUTIFUL, OCCASIONALLY LYRICAL,

“

“A

OFTEN HILARIOUS, RICHLY CHARACTERIZED film about the minutiae of nature (of both the human and outdoorsy varieties).”

– INTERVIEW

“The perfect middle ground between ‘All The Real Girls’ and ‘Pineapple Express.’

“A

CLAUDIA PUIG,

– David Fear, TIME OUT NY

“Irresistible!”

“One of my favorite experiences at the movies in a long time.”

KENNETH TURAN,

– Aly Semigran, HOLLYWOOD.COM

GemmA

Academy Award® Winner VAnessA

chrisTopher

Stamp aRteRton eccleSton

WiTh

must-see!

Massively entertaining and heartfelt heartfelt!”

BRAVO!”

Academy Award® nominee Terence

gift!”

A.O. SCOTT,

featuring BruCe SPringSteen Sting MiCK Jagger SteVie WOnDer anD Bette MiDLer

RedgRave

©2013 PROJECT B.S., LLC

eASILY VINTeRBeRG’S STRONGeST FILM SINCe THe CeLeBRATION.” “ HHHH

“

–Stephen Holden, The New York Times

THE PRIZE-WINNING COMEDY FROM THE PEOPLE WHO BROUGHT YOU THE KING’S SPEECH AND QUARTET PRODUCED WRITTENAND BYKENMARSHALL PHILIPMOROSS DIRECTED BYPAULANDREWWILLIAMS www.UnfinishedSongMovie.com

ARTWORK ©2013 THEWEINSTEIN COMPANY. ALL RIGHTS RESERVED.

Judy Blume IN PERSON 3:30p Sat Aug 24!

Reserve your ticket!

RIVeTING.”

“

–david Rooney, The Hollywood Reporter

WRITTEN FOR THE SCREEN AND DIRECTED BY DAVID GORDON GREEN

Healing Hands of Joy presents

A WALK TO BEAUTIFUL

4:00p Saturday Aug 24 Join producer Allison Shigo for this one-time awareness campaign!

Followed by informal reception

Final shows this weekend!!

THe MOVIe WORKS BeAUTIFULLY.”

–Joshua Rothkopf, Time Out NY

HHHH

“

Vinterberg gets right to the dark heart of human nature. Mads Mikkelsen is magnetically compelling.”

–elizabeth Weitzman, New York Daily News

deePLY AFFeCTING.

“

Haunts the viewer long after the film ends. An antidote to the general tedium of summer movies.”

–Rex Reed, New York Observer

THE HUNT T

H

E

L

I

E

A FILM BY

I

S

S

P

R

E

A

D

I

N

G.

THOMAS VINTERBERG

In The Muñoz-Waxman Gallery: Masters of Comedy: Pierre Étaix’s YOYO

MAKING PLACES

Join CCA in August Become a CCA Member and get 2 extra months of membership!

works by Linda Fleming & Michael S. Moore gallery hours: Thurs-Sun 12:00p - 5:00p Friday Aug 23 11:00a - YoYo* 12:00p - Tiger Eyes 1:00p - 20 Feet from Stardom* 2:00p - Unfinished Song 3:00p - 20 Feet from Stardom* 4:00p - Unfinished Song 5:00p - Prince Avalanche* 6:00p - Unfinished Song 7:00p - The Hunt* 8:00p - Prince Avalanche

Saturday August 24 11:00a - YoYo* 11:30a - Unfinished Song 1:00p - 20 Feet from Stardom* 1:30p - Unfinished Song 3:30p - Tiger Eyes WITH JUDY BLUME!!!!!

4:00p - A Walk to Beautiful* 6:00p - Unfinished Song 7:00p - The Hunt* 8:00p - Prince Avalanche

Sunday Aug 25 11:00a - YoYo* 12:00p - Tiger Eyes 1:00p - 20 Feet from Stardom* 2:00p - Unfinished Song 3:00p - 20 Feet from Stardom* 4:00p - Unfinished Song 5:00p - Prince Avalanche* 6:00p - Unfinished Song 7:00p - The Hunt* 8:00p - Prince Avalanche

Monday - Thur August 26-29 1:00p - 20 Feet from Stardom* 2:00p - Unfinished Song 3:00p - 20 Feet from Stardom* 4:00p - Unfinished Song 5:00p - Prince Avalanche* 6:00p - Unfinished Song 7:00p - The Hunt* 8:00p - Prince Avalanche

11:00am Fri-Sun Aug 23-25

presented in part by

*indicates showing is in The Studio at CCA,

for a price of $7.50, or $6.00 for CCA Members

COMING SOON:

More Than Honey Ain’t Them Bodies Saints The Artist & The Model A Teacher Drinking Buddies...& more!!!

PASATIEMPOMAGAZINE.COM

55

Michael Abatemarco

s ’ r e z t i Jeffrey Schwe While looking at two series by Jeffrey Schweitzer, The Drifter and Future Mythologies, one is reminded of a quote from the 15th-century morality play The Summoning of Everyman that appears on the title pages of volumes in Random House’s Everyman’s Library: Everyman, I will go with thee / and be thy guide, In thy most need to go / by thy side.

Jeffrey Schweitzer: The Drifter: Beachfront Property, 2009; top, The Drifter: Through the Fall, 2013; both pen, ink wash, acrylic medium, and collage on paper 56

PASATIEMPO I August 23 -29, 2013

The Drifter in particular provides a character with whom many can relate: a hobo who journeys over mountainous terrain and rough waters. He is a seeker and an adventurer and, in every instance, a fictional self-portrait of the artist. “I started the series in 2008,” Schweitzer told Pasatiempo at his studio. “It’s kind of a nonlinear narrative. I describe it like a picture book that’s just open and on the walls in different shapes and sizes. There isn’t a story line that accompanies it. It’s just a transient drifter character that gets into adventures. In my mind there’s an order, but it’s not really important for the viewer to see it in that order. The drifter character is kind of an everyday character everyone can relate to, but I wouldn’t say he’s generic.”

Schweitzer casts himself in the role of the protagonist in the series through the medium of photo-collage. Dressing up as the drifter — with ill-fitting pants, a plaid jacket, a hat, and a small suitcase — Schweitzer photographs himself and inserts the images into his paintings. “They’re all pen and ink and collage. I used to do a lot of video stuff — basically, me putting myself into my drawings. So I’d film myself in front of a blue screen and then put myself into the videos. The problem is that a five-minute video would take about 50 drawings. I had to storyboard them out first.” From storyboard ideas Schweitzer developed larger works that are allegorical and that portray different moments of the drifter’s odyssey.

A more explicit narrative structure is contained within Future Mythologies. No less a series of self-portraits, composed similarly to The Drifter, it tells a story through paintings of an old hunter who has lost sight of his faithful dog, also a photo-collaged element. This event is represented by a diptych called Unnatural Fog, with the hunter occupying one panel and the dog the other. “In the story line, the hunter gets separated from the dog. What happens is his hat blows away. Then the dog runs away, and he’s alone. The pieces get progressively darker. When it’s installed, what I usually do for this story is write it out on the wall in ink. To illustrate the fact that they’ve gotten lost and separated, I usually install them far apart, so the actual install mimics what the story entails.”

Like his drifter character, Schweitzer’s hunter has a spate of misadventures, including a run-in with a pack of wolves. He moves through a misty forest of leafless trees and hilly landscapes rendered in inks and washes that add a dreamlike, atmospheric quality to the imagery. Schweitzer’s figures loom large in the wooded countryside. He uses forced perspective to condense the surrounding environment into flat panoramas, not unlike those in old

I The New Mexican

meandering travelers Japanese landscape paintings. The figurative imagery seems to emerge from an abstract rendering of earth and sky, with the overall compositions darkening at the edges like old film stills or photographs. “The first thing I do is brush on Liquitex matte medium.

That kind of seals the page. Then, when you rub on ink, it soaks into the paper where there is no matte medium. So you get these really dense, saturated areas of color. I can either sand or wipe away — I actually use a lot of scrubby pads like you would wash your dishes with — to create highlights. What looks like white paint is just the absence of color. It’s an additive and subtractive process.”

Schweitzer’s Bindle Stick Studio is a small space on Canyon Road. His paintings range from notebook-sized works on paper to panel-mounted illustrations up to 10 feet in length, and there’s not enough room in the gallery to present Future Mythologies in its entirety. Schweitzer is working on prints of every image in the series accompanied by text that tells the story. “I wanted to put it all together into a book because it kind of lends itself to that. For this series I was thinking of doing a handstitched edition of five rather a mass-produced thing. It’s still in the experimental phase.”

For Future Mythologies, Schweitzer photographed himself as an old man, toying with the possible outcomes of his own life.

“I get a lot of people asking when it’s supposed to be taking place.

In some people’s minds it’s really old, and in my mind it’s the future. Mortality is kind of a recurring theme. That’s really why I did this story. It’s a little tongue in cheek. I’m a city person, so I never lived in the woods. I have no survival skills whatsoever.

So the very notion I could live out in the woods in a cabin with my dog is ridiculous on its face.”

The Drifter series, too, wrestles with the theme of mortality.

Sometimes the wandering figure takes his rest among flowers or sits pensively at the base of a tree, legs dangling over the edge of a precipice. In other images he navigates stormy seas, small and defenseless against massive waves, or hikes up steps carved into the sides of mountains. In the painting Mountain Climbing, the drifter travels a road that spirals toward a shelter at a mountain’s apex. He lacks the single-minded focus of the hapless hunter of the other series, looking for his lost dog, and seems content to wander, as a driven leaf, toward whatever fate has in store. “I’m inspired by road movies from the ’60s and ’70s and a lot of Beat writing, adventure stories, and really bad fiction. It seems like people always attach their own experiences to these images.

Without forcing them to think about it in a linear way, people isolate certain pieces and relate to certain parts of the story.” ◀

details ▼ Jeffrey Schweitzer: The Drifter, 2008-2013 ▼ Through September ▼ Bindle Stick Studio, 616½-B Canyon Road, 917-679-8080

Future Mythologies: An Ominous Sign, 2012; top, Future Mythologies: Leaving at Dawn, 2012; both pen, ink wash, acrylic medium, and collage on wood panel PASATIEMPOMAGAZINE.COM

57

movIng Images film reviews

Old wave Jonathan Richards I For The New Mexican Unfinished Song, comedy, rated PG-13, Center for Contemporary Arts, 2.5 chiles There was an exciting time a half century ago when British cinema hit the cutting edge with tires squealing and horns blaring. Directors like Karel Reisz and Tony Richardson took the medium by its lapels and shook it down to its boots with movies such as Morgan! and Look Back in Anger. A new generation of actors — including Richard Burton, Rita Tushingham, Terence Stamp, and Vanessa Redgrave — scorched the screen with their brilliance and beauty.

The British New Wave crested and broke years ago, and many of those actors and directors are gone now. Fifty years will do that. But a lot of them are still around, and British cinema has lately cultivated a minor growth industry in geriatric nostalgia, with The Best Exotic Marigold Hotel, Quartet, and others.

These movies are watchable thanks to the deep resources they are able to mine with terrific talent granted a reprieve from the Old Actors’ Home.

The latest entry in the British geriatric sweepstakes is Unfinished Song, an underdone tear-jerker from writer-director Paul Andrew Williams, who in the past has offered grittier material like London to Brighton (2006). Here he gives us a dying-spouse drama, originally (and better) titled A Song for Marion.

Marion (Vanessa Redgrave) is an elderly lady riddled with cancer but buoyantly determined to live life to the last drop with a smile on her face and joy in her heart. What she loves to do best is sing with a chorus of old-age pensioners at the local community center.

Gemma Arterton and Terence Stamp

58

PASATIEMPO I August 23 -29, 2013

Tunes of glory: Vanessa Redgrave, and Terence Stamp (foreground)

Not thrilled about this is her husband, Arthur (Terence Stamp), who feels that the choral practice saps Marion’s meager strength. But to be fair, it must be said that Arthur is not happy about much of anything. He’s an old sourpuss, a condition he has arrived at with Aristotelian inevitability, step by dour step from his days as a young sourpuss. “Did you enjoy yourself?” Marion asks him one night after a rehearsal, and Arthur replies “No. You know how I feel about enjoying things.”

So while Arthur skulks outside the center smoking cigarettes and scowling, Marion rehearses with the chorus, cutely dubbed the OAPz (for OldAge Pensioners, with a “z” for a hip plural). It’s led by a perky young woman named Elizabeth (Gemma Arterton of Pirate Radio and Byzantium) who thinks the way to keep the old folks lively is to have them sing rap and heavy-metal tunes (Salt-N-Pepa’s “Let’s Talk About Sex” and Motorhead’s “Ace of Spades,” for example).

What this movie does very well is baste the tear ducts. It’s an unabashed weeper; to quote Shakespeare’s Marc Antony, “If you have tears, prepare to shed them now.” And how does it do this? It does it with golden performances by two of those battle-scarred veterans of the ’60s New Wave, Redgrave and Stamp.

Redgrave is 76, Stamp a year younger. Their beauty is now tempered with age, and their performances call on lifetimes of experience. Unlike athletes’ talent, an actor’s doesn’t diminish with age, and these two still have it in spades, even if those spades are now gray and etched with wrinkles.

Watch them quietly affirming their love for each other as they lie at night in bed and watch Stamp tuck a hot-water bottle into Redgrave’s side of the bed when she’s overnight in the hospital and you feel the depth of this lifetime loving relationship even if there’s little in the writing to support it.

The plot is whipped together with that old standby, a competition. The OAPz are trying to make it into a big choral competition. First they have to pass the preliminary elimination round, and so they work hard preparing their material. But the movie is so afraid of losing your attention that it never has them sing the same thing twice as they polish their audition pieces.

And ultimately the effort falls between two stools.

The competition is choral, but at the picnic where a judge comes to scout them for the finals, the coup de grâce is delivered by a lovely solo rendition of Cyndi Lauper’s “True Colors,” sung by a frail but game Marion, received with wild enthusiasm by the judge and the crowd, but delivered with heart-breaking poignancy to an audience of one. And when the OAPz make it to the finals (through a contrivance I won’t reveal out of respect for the intelligence of my readers), it is Arthur who returns the sentiment, lifting his gravelly but sweet baritone in a solo rendition of Billy Joel’s “Lullabye (Goodnight, My Angel).”

Another nicely tuned performance comes from Christopher Eccleston as the couple’s son, James, with whom Arthur has a distant, crusty relationship that is never explained other than with the usual nod to Arthur’s grouchy personality and the admission that he’s never been a good father. It’s a tricky high wire for Stamp to walk, to maintain audience sympathy while offending everyone else, but he’s good enough to pull it off.

Go back and look at these two stars in their gorgeous prime — Redgrave in Blow-Up, Stamp in The Collector, to see what launched them on their extraordinary careers. In this movie, Elizabeth says, “What makes a song beautiful is not always the quality of the voice but the distance that voice has had to travel.” Redgrave and Stamp have both artistry and miles on them, and despite the lameness of the story, they’re beautiful and heartbreaking to watch. ◀

moving images film reviews

Bummer, man Laurel Gladden I For The New Mexican Crystal Fairy, drug pilgrimage dramedy, not rated, in English and Spanish with subtitles, The Screen, 2.5 chiles This odd, vaguely funny picture from Chilean director Sebastián Silva (his 2009 film The Maid was the Grand Jury Prize winner at that year’s Sundance festival) focuses on a group of youngsters on a pilgrimage. The gang consists of Jamie (Michael Cera) and three local dudes named Champa, Pilo, and Lel (played by Juan Andrés Silva, Agustín Silva, and José Miguel Silva, the director’s brothers). They’re planning to trek to a town in the desert where the San Pedro cactus — which contains the psychedelic compound mescaline — grows in abundance and then camp out on a beach, prepare and ingest the cactus, and see what unfolds. At a party the night before they hit the road, Jamie meets an American hippie chick (Gaby Hoffmann, who performed as a child in Sleepless in Seattle and Field of Dreams), who calls herself Crystal Fairy; he invites her along and gives her his cellphone number, but he’s so high on cocaine that the next morning he doesn’t remember having done so.

Jamie is the new Ugly American — the rich, privileged, know-it-all white American kid who’s traveling the world and obsessed with partying.

If you’ve ever hung out with people who do drugs, you’ve probably known someone like him — when he’s not high, he’s talking about drugs or obsessing over some way to get high and then critiquing the

Pale rider: Michael Cera

Too much to dream last night: Michael Cera and Gaby Hoffman

quality of the narcotics like a sommelier. He looks for opportunities to quote Aldous Huxley’s The Doors of Perception. He’s touring South America but can’t be bothered to learn any Spanish other than gracias, and he treats everyone with a snooty condescension, mocking people as soon as they’re out of earshot. When he first sees Crystal Fairy, blissed-out in the midst of a twirling dance, he feels compelled to interrupt her and make sure she knows she’s embarrassing herself. He’s intent on convincing everyone that he’s cool — although it’s pretty clear his coolness is a mask concealing serious insecurities.

You’ve also probably met someone like Crystal Fairy. She wears flowy, flowery dresses or wildly printed leggings and lots of handmade jewelry, and she isn’t afraid to parade around naked, unshaven armpits and all. She scolds everyone about the junk food they’re eating and talks a lot about chakras and crystals. She looks very concerned as she preaches about the end of the Maya calendar and the need to “unleash that ancient voice of consciousness that now only belongs to the angels and to the fairies.”

When Jamie gets Crystal Fairy’s call, she says she has taken a bus to the town where they’re going cactus hunting. Jamie is annoyed (what if his traveling companions think she’s cooler than he is?) and seems to think she’ll spoil the fun, so he suggests they abandon her. But easygoing Champa, Pilo, and Lel feel fine letting her tag along. Persuading the locals to part with a piece of one of their cactuses is harder than the boys imagined, and crass, loudmouthed Jamie doesn’t understand why they refuse even when he repeatedly offers them money.

Eventually, though, the group hits the road and sets up camp on a beautiful piece of coastline.

Psychedelic experiences have been portrayed in movies before (most notably 1967’s The Trip but also The Doors, Easy Rider, and Young Guns, to name a few). Sometimes they’re just an excuse for the filmmakers to insert some trippy special effects. Silva uses none of that, and he doesn’t give us any idea of what’s happening in his characters’ heads — although the scene of the boys blissfully high and frolicking in the ocean is one of the film’s best moments. As a result, you feel like the designated driver, twiddling your thumbs. Luckily, the coastal scenery and spot-on performances, particularly from Cera and Hoffman, will keep you moderately entertained.

You don’t really get the feeling that ingesting the cactus has resulted in any kind of mystical, mindexpanding experience, either. Crystal Fairy wanders around in the mountains, naked except for her sneakers; her epiphany (probably the most significant) involves admitting to someone that her real name isn’t actually Crystal Fairy and telling a story about a traumatic event in her teens. Jamie seems to soften a little, and he has one teary, possibly cathartic moment (we don’t learn what he’s crying about, though). Still, you get the feeling that as soon as he’s back in the city, he’ll revert to his normal asinine ways.

Maybe Silva was hinting at some profundity beneath the film’s surface, but I didn’t buy it. In fact, after a while, watching Crystal Fairy started to make me feel a little like I was on drugs. Who are these people? Do we really know them at all? What’s happening to them? And what does it all mean, man?

Sometimes, a movie with a loose, rambling structure and a casual vibe can be a pleasure. But Crystal Fairy, amusing as it is at times, is too stripped-down and meandering. Sometimes less is more, but in this case, less just seems like less. ◀ PASATIEMPOMAGAZINE.COM

59

movIng Images film reviews

Binary emp3ire Bill Kohlhaase I The New Mexican Downloaded, documentary, not rated, Jean Cocteau Cinema, 3 chiles What music lover doesn’t recall the heady early days of music sharing with a bit of nostalgia? It was all there, Madonna to Miles Davis, waiting to be transferred right to your desktop, without charge and with very little hardship. That is, until the major record companies and a few cash-hungry artists started seeking justice for what, they claimed, had been stolen. Before that, though, music was available from everywhere at once, and music lovers were discovering a wide world of audio that they might never have known if it had cost them $15 or so for an hour or less of tunes they did and didn’t want.

Suddenly, music distribution was less a business and more a community, a community that practiced what we were all taught back in grade school: to share.

This, as one of the interviewees in Alex Winter’s documentary Downloaded claims, was a “golden age of music.” The corporate music houses, of course, didn’t agree. That the people who made the music were and still are split on the matter reflects the question at the center of Downloaded. Was it sharing? Or was it piracy?

Winter — he was Bill in the 1989 comedy Bill & Ted’s Excellent Adventure — gives us a somewhat frustrating account of Napster, perhaps the greatest music-sharing software of all time. The film is something like David Fincher and Aaron Sorkin’s The Social Network, a semi-fictionalized look at Mark Zuckerberg and Facebook. Napster co-founders Shawn Fanning and Sean Parker, like Zuckerberg, were equal parts juvenile genius and naive entrepreneurialism. They never seemed to take the time to consider how their creation would be judged by the powers that be in the music business. And when forced to this consideration, they weren’t sure how to respond.

One of the best moments in the film comes right at the beginning. The opening audio is the old buzzing sound of a dial-up modem making its connection, a sort of music in its own right. That sound becomes a symbol of the community that would form behind it as well as the technological advancements that would spring from it. Ignorance of the internet and its potential seems precious. A revealing clip from Today features Jane Pauley and Bryant Gumbel quizzing someone off-camera on just what exactly this thing called the internet is.

Soon we’re following Fanning and Parker as they seek ways to make sharing information between computers faster and easier. Their focus was music, 60

PASATIEMPO I August 23 -29, 2013

and they were driven by their own youthful passion for tunes, a passion shared by nearly everyone of their generation (and beyond). Napster would not have become such a sensation — or as challenged — if it had been aimed at sharing almost anything else.

As the software became faster and more efficient, it was embraced by a small but steadily growing group of users. By the time of its demise, Napster had more than 26 million users.

Downloaded finds illustrative examples of the problems associated with distributing music from the days of the first recordings. One old clip shows the bell of an early phonograph being pulled off and chewed by Nipper, the RCA Victor dog. There may be no better symbol of the record companies’ treatment of music and musicians. The claim that the 45 rpm recordings of the ’50s and ’60s seldom turned a profit but delivered ticket-buying throngs to performances reflects the experience of the band Dispatch, which was amazed to find that crowds turned out for their concerts despite their lack of radio play and other promotion. The band members became big Napster supporters when they realized their audience had been created through file sharing.

Roger McGuinn of The Byrds testifies at a Senate hearing in 2001 that his band, after signing with Columbia, made little money off royalties from record sales. Other artists take the opposing stance, saying they were robbed by Napster. Some, like a couple of the Spice Girls, are oblivious.

Charges of evil practices on the part of the record companies, from withholding royalties from black artists to the co-opting of independent rock (especially psychedelic rock), aren’t new. In Downloaded, the major labels come off as greedy and clueless, overwhelmed by file-sharing technology and resistant to any claim that it might actually stimulate their business. Chuck D says that it was the first time in history that “the audience beat the record companies

to the technology.” Suggestions that change must be embraced rather than resisted come from Mike D of the Beastie Boys and Henry Rollins.

The second half of the film, in which the record companies fight to destroy Napster and succeed, is foreshadowed in the first half. Winter’s sympathies are obviously with Napster, given that he airs the claims that it democratized music and that enforcement of dubious copyright law led to the criminalization of an entire generation. The cyberlibertarian John Perry Barlow says that the efforts against Napster and its users was “like the war on drugs.” While the movie does a good job of allowing the other side to speak, its representatives mostly come off sounding arrogant and selfish, painting the debate with incriminatory and often false descriptions. Dr. Dre and Lars Ulrich of Metallica, both of whom have a carefully cultivated anti-establishment pose, smear their images with pro-profit, pro-corporation statements. It’s not your music, they seem to say. It’s ours.

Many of the larger questions raised here go unanswered. Suggestions that Napster served the same purpose that radio play did in previous generations need to be substantiated. How should artists make a living from their work, and who owns that work once it is in consumer hands? What’s the difference between sharing and piracy? (The record companies would say none.) Do corporations facilitate technological advancement or, once their profit sources are established, resist it? Though Napster was functional barely more than two years, it revolutionized the way music is distributed today. No longer must we buy an entire recording to get the three songs we like. And music continues to be shared.

One of the more astounding aspects of Downloaded is how long ago the whole episode seems. Napster’s heyday ended in 2001, only a dozen years ago, and everything online has changed many times over.

The record companies? Not so much. ◀

moving images film reviews

The thin yellow lines Robert Ker I For The New Mexican Prince Avalanche, comedy, rated R, Center for Contemporary Arts, 3.5 chiles David Gordon Green began his filmmaking career as the toast of the arthouse circuit. With George Washington (2000), All the Real Girls (2003), and Undertow (2004), Green let subtle, character-rich tales unfurl with the pastoral grace of Terrence Malick and the Southern storytelling sensibilities of Flannery O’Connor. His was a career to savor for decades to come.

And then his funny bone acted up. In 2008, he helmed the Seth Rogen-led stoner comedy Pineapple Express, prompting Roger Ebert to worry in his review that this “poet of the cinema” would turn forever from the arthouse to the multiplex. The frustration from indie fans mounted when Green helped launch the abrasive HBO comedy Eastbound and Down. The final proof that he was gone for good came in 2011, when he directed the sword-andsorcery comedy Your Highness — a rarely funny chunk of raunchiness that bombed at the box office.

Prince Avalanche is being hailed as Green’s return to his arthouse roots, given that the movie had its premiere at the Sundance Film Festival (rather than opening on 3,000 screens across the country), there are no CGI creatures blowing smoke rings or making penis jokes, and a smirking Danny McBride is nowhere to be found. But calling Prince Avalanche a “return to form” does it a disservice; it implies that we’ve seen a movie like this before. We haven’t — not from Green or from anyone else.

Paul Rudd and Emile Hirsch star as Alvin and Lance, two men who are tasked with painting lines on the roads in a rural Texas landscape that has been

Emile Hirsch and Paul Rudd

ravaged by wildfire. Alvin finds the work liberating in a Thoreau-esque sense. Lance, the kid brother of Alvin’s girlfriend, is much more restless and a little bit dim. As the two men celebrate the highs and lows of their reluctant friendship and of life, the story progresses like a stage play in the manner of Waiting for Godot combined with the easygoing ramble of a Robert Altman film. It’s loosely based on a 2011 Icelandic film titled Either Way, but it soon puts down that script and goes for a stroll.

The movie wavers between comedy and drama, as the two bicker over the radio and engage in playful banter about minutiae such as wristwatches or big issues such as finding contentment — or both at once. They meet an entertaining old-timer who passes by in a truck and shares his liquor. Alvin comes across an old woman going through the blackened wreckage of her burnt-down home — a moving scene that feels especially poignant in the wake of New Mexico’s latest rash of wildfires. The supernatural even creeps in, because why not?

There isn’t much of a story to speak of, but the two leads draw us into it with grace and skill. Rudd is a fine comic actor, frequently known for his genial, sensitive on-screen persona. Prince Avalanche takes that to an extreme, giving him a mustache that softens his handsome features to cartoonish levels and a personality that is positively Zenlike. The fact that Alvin will snap at some point is one of the only predictable things about the film: in a comedy, you don’t establish a character this self-satisfied and peaceful without seeing how he reacts when you mess his hair up.

Part of the fun is how Alvin aggravates and condescends to Lance. Hirsch has had trouble finding

footing as a movie star — serious-acting turns as the lead in Into the Wild and supporting actor in Milk didn’t land him on the A-list despite his excellent work, and his shot as an action star in Speed Racer backfired. Prince Avalanche gives him a chance to flex some comedic muscle, and he does a superb job of projecting youthful innocence and embodying such an aloof dude.

As the two men toil and nag each other, they wear bright blue overalls along with red and green shirts that give them a passing resemblance to Nintendo’s Mario and Luigi. It’s one of several touches that give the film a unique visual signature. The landscape is another; it’s all rolling hills and blackened forests that appear to have been drawn with vertical strokes from a charcoal pencil. Green and cinematographer Tim Orr capture the forest and the creatures that live there with a Malick-like eye and break up the dialogue with slow-motion montages. The movie is scored by the Texas instrument-rock band Explosions in the Sky, who add to the atmosphere with languid guitar riffs and echoing crescendos.

Explosions in the Sky’s music was used to lend Friday Night Lights an epic, larger-than-life quality, but it helps make Prince Avalanche feel like a small and ultimately inconsequential trifle. The movie was made in such secrecy that nobody knew it was due until it showed up on the Sundance schedule, and it won’t affect your life in any way. But in a summer full of one predictable movie after another, it’s a pleasure to watch something that is accessible yet unpredictable. For a movie about two men painting a long, straight line in the middle of nowhere, the narrative and the thoughts of audience members are free to drift wherever they may. ◀ PASATIEMPOMAGAZINE.COM

61

MOVING IMAGES pasa pics

— compiled by Robert Ker

vampire sisters ( Joséphine de la Baume and Roxane Mesquida). 11 p.m. Friday and Saturday, Aug. 23 and 24, only. Rated R. 96 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) AN OVERSIMPLIFICATION OF HER BEAUTY This feature by writer-director Terence Nance combines several different kinds of experimental filmmaking to result in an ode to one woman (Namik Minter). Jay-Z is among the executive producers; the score is by Flying Lotus. Not rated. 84 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Tchaikovsky’s opera The Queen of Spades, from Gran Teatre del Liceu in Barcelona. Misha Didyk, Emily Magee, and Ewa Podlés star. 11 a.m. Sunday, Aug. 25, only. Not rated. 195 minutes plus one intermission. The Screen, Santa Fe. (Not reviewed)

A map to liquid treasure: Simon Pegg in The World’s End, at Regal Stadium 14 in Santa Fe

opening this week BLUE JASMINE Nearly every new Woody Allen film involves upper-middle-class people who are suffering problems of the heart, and what’s really important is the list of cast members. This time, that list includes Cate Blanchett (as the title character), Alec Baldwin, Louis C.K., Sally Hawkins, Peter Sarsgaard, and Andrew Dice Clay. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Not reviewed) CLOSED CIRCUIT Eric Bana and Rebecca Hall star as two lawyers and former lovers who are assigned to the trial of a terrorist suspect (Denis Moschitto). Issues of confidentiality, mysterious deaths, and shocking conspiracies come up before the gavel comes down.

Opens Wednesday, Aug. 28. Rated R. 95 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) CRYSTAL FAIRY This odd, vaguely funny picture from Chilean director Sebastián Silva (The Maid) focuses on a group of youngsters on a psychedelic pilgrimage. The gang consists of Jamie (Michael Cera), an American hippie chick (Gaby Hoffmann) who calls herself Crystal Fairy, and three local dudes. They’re hoping to obtain a piece of the San Pedro cactus, which contains mescaline, camp out on 62

PASATIEMPO I August 23 -29, 2013

a beach, prepare and ingest the cactus, and see what unfolds. Silva uses no special effects, and he doesn’t give us an idea of what’s happening in his characters’ heads. As a result, you feel like the designated driver, twiddling your thumbs. Luckily, the coastal scenery and spot-on performances will keep you moderately entertained. Not rated. 98 minutes. The Screen, Santa Fe. (Laurel Gladden) See review, Page 59.

DOWNLOADED Alex Winter’s documentary takes a sympathetic view of the rise and fall of Napster, the music-sharing service embraced by a generation before being crushed by the recording industry. Shawn Fanning and Sean Parker started off as naive geniuses when they begin to search for ways internet users could share their MP3 files. That the record companies, and certain artists, resisted the challenge to their profit model says a lot about corporate culture’s fear of technology and its potential to disrupt the way money is made in the music business. Many questions are raised in the film, but most go unanswered. You’ll never listen to Metallica in the same way again. Not rated.

104 minutes. Jean Cocteau Cinema, Santa Fe. (Bill Kohlhaase) See review, Page 60.

KISS OF THE DAMNED Xan Cassavetes wrote and directed this film about a young man (Milo Ventimiglia) who finds himself caught between two

PRINCE AVALANCHE Director David Gordon Green (Pineapple Express) returns to the arthouse with this ambling, pastoral film that finds comedic middle ground among the works of Samuel Beckett and Terrence Malick. Paul Rudd and Emile Hirsch play two men tasked with painting lines on a road that runs through a Texas landscape ravaged by wildfire.

They bicker and cheer and meet some odd locals. The film looks and sounds wonderful, and it strays from a predictable path. I’d call it a return to form for Green, but no movie has had ever had a form quite like this.

Rated R. 94 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 61.

THE SPECTACULAR NOW The writers of 2009’s much-loved (500) Days of Summer adapt Tim Tharp’s coming-of-age novel The film version, directed by James Ponsoldt, is a rom-com that relies on familiar teen-movie tropes, with the hard-partying guy hooking up with the unpopular girl, but at least the lead actors (Miles Teller and Shailene Woodley) look like real teenagers. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Not reviewed) UNFINISHED SONG British cinema has lately cultivated a minor growth industry in geriatric nostalgia, with pictures like The Best Exotic Marigold Hotel and Quartet. The latest entry is Unfinished Song, an undercooked tearjerker from writer-director Paul Andrew Williams.

What makes it worth seeing is the work of Vanessa Redgrave and Terence Stamp. Marion (Redgrave) is dying of cancer but determined to keep singing with a chorus of old-age pensioners at the local community center. Her husband, Arthur (Stamp), is a crusty old grouch, but he loves her. The plot is whipped together

with that old standby, a singing competition. You may grumble at the sappy, clichéd writing, but the two great stars will make you cry. Rated PG-13. 93 minutes.

Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 58.

THE WORLD’S END Gary (Simon Pegg) returns to his small hometown with his mates to reenact a pub crawl they did many years ago. He’s dismayed by how much things have changed but soon realizes that it’s worse than he thought: the local populace has been replaced by robots. Edgar Wright directs and Nick Frost co-stars; it’s a reunion for most of the Shaun of the Dead crew. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) YOU’RE NEXT This movie is marketed as the most original horror film in years. The story centers on a family in a remote home that is invaded by killers in masks — clearly, it’s very original. Not rated.

94 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

now in theaters THE BUTLER Forest Whitaker plays a White House butler who serves Eisenhower (Robin Williams), Kennedy ( James Marsden), Nixon ( John Cusack), Reagan (Alan Rickman), and Johnson (Liev Schreiber), while seeing decades of change sweep the country. Lee Daniels (Precious) directs. Oprah Winfrey co-stars.

Rated PG-13. 132 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE CONJURING Vera Farmiga plays a woman who can sense ghosts and travels the country with her husband (Patrick Wilson) in search of them.

In this movie by James Wan (Saw), the couple find more than they anticipated in an old farmhouse with a freaky tree out front. Rated R. 111 minutes. Regal DeVargas, Santa Fe. (Not reviewed) DECEpTIvE pRaCTICE: THE MYSTERIES aND MENTORS Of RICkY JaY Ricky Jay is the world’s leading sleight-of-hand artist. He began studying magic at age 4 and performed on television when he was 7. Packed with the perfect combination of performance footage, archival gems, and commentary from Jay and others, this film is sure to please everyone who appreciates the artistry of magic. 3 p.m. Sunday, Aug. 25, only. Not rated. 89 minutes. The Screen, Santa Fe. (Loren Bienvenu)

DESpICaBLE ME 2 The 2010 hit gets its sequel with this story about the exvillain Gru (voiced by Steve Carell), who is called out of retirement to track down a bad guy. The animation is a step up from the first film, and the plot is mercifully to the point. Unlike many family films, Despicable Me 2 is proudly a comedy, and it shelves the action, life lessons, and sentiment in favor of attempts at laughter. Whether or not it succeeds is up to the viewer, and the filmmakers hedge their bets by bringing slapstick for the kids and pop-culture references for the adults. Rated PG. 98 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) ELYSIUM Director Neill Blomkamp (District 9) presents a futuristic tale in which the wealthy live in a utopian space station called Elysium, while everyone else lives on Earth in what could be called “District 99%.” Matt Damon plays a man in an L.A. shantytown who fights back. The film is reminiscent of Paul Verhoeven’s satirical sci-fi films (such as Robocop) but without that B-movie sense of fun; it’s just obvious, ugly, overly violent, and deeply cynical, with nothing good to say about the human race. The special effects, however, are incredible; one could say it’s the best-looking movie about not being able to afford cancer treatment for your dying child that you’ll ever see. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) fRUITvaLE STaTION This timely drama, which was one of the big winners at the 2013 Sundance Film Festival, details the final day of Oscar Grant (Michael B. Jordan), a 22-year-old African American man who was shot by officers of the Bay Area’s public transportation system on New Year’s Eve in 2008. Rated R. 85 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE HEaT With Bridesmaids, director Paul Feig put women in the traditionally male-dominated genre of the raunchy comedy. Now he does the same with the buddy-cop pic. Melissa McCarthy, who became a star with her frank character in Bridesmaids, plays the bad cop to Sandra Bullock’s good cop. The plot is mainly a vehicle to bring us from one McCarthy tirade to the next. That’s a wise decision: her sassy delivery and take-no-crap personality make her an audience favorite, and rightfully so. Rated R. 117 minutes.

Regal DeVargas, Santa Fe. (Robert Ker) THE HUNT When a little girl’s feelings are inadvertently hurt by a family friend who is her kindergarten teacher, she makes up a story of sexual abuse. Lucas (Mads Mikkelsen) is a popular local figure in his rural Danish community, but the accusation quickly takes on the weight of conviction, and he becomes

The Spectacular Now

a pariah. Mikkelsen won Best Actor at Cannes for his powerful portrayal of an innocent man savaged by the onslaught of local hysteria. Director Thomas Vinterberg, who in his 1998 The Celebration explored the darkness of child sexual abuse, here takes a look at another side of the issue. Rated R. 110 minutes.

In Danish with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) JOBS Apple co-founder Steve Jobs was so beloved that he could be said to have followers rather than fans.

It’s unclear whether his followers will take to having one of the dudes from Dude, Where’s My Car? (Ashton Kutcher) play him in this biopic. Rated PG-13.

125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) kICk-aSS 2 This sequel to the colorful, violent 2010 adaptation of Mark Millar’s popular comic book wants so desperately to be a future cult classic that it’s doomed to fail. Instead, the average-bloke superhero story (starring Aaron TaylorJohnson, Chloë Grace Moretz, and Jim Carrey) is gross, mean-spirited, sexist, racist, and stupid. It’s more The Toxic Avenger than The Avengers, without Troma’s grindhouse glee. Rated R. 107 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE LONE RaNGER The titular hero (Armie Hammer) and his faithful Comanche friend Tonto ( Johnny Depp) take on the railroad, the cavalry, bad guys led by a cannibalistic continued on Page 64 PASATIEMPOMAGAZINE.COM

63

MOVING IMAGES pasa pics

continued from Page 63

Butch Cavendish, and a host of other creeps in this fast-moving but curiously unexciting retelling of the classic tale. That the movie is terrible is disappointing, given that most of the creative talent was also involved with the successful and frequently entertaining Pirates of the Caribbean film franchise.

Rated PG-13. 149 minutes. Regal DeVargas, Santa Fe. (Robert Nott) THE MORTAL INSTRUMENTS: CITY OF BONES Another fantasy series that you probably haven’t heard of unless you’re 14 or a parent hits the big screen. The first book in the series centers on a girl (Lily Collins) who discovers she’s a Shadowhunter.

The job has its drawbacks, such as having to fight powerful demons. It also has its perks, such as hanging out with hunks ( Jamie Campbell Bower). Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MUSEUM HOURS Working as a guard in a museum can be an intensely meditative and introspective experience.

Befriending a patron named Anne (Mary Margaret O’Hara) gives Johann (Bobby Sommer), a guard at Vienna’s Kunsthistorisches Museum, an opportunity to reinvigorate his life while sharing insights into art and existence. Johann tours Vienna with Anne and gains a richer understanding of and appreciation for his city and the timeless spirit that animates it today, as it did in the time of Pieter Bruegel the Elder. Not rated.

107 minutes. In English and German with subtitles.

The Screen, Santa Fe. (Michael Abatemarco) PARANOIA Liam Hemsworth plays a blue-collar Brooklynite who takes a job as a corporate spy and enjoys the meteoric rise to wealth until he finds that he’s a pawn in a nasty game between rival CEOs (played by Gary Oldman and Harrison Ford).

Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PERCY JACKSON: SEA OF MONSTERS Now that Harry Potter has hung up his broomstick, Percy Jackson (Logan Lerman), basically Potter in a world full of Greek gods instead of wizards, fills the void and finds the Golden Fleece in this sequel to his 2010

spicy

medium

bland

heartburn

mild

Read Pasa Pics online at www.pasatiempomagazine.com

64

PASATIEMPO I August 23 -29, 2013

film. Rated PG. 107 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) PLANES This animated film looks exactly like Pixar’s Cars — right down to the underdog story and the uncomfortable stereotypes — and is even said to take place in the same world as Cars. The only major difference can be found in the film’s title. Rated PG. 92 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) RED 2 Bruce Willis, John Malkovich, and Helen Mirren again play former intelligence agents who come out of retirement for yet another “last job.” The experience among the cast is one of the film’s major draws, but the movie itself is a throwback to when action films featured heroes and heroines who are not tortured or weak but rather charming and often in control. The plot is a bunch of gobbledygook, but the humor connects, and the action sequences are exciting. Rated PG-13.

116 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE SMURFS 2 Just when it looked like Grown Ups 2 would be the worst movie of the summer, this little-loved sequel to the 2011 stinkfest showed its smurfing face. Rated PG. 105 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) TIGER EYES After Davey’s father is killed, her mother moves the family across the country to New Mexico for an extended stay at her aunt and uncle’s house. Judy Blume’s beloved coming-of-age novel was adapted for the screen by the author and her son Lawrence Blume, who also directs. The film is set in Los Alamos and Santa Fe, so local actors abound. Judy Blume is scheduled to attend the 3:30 p.m. Saturday, Aug. 24, screening. Rated PG-13. 92 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send you out of the theater wondering about that barrier that kept them from headliner stardom. But Morgan Neville’s documentary brings these singers front and center, and it’s glorious.

Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) 2 GUNS Mark Wahlberg and Denzel Washington play men who pull off a bank heist — only to find out that they’re both cops who have been tricked into pulling off the robbery, not knowing the other is also under-

cover. The two then team up to find the people that set them up. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE WALL This movie is an existential treatment of the loneliness and isolation of the human condition. A city woman (Martina Gedeck) comes to a remote hunting lodge with friends, who decide to walk into the nearby village. When they don’t return, the woman sets out to look for them, and comes up against an invisible wall. She’s alone within an enclosure, and the world outside seems to have been wiped out, and so she must turn her city hands to survival skills. Not rated.

110 minutes. In German with subtitles. The Screen, Santa Fe. ( Jonathan Richards) THE WAY WAY BACK The latest indie comedy to probe the hot, hazy months of one’s teen years stars Liam James as 14-year-old Duncan, who is living with his mom (Toni Collette) and her boyfriend (Steve Carell) for the summer and working at a water park, where he learns about life from his manager (Sam Rockwell). Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) WE’RE THE MILLERS A stripper ( Jennifer Aniston) and a pot dealer ( Jason Sudeikis) join up, recruit a couple of kids, and pretend to be a family so they can sneak drugs across the border from Mexico. The plan does not go off without hitches or high jinks.

Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE WOLVERINE The second solo movie for Hugh Jackman’s hairy hero (after 2009’s crummy X-Men Origins: Wolverine) takes the saga to Japan and surrounds Wolvie with women. This change of setting is welcome in the stale superhero genre, but as with most cape films, it could sorely use a sense of style.

That Wolverine is dull as dirt and Jackman could now play him in his sleep doesn’t help. Rated PG-13.

129 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker)

other screenings Center for Contemporary Arts 11 a.m. Friday to Sunday, Aug. 23 to 25: Yoyo.

4 p.m. Saturday, Aug. 24: A Walk To Beautiful.

Regal Stadium 14 10 p.m. Thursday, Aug. 29: Getaway.

7 p.m., 9 p.m., and 10 p.m. Thursday, Aug. 29: One Direction: This Is Us 3-D. ◀

Alec Baldwin

What’s shoWing

Cate Blanchett

Bobby Louis C.K. Cannavale

Sally Michael Peter Hawkins Sarsgaard Stuhlbarg

Andrew Dice Clay

“Grade A. Powerful and Enthralling.”

(Highest Rating)

-Owen Gleiberman, ENTERTAINMENT WEEKLY

Call theaters or check websites to confirm screening times.

CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Fri. 1 p.m., 3 p.m.

Sat. 1 p.m. Sun. to Thurs. 1 p.m., 3 p.m.

The Hunt (R) Fri. to Thurs. 7 p.m.

Prince Avalanche (R) Fri. 5 p.m., 8 p.m. Sat. 8 p.m.

Sun. to Thurs. 5 p.m., 8 p.m.

Tiger Eyes (PG-13) Fri. 12 p.m. Sat. 3:30 p.m.

Sun. 12 p.m.

Unfinished Song (PG-13) Fri. 2 p.m., 4 p.m., 6 p.m.

Sat. 11:30 a.m., 1:30 p.m., 6 p.m. Sun. to Thurs.

2 p.m., 4 p.m., 6 p.m.

A Walk to Beautiful (NR) Sat. 4 p.m.

Yo Yo (NR) Fri. to Sun. 11 a.m.

One Direction:This Is Us 3D (PG) Thurs. 7 p.m.,

9 p.m., 10 p.m.

Paranoia (PG-13) Fri. to Wed. 7:55 p.m., 10:30 p.m.

Percy Jackson: Sea of Monsters (PG) Fri. to Wed. 1:40 p.m., 4:30 p.m., 7:10 p.m., 9:50 p.m.

Planes (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5:15 p.m., 7:30 p.m., 9:50 p.m.

The Smurfs 2 (PG) Fri. to Wed. 12:20 p.m., 2:50 p.m., 5:25 p.m.

We’re the Millers (R) Fri. to Wed. 12 p.m., 2:40 p.m., 5:20 p.m., 8 p.m., 10:35 p.m.

The Wolverine (PG-13) Fri. to Wed. 1:50 p.m., 4:55 p.m., 7:50 p.m., 10:40 p.m.

The World’s End (R) Fri. to Wed. 12:10 p.m., 3 p.m., 5:35 p.m., 8:10 p.m., 10:45 p.m.

You’re Next (R) Fri. to Wed. 12:15 p.m., 2:45 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m.

JeAn CoCteAu CinemA

418 Montezuma Ave., 505-466-5528 www.jeancocteaucinema.com Downloaded (NR) Fri. 2 p.m., 6:30 p.m.

Sat. 4:15 p.m., 8:45 p.m. Sun. 2 p.m., 6:30 p.m.

Mon. 9 p.m. Tue. 7 p.m. Wed. 4:15 p.m., 9 p.m.

Thurs. 2 p.m., 7 p.m.

Kiss of the Damned (R) Fri. and Sat. 11 p.m.

An Oversimplification of Her Beauty (NR) Fri. 4:15 p.m., 8:45 p.m. Sat. 2 p.m., 6:30 p.m.

Sun. 4:15 p.m., 8:45 p.m. Mon. 7 p.m. Tue. 9 p.m.

Wed. 2 p.m., 7 p.m. Thurs. 4:15 p.m., 9 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, www.fandango.com Call theater or see website for times not shown.

Blue Jasmine (PG-13) Fri. and Sat. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m., 10:05 p.m. Sun. to Tue. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m.

Closed Circuit (R) Wed. and Thurs., call for times.

The Conjuring (R) Fri. and Sat. 4 p.m., 9:40 p.m.

Sun. to Tue. 4 p.m.

Fruitvale Station (R) Fri. to Tue. 4:10 p.m.

The Heat (R) Fri. and Sat. 1:30 p.m., 7:10 p.m., 9:50 p.m. Sun. to Tue. 1:30 p.m., 7:10 p.m.

The Lone Ranger (PG-13) Fri. to Tue. 12:50 p.m., 3:50 p.m., 6:50 p.m.

Red 2 (PG-13) Fri. to Tue. 1:20 p.m., 7 p.m.

The Spectacular Now (R) Fri. and Sat. 1:15 p.m., 3:25 p.m., 5:40 p.m., 7:55 p.m., 10:10 p.m. Sun. to Tue. 1:15 p.m., 3:25 p.m., 5:40 p.m., 7:55 p.m.

The Way,Way Back (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Tue. 1:40 p.m., 4:30 p.m., 7:30 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, www.fandango.com Call theater or see website for times not shown.

2 Guns (R) Fri. to Wed. 12:50 p.m., 4:10 p.m., 7:35 p.m., 10:20 p.m.

The Butler (PG-13) Fri. to Wed. 12:25 p.m., 3:45 p.m., 7 p.m., 10:05 p.m.

Despicable Me 2 (PG) Fri. to Wed. 12:05 p.m., 2:30 p.m., 5 p.m., 7:25 p.m., 9:55 p.m.

Elysium (R) Fri. to Wed. 1:10 p.m., 4 p.m., 7:30 p.m., 10:25 p.m.

Getaway (PG-13) 10 p.m.Thursday Jobs (PG-13) Fri. to Wed. 1 p.m., 4:15 p.m., 7:15 p.m., 10:15 p.m.

Kick-Ass 2 (R) Fri. to Wed. 1:45 p.m., 4:40 p.m., 7:40 p.m., 10:10 p.m.

The Mortal Instruments: City of Bones (PG-13) Fri. to Wed. 12:35 p.m., 3:35 p.m., 7:25 p.m., 10:30 p.m.

the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Crystal Fairy (NR) Fri. and Sat. 4:10 p.m., 8:15 p.m.

Sun. 7:30 p.m. Mon. to Thurs. 4:10 p.m., 8:15 p.m.

Deceptive Practice:The Mysteries and Mentors of Ricky Jay (NR) Sun. 3 p.m.

Museum Hours (NR) Fri. and Sat. 2 p.m.

Sun. 5:15 p.m. Mon. to Thurs. 2 p.m.

The Queen of Spades, From Gran Teatre del Liceu

(NR) Sun. 11 a.m.

The Wall (NR) Fri. 6:10 p.m. Sat. 11:45 a.m., 6:10 p.m. Mon. to Thurs. 6:10 p.m.

Storyteller dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 2 Guns (R) Fri. 5 p.m., 7:35 p.m., 10 p.m.

Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 10 p.m.

Sun. 2:30 p.m., 5 p.m., 7:35 p.m.

Mon. to Thurs. 5 p.m., 7:35 p.m.

The Butler (PG-13) Fri. 4:25 p.m., 7:05 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:25 p.m., 7:05 p.m., 9:45 p.m. Sun. 1:50 p.m., 4:25 p.m., 7:05 p.m.

Mon. to Thurs. 4:25 p.m., 7:05 p.m.

Jobs (PG-13) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m.

Sat. and Sun. 1:55 p.m., 4:40 p.m., 7:15 p.m.

Mon. to Thurs. 4:40 p.m., 7:15 p.m.

Kick-Ass 2 (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.

The Mortal Instruments: City of Bones (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m.

Paranoia (PG-13) Fri. 4:35 p.m., 7:25 p.m., 9:55 p.m.

Sat. 2:15 p.m., 4:35 p.m., 7:25 p.m., 9:55 p.m.

Sun. 2:15 p.m., 4:35 p.m., 7:25 p.m.

Mon. to Thurs. 4:35 p.m., 7:25 p.m.

Planes (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m.

Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

The Smurfs 2 (PG) Fri. 4:40 p.m., 6:55 p.m., 9:25 p.m.

Sat. 2:10 p.m., 4:40 p.m., 6:55 p.m., 9:25 p.m.

Sun. 2:10 p.m., 4:40 p.m., 6:55 p.m.

Mon. to Thurs. 4:40 p.m., 6:55 p.m.

We’re the Millers (R) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:20 p.m.

Mon. to Thurs. 4:50 p.m., 7:20 p.m.

You’re Next (R) Fri. 4:45 p.m., 7:40 p.m., 9:50 p.m.

Sat. 2:25 p.m., 4:45 p.m., 7:40 p.m., 9:50 p.m.

Sun. 2:25 p.m., 4:45 p.m., 7:40 p.m.

Mon. to Thurs. 4:45 p.m., 7:40 p.m.

Written and Directed by Woody Allen www.sonyclassics.com

EXCLUSIVE ENGAGEMENT Santa Fe

STARTS TODAY

UA De VArgAs MAll 6 (800) FANDANGO #608

The New York Times

VIEW THE TRAILER AT WWW.BLUEJASMINEFILM.COM

“

TERENCE STAMP AND VANESSA REDGRAVE GIVE OSCAR -WORTHY PERFORMANCES!” ®

Rex Reed

a TOUCHING and JOYOUS movIe!”

“

Academy Award nominee

Academy Award Winner

®

®

GemmA

Terence

aRteRton

Stamp

chrisTopher

eccleSton

VAnessA

RedgRave

Unfinished sOnG WiTh

DIRECTEDBYPAULANDREWWILLIAMS KENMARSHALL PHILIPMOROSS WRITTENAND

PRODUCED BY

www.UnfinishedSongMovie.com

EXCLUSIVE ENGAGEMENT

STARTS TODAY!

Santa Fe The Center For Contemporary Arts (505) 982-1338

ARTWORK©2013 THEWEINSTEINCOMPANY. ALLRIGHTSRESERVED.

CHECK DIRECTORIES FOR SHOWTIMES NO PASSES ACCEPTED

“a Film uNliKE aNY NOW OuT THERE. “Remarkably gripping and rich.

A genuine affirmation of taking the road less travelled.”

– Jonathan Robbins, Film Comment

“a RaRE aNd PEculiaR FORm OF dEliGHT.” – A.o. Scott, the new yoRk timeS

“a WORK OF EccENTRic BuT OFTEN PROFOuNd BEauTY. weird and wonderful, a refreshing movie that looks and sounds only like itself.”

– Ann hornaday, wAShington PoSt

Paul Rudd

EmilE HiRscH

written for the screen and directed by DAVID GORDON GREEN mAGpIctuREs.cOm/pRINcEAVAlANchE

EXclusiVE ENGaGEmENT

sTaRTs TOdaY

Santa Fe FRI & SUN, MON-THU: The Center For Contemporary Arts 5:00 & 8:00 PM SAT: 8:00 PM (505) 982-1338

PASATIEMPOMAGAZINE.COM

65

RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Local mojo Joe’s Dining 2801 Rodeo Road, 471-3800 7:30 a.m.-9 p.m. daily; Sunday brunch 9 a.m.-2 p.m.

Takeout available Vegetarian options Handicapped-accessible Noise level: pleasant Beer & wine Credit cards, local checks

•

The Short Order Despite the diner décor, Joe’s Dining isn’t your typical hash house. Emphasizing dishes made with local organic ingredients, it offers an ever-changing array of daily specials as well as regular items like grilled salmon and rack of lamb. The house-made mozzarella graces salads and pizzas; the Italian sausage is house-made as well.

A warm “local farmers’ bounty salad” special shows how skillfully the seasonal, locally sourced ingredients are prepared and combined. It’s also the place for those who cherish the full flavor of grass-fed beef, lamb, and bison. Heirloom tomatoes rule in season, and even breakfast items have New Mexico-produced ingredients. Not everything is stellar, and the service can be off at times, but there’s wonderful eating to be done here. Recommended: blue-corn piñon pancakes, Greek lamb burger, chopped beef entree, lamb shank, and fruit pies.

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.

66

PASATIEMPO I August 23 -29, 2013

There’s good reason to like Joe’s Dining even before your food arrives (and yes, it’s “Dining” rather than “Diner,” the diner décor notwithstanding). The menu declares a commitment to organic local foods. A menu insert lists the farms from which they have been purchased. A recent accounting included salad and braising greens from Camino de Paz School & Farm, purple potatoes from Matt Romero Farms, and ground lamb from Shepherd’s Lamb.

What Joe’s does with these ingredients is also worth liking. A “warm local farmers’ bounty salad” combined roasted purple potatoes and beets (the color of the beet juices complemented that of the potatoes) with chopped beet stems, braised Swiss chard, sweet onion, some slices of zucchini, kernels of fresh corn, a thick slice of turnip, and green peppers — all topped with rounds of Joe’s house-made mozzarella. Basically a big heap of wellcooked seasonal vegetables, it was more a main course than a salad and the best, most satisfying vegetarian dish I’ve had all summer.

Dirt-grown (not hydroponic) heirloom tomatoes are the centerpiece of Joe’s menu this time of year. Owner Roland Richter began using Monte Vista Organic Farm’s tomatoes back in 1996 when he ran Pizza Etc. They had been available less than a week when I had salad caprese — thick red and yellow slices oozing juice, blanketed by the mozzarella, topped with a spoonful of pesto, and dressed with fresh basil leaves. The combination of the slightly acidic, decidedly ripe tomatoes (the yellow one a bit more sharply flavored than the red), the dense texture and blank-slate taste of the cheese, and the pungent basil was a sensual summer experience, something to be savored slowly. Then there’s the pizza margherita, with a chewy crust cradling its chop of those fine tomatoes — which serves as a sauce — melted rounds of mozzarella, drops of pesto adding contrast in both color and flavor, and a multileafed sprig of basil planted at the center. Unless you grow your own tomatoes or buy them at the farmers market, it might be hard for you to imagine just how good these dishes are. Before tomato season, fine local greens and berries were dressed in a fruity vinaigrette.

The dinner specials, ranging from roast duck with house-made spaetzle and braised red cabbage to grilled mahi-mahi, change almost nightly. Regular entrees include Atlantic salmon and rack of lamb. There are pasta dishes — and not thick-red-gravy sort. The sweet fresh sauce that topped a plump vegetable lasagna was delightful. But the thin slices of zucchini and green pepper hardly made it as a filling and were overwhelmed by the cheese. The smoked brisket was less smoky than we would have liked ( Joe’s also smokes its own salmon for Sunday brunch), but the wonderful meat of a lamb shank with caramelized onions slid gently from the bone in fork-perfect shards. The chopped beef steak, cooked to medium as we’d ordered it, was intriguingly seasoned,

just slightly chewy, and carrying that recognizably rich taste of grass-fed meat. A lamb burger at lunch was equally flavorful and juicy, the Tucumcari feta and the chopped kalamata olives that dressed it creating welcome contrasts with the lamb’s fine flavor. The local slant even appears at breakfast. Wonderful blue-corn pancakes scattered with piñon and accompanied by a couple of patties of house-made Italian sausage kept me smiling all day.

Just when you’re ready to fall for Joe’s charms and offer complete devotion, it gives you reason to think twice.

The house-made potato chips were soggy a couple of times. The breadsticks that came with our lasagna were somewhat stale and impossibly stiff on one side. Another time they were hot from the oven and perfect, but the accompanying flatbread was almost limp.

And while we’ve had some wonderful service here, we’ve also had some puzzling moments. One evening, our server didn’t bother to clear away our entree dishes before bringing over the desert tray, which was then tilted right into the clutter, everything seemingly oozing south. On another visit, we ordered a special of grilled yellowtail tuna, only to be warned that there had been complaints about its fishiness. Shouldn’t a dish like that be taken off the menu? Another time a server offered banana cream pie but then talked us out of it, saying it hadn’t set up and was a messy blob. I like formality less than a lot of people, but a little more fine-dining attitude rather than diner la-di-da would better suit Joe’s, its high-quality ingredients, and its mostly attentive preparations. ◀

Check, please

Dinner for three at Joe’s Dining: Vegetarian focaccia appetizer special ..................... $ 10.49 Berry salad ............................................................. $ 15.00 10-inch “Giovanni” pizza ...................................... $ 15.95 Lamb shank ........................................................... $ 24.00 Slice, berry pie ....................................................... $ 5.95 Slice, chocolate mousse pie ................................... $ 5.95 Glass, Barefoot pinot grigio ................................... $ 6.50 TOTAL ................................................................... $ 83.84 (before tax and tip) Dinner for two, another visit: Caprese salad ......................................................... $ 8.00 Warm local farmer’s bounty salad .......................... $ 15.00 Vegetarian lasagna ................................................. $ 11.99 10-inch margherita pizza ....................................... $ 15.00 TOTAL ................................................................... $ 49.99 (before tax and tip)

santafe realestateguide .com now on santafenewmexican.com Sunday, April 28, 2013 THE NEW MEXICAN

E-9

open«houses TODAY

e Rd Tesuq Ca En mino ca ntad

SANTA FE SUMMIT

o

Lodg e ho

ps

SIERRA DEL NORTE

Rd

cis t Fr an

599

HYDE PARK ESTATES

De

Vi

stas

N

ALDEA

THE HILLS & VILLAS AT BISHOP’S LODGE

LAS ESTRELLAS

Dr

rra

rk

Tie

Bis

LA MARIPOSA

La

Pa

mino

de

TIERRA PRECIOSA

Ca

s Dr

Hy

na

Rd

in

pa

no

Rd

rra La Tie

La

m s Ca

SANGRE DE CRISTO ESTATES

Ta

Camino De Los Montoyas

eo De Pas SALVA TIERRA

Parksi de Dr LAS CAMPANAS

84 285

MONTE SERENO

top

E Estra

asa

ge

asa

da Calab

lab

Tierra

S Rid

a Ca

Tano Norte

SANTA FE OPERA

rad

RANCHO ENCANTADO

Old Taos Hwy

Est

Camino La

PUEBLO ENCANTADA

Sa

W

LA TIERRA

VISTA REDONDO

ue Villag

TAOS

E Alamed

a St

y

se o

ial

Pa

Hw

LOS CERROS COLORADOS

P

mor

TIERRA DE ORO

teran s Me

Ag

Fria

Gra

Rd

nt Rd

er Sil

St Michaels Dr

Rd

rri

Ce

llo

Rd

s Rd

S Saint Francis Dr

ISIDRO VILLAGE

599

Rodeo Rd

Airport Rd

yon Can

St

s Trail

l Oro

ua

St

ge Osa

a De

da

me

W Ala

Ve

N Caj

Old Peco

MARTY SANCHEZ GOLF COURSE

PARK PLAZA

TIERRA CONTENTA

DEL

SOL

Ol d nt Sa

VILLA BLO SONATA PUE

ARROYO HONDO I-25

HO ND O

HI

Old

LA PRADERA

ail Tr

I-25

a Fe

Richards Ave

Paseo Del Sol

LL

S

Las

OSHARA VILLAGE

CANADA DE LOS ALAMOS

Veg

as Hw

SUNLIT HILLS

y

SANTA FE COMMUNITY COLLEGE

RANCHO VIEJO

NORTH WEST

K-12 Encantando Loop

tad

ISTE O Elect ra

GAL

Calle

Y& LAM TO

Cal ien toR d

LOS VAQUEROS

Cue sta

ida Ca

Rd

De

Aster

sa l Or

Monterey Rd

o

Avenida Eldorado

Torreo nLaP azLoo p

Abanic oRd

Enebro

Rd Mariposa

Rd

Roa d

oRd Jueg

VaqueroRd

ad HerradaRo

uraRd Avent

Y

Rd

S HW GA

Alo ndr aRd

res

pad Com

Jornada Loop

on orre AveT

De

en Av

Estam bre

MoyaLoop

Avenida Vista Grande aRd riet Glo

nida

Vaque roTrl

Princi pe

Alma Dr

De

Paz

Condesa Ct

LAS NUBES

CIMARRON

Jacint oRoa d

Ave Las Nubes

TrenVia

CALL 986-3000

MoyaRd

Frasco Rd

Gavilan Rd

o Cerrad Loop

Ave

So can you with a classified ad

De Amis

S VE LA

Garbosa

Balsa Rd

O-14

WE GET RESULTS!

I-25

Ave

CamCabo

Verano Loop

Lucero Rd

1:00PM-3:00PM - 17 Plaza Del Corazon - An adobe jewel box, flagstone floors, plastered interior walls, four kiva fireplaces, beautiful ceiling treatments in every room & the magical location overlooking the lake and the two finishing holes $650,000. MLS 201300262. (2 br, 3 ba, Las Campanas Drive to Plaza del Corazon turn left.

The home is on the left. This is the Nambe Casita.) Suzy Eskridge 505-310-4116 Santa Fe Properties.

1:00PM-4:00PM - 7 Sendero Centro, Club Casitas, Las Campanas - Sweeping golf course/lake views!

Main residence + private guest casita - Club Casitas area. Newly finished/never occupied. Large kitchen.

High end finishes throughout.

No steps. www.7senderocentro.com $1,295,000. MLS 201300298. ((Main entrance to Las Campanas Clubhouse). Clubhouse Drive, left at Casitas to Plaza Del Corazon, left on Sendero Centro. First house on left.) Nancy Lehrer 505490-9565 Bell Tower Properties, LLC.

ELDORADO

R R AlcaladeRd

Camerada Loop

Rd

N-28 2:30PM-5:00PM - 6 Vista de la Vida - Luxury 4549 sqft home ideal for guests and entertaining includes 3 BR/4 BA, office, family/media room, fitness center & workshop. Wide plank Nortic pine & travertine stone floors, vigas, 4 fireplaces. $1,150,000. MLS 201301256. (Camino La Tierra, right on Fin del Sendero. Right on Lluvia de Oro, right on Bella Loma. Right on Vista de Esperanza, left on Vista de La Vida. House is on the left.) Matt Desmond 505-670-1289 Santa Fe Properties.

D OL

1:30PM-4:30PM - 3 Campo Rancheros - Stunning 5536 sq ft Western Mountain-style home in the Estancias, built by Roger Hunter with Spectacular Jemez and Sangre de Cristo mountain views. Pitched roof, stone/ wood finishes, entry rotunda. $1,495,000. MLS 201300813.

(599 - rt @ Camino La Tierra, 2 miles rt @ first Y, rt @ second Y after Parkside Drive (do NOT go under the Bridge). Stay on Camino La Tierra, past Trailhead, rt @ Campo Rancheros.) Tim Galvin 505-795-5990 Sotheby’s International Realty.

Mimosa

Flip through the print version of home Real Estate Guide on your tablet or computer.

Cam Acote

CIELO COLORADO

O-15

P-19

Q-29

1:00PM-4:00PM - 19 Camino De Colores/Las M e l o d i a s - Style and value are now available in Las Campanas. Each of the 22 developed lots are sited to maximize panoramic views. Each home is quality constructed; choose from 5 floor plans. $434,000. MLS 201201818. (From 599, exit off on Camino La Tierra (Las Campanas), follow signage to Las Melodias, make a right at Paseo Aragon (at gate contact Realtor), make a right onto Camino de Colores. Model home on left.) Gary Bobolsky 505-470-0927 Sotheby’s International Realty.

1:00PM-4:00PM - 14 Rising Moon, Las Campanas Magnificent Sangre de Cristo views! Beautiful, well constructed "adobe" home! 3BR/4BA/3767’ with multiple patios/portals. Versatile floor plan with a few interior steps. 2.42 AC www.14risingmoon.com $975,000. MLS 201301196. (Las Campanas Drive, left on Koshari, 2nd left on Rising Moon, #14 on left.) Tom Shaw, Host 512-7555270 Bell Tower Properties, LLC.

12:00PM-5:00PM - 709 Luna Vista - Open Fri-Mon. Stop by and we’ll show you the details of our quality construction at Piñon Ridge. Address is model home not for sale. Poplar floor plan available. 254,900 $254,900. (Take 599 Bypass, exit onto Ridge Top Road and head north.

Turn right on Avenida Rincon, follow around to Camino Francisca, turn right on Luna Vista. Follow signs to open house.) Carmen Flores 505-699-4252 Homewise, Inc.

Download The New Mexican’s open house locator map.

You turn to us.

PASATIEMPOMAGAZINE.COM

67

pasa week Friday, Aug. 23

Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico Crypto-Jews, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 424-1601, final weekend.

Starting Here, Starting Now Greer Garson Theatre’s student production of Richard Maltby Jr. and David Shire’s musical revue, 7 p.m., Weckesser Studio Theatre, SFUA&D, 1600 St. Michael’s Dr., $10, 988-1234, ticketssantafe.org, Friday-Sunday, through Sept. 1.

gallery/museum openings

Blue rain gallery 130-C Lincoln Ave., 954-9902. The Transcendental Tea Shop, new paintings by Roseta Santiago, reception 5-7 p.m., through Sept. 7. ellsworth gallery 215 E. Palace Ave., 989-7900. The Invisible Thread, paintings

by Elise Ansel, artist talk 3 p.m., reception 5-7 p.m., through Oct. 26 (see story, Page 46). gallery 822 822 Canyon Rd., 989-1700.

Heads & Tails Part II, horse-themed works

by Sandy Keller and Jane Chavez, reception 5 p.m. gebert Contemporary 558 Canyon Rd., 992-1100. Keiko Sadakane: Geometric Paintings After Piero della Francesca, reception 5-7 p.m., through Sept. 10. giacobbe-Fritz Fine art 702 Canyon Rd., 986-1156. Works by impressionist painters Connie Dillman and Deb Kaylor, reception 5-7 p.m., through Sept. 4. gVg Contemporary 202 Canyon Rd., 982-1494. Sculpniture, works

by Ernst Gruler, Jamie Monroe, and Dean Pulver, reception 5-7 p.m., through Sept. 16.

Hunter Kirkland Contemporary 200-B Canyon Rd., 984-2111. New paintings by Charlotte Foust; new work by sculptor Eric Boyer, reception 5-7 p.m., through Sept. 8. longworth gallery 530 Canyon Rd., 989-4210. Group show of works by gallery artists, grand opening 5:30-7:30 p.m. manitou galleries 225 Canyon Rd., 986-9833. The Iconic West, group show, reception 5 p.m., through Sept. 6. marji gallery 453 Cerrillos Rd., 983-1012. Expressionist paintings by Johannes Boekhoudt; work by glass artist Bruce Pizzichillo; Australian Aboriginal art, reception 6-8 p.m., through September. meyer gallery 225 Canyon Rd., 983-1434. Re-Collections, Southwest landscapes by Robert Daughters, reception 5-7 p.m., through Sept. 12. reflection gallery 201 Canyon Rd., 995-9795. His Spain, landscapes by Pedro Fraile, reception 5:30 p.m., through August. sr Brennen galleries 555 Canyon Rd., 428-0274. Paintings

by Graciela Rodo Boulanger, reception 5-6:30 p.m., through Aug. 30.

Turner Carroll 725 Canyon Rd., 986-9800.

New paintings by Rex Ray, reception 5-7 p.m., through Sept. 29.

Vivo Contemporary 725-A Canyon Rd., 982-1320. Momentum, group show, reception 5-7 p.m., through Oct. 8.

Pasa’s Little Black Book......... 69 Exhibitionism...................... 70 At the Galleries.................... 71 Museums & Art Spaces........ 71 In the Wings....................... 72

68

PASATIEMPO I August 23 -29, 2013

compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com

BooKs/TalKs

exhibit talk Santa Fe artist Peter Sarkisian discusses his mixed-media work, 5:30 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, 476-5068. melissa J. White and Joan logghe Author White launches Dizzy Sushi and poet Logghe reads from her works, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 18). museum of indian arts & Culture Breakfast With the Curators Museum curator Tony Chavarria closes the series with a discussion on the upcoming exhibit Heartbeat: Music of the Southwest, 8:30-10 a.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $35 advance tickets include breakfast and museum admission, 982-5057.

ouTdoors

Paintings by Darlene Olivia McElroy, at La Posada de Santa Fe Resort & Spa, 330 E. Palace Ave.

opera

The Marriage of Figaro In Mozart’s beloved evergreen, the relationships of three couples wax and wane against the shifting social mores of the late 18th century. The strong cast of this elegant production provides abundant musical and dramatic delight. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

ClassiCal musiC

TgiF recital Music of Bruch and Brahms, with cellist Sally Guenther, clarinetist Robert Marcus, and pianist Edwin Light, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext. 16.

in ConCerT

39th annual santa Fe Bluegrass and old Time music Festival opening night Headliners, Claire Lynch Band and Foghorn Stringband (see story, Page 34), New Mexico

Elsewhere............................ 74 People Who Need People..... 75 Under 21............................. 75 Pasa Kids............................ 75

bands include Hard Road Trio, Lost Howlin’ Coyotes, and the Bill Hearne Trio, 6-11 p.m., Santa Fe County Fairgrounds, 3229 Rodeo Rd., $15-$40, three-day pass $50, advance tickets available online at southwestpickers-festival.org, continues Saturday and Sunday. santa Fe Bandstand season finale Local musicians: Boris & the Salt Licks, Americana, 6 p.m.; roots rock and blues guitarist Jono Manson, 7:15 p.m.; the Plaza.

THeaTer/danCe

stars of american Ballet Program I, Festival of Dance, 7:30 p.m., the Lensic, $20-$75, Santa Fe Concert Association box office, 984-8759, or ticketssantafe.org, 988-1234, Program II, Saturday (see story, Page 32).

Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, Tuesdays-Sundays through Sept. 1 (see review, Page 42).

santa Fe Botanical garden at museum Hill Community day 9 a.m.-5 p.m., 715 Camino Lejo, $5, New Mexico residents and students no charge, santafebotanicalgarden.org.

Flea maKeTs

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 the year.

The santa Fe Flea at the downs 9 a.m.-3 p.m. Fridays through August, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.

nigHTliFe

(See Page 69 for addresses) Bishop’s lodge ranch resort & spa Jazz guitarist Pat Malone, 6-9 p.m., no cover.

Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el mesón The Three Faces of Jazz and Friends, featuring Bryan Lewison on drums, 7:30 p.m.-close, no cover.

Cowgirl BBQ Singer/songwriter Eric from Philly, 5-7:30 p.m.; Country Blues Revue, 8:30 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. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.

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

El Farol Rob-A-Lou’s bold school rockabilly show, 9 p.m., call for 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 Funk and R & B band Soulstatic, 8-11 p.m., no cover.

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

Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe Jazz off the Plaza, Loren Bienvenu on drums, Justin Bransford on bass, and Alex Candelaria on guitar, 9:30 p.m.-close, no cover.

The Palace Restaurant & Saloon C.S. Rockshow with Don Curry, Pete Springer, and Ron Crowder, 9:30 p.m., call for cover.

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

Rouge Cat Gender-bending cabaret singer Bella Gigante, 8:30 p.m., call for cover.

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

Second Street Brewery at the Railyard Alto Street Band, irreverent bluegrass, 7 p.m., no cover.

Tiny’s Guitarist Chris Abeyta, easy listening, 5:30 p.m.; classic-rock band The Jakes, 8:30 p.m.; no cover.

Tortilla Flats Singer/songwriter Gary Vigil, acoustic rock, 6-9 p.m., no cover.

The Underground at Evangelo’s Rock cover band Chango and DJ Guttermouth, 9 p.m., call for cover.

Upper Crust Pizza Balladeer J. Michael Combs, ranchera, folk, and honky-tonk, 6-9 p.m.; country-folk acoustic duo EagleStar, 7-8 p.m.; no cover.

Vanessie Pianists Doug Montgomery, jazz and classics, 6-8 p.m.; Todd Lowry, 8 p.m.-close; call for cover.

24 Saturday GaLLERy/mUSEUm oPEnInGS

Photo-eye Bookstore 370-A Garcia St., 988-5159. The Green Fuse, photographer Patricia Galagan’s post-wildfire forest studies, through Oct. 18.

oPERa

Grand Duchess of Gerolstein Offenbach’s operetta about military shenanigans is mighty slight stuff, but Lee Blakeley has directed it to a fare-thee-well, the cast sings and dances with frothy élan, and mezzo-soprano Susan Graham invests it with impressive star power. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

In ConCERT

39th annual Santa Fe Bluegrass and old Time music Festival Headliners, Claire Lynch Band and Foghorn Stringband (see story, Page 34), New Mexico bands include Hard Road Trio, Lost Howlin’ Coyotes, and the Bill Hearne Trio, 9 a.m.-10 p.m., Santa Fe County

Fairgrounds, 3229 Rodeo Rd., $15-$40, threeday pass $50, advance tickets available online at southwestpickers-festival.org.

THEaTER/danCE

Stars of the american Ballet Program II, Festival of Dance, 7:30 p.m., pre-performance talk by Daniel Ulbricht 6:30 p.m., the Lensic, $20-$75, Santa Fe Concert Association box office, 984-8759, or ticketssantafe.org, 988-1234, (see story, Page 32).

Juan Siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, TuesdaysSundays through Sept. 1 (see review, Page 42).

Julesworks Follies The monthly variety show series continues with Gregg Turner’s band, writer Trent Zelazny, and others, 7 p.m., Aztec Café, 317 Aztec St., tickets sold at the door, call 310-9997 for more information.

Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico Crypto-Jews, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 424-1601, final weekend.

Starting Here, Starting Now Greer Garson Theatre’s student production of Richard Maltby Jr. and David Shire’s musical revue, 7 p.m., Weckesser Studio Theatre, SFUA&D, 1600 St. Michael’s Dr., $10, 988-1234, ticketssantafe.org, Friday-Sunday, through Sept. 1.

BookS/TaLkS

Beyond al-Qa’ida: different Faces of Political Islam and Why It matters to Us Talk by Emile Nakhleh, former CIA senior officer and UNM research professor, 3 p.m., Santa Fe

Woman’s Club, 1616 Old Pecos Trail, $20, hosted by Santa Fe Council on International Relations, 982-4931. death and dancing in the niger delta Slide presentation by Bobbie Sumberg, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.

Jim Hightower The national radio commentator is the guest speaker at a fundraising event for KSFR Radio, 5:30 p.m., Museum Hill Café, $35, 428-1527.

Lauren P. della monica The author signs copies of Painted Landscapes: Contemporary Views, 2 p.m., Gerald Peters Gallery, 1011 Paseo de Peralta, 954-5700

oUTdooRS

Pajarito Canyon nail Trail Loop hike Hosted by Los Alamos’ Pajarito Environmental Education Center, 9 a.m., 3540 Orange St., call for details and to register, 662-0460, no charge.

EVEnTS

Santa Fe artists market 8 a.m.-1 p.m.

Saturdays at Railyard Park across from the Farmers Market, through November, 310-1555.

Santa Fe Farmers market 7 a.m.-noon; 1607 Paseo de Peralta, 983-4098.

Santa Fe opera Insider day Opera Guild members offer insights into productions and behind-the-scenes processes at no charge; refreshments 8:30 a.m., discussion and backstage tour 8:45 a.m., meet at the box office, 986-5900, visit santafeopera.org for complete schedule of community events.

Santa Fe Society of artists Show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.

pasa week

d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa tec St., 820-0150 317 aztec 317 Az the Inn agoyo Lounge at E. Alameda St., 3 30 a ed on the alam 1 12 4-2 98 nter dinner agora Shopping Ce Vista Grande, 466-1270 courtyard 7 Avenida Betterday Coffee 5-1234 55 905 W. Alameda St., nch Resort & Spa Ra e dg Lo ’s Bishop Rd., 983-6377 e dg Lo 1297 Bishops Café Café 6-1391 500 Sandoval St., 46 ó Casa Chimay 8-0391 409 W. Water St., 42 ón es ¡Chispa! at El m 983-6756 e., Av ton ing 213 Wash Cowgirl BBQ , 982-2565 319 S. Guadalupe St. te Café The den at Coyo 3-1615 132 W. Water St., 98 lton El Cañon at the Hi 811 8-2 98 , St. al ov nd Sa 0 10 Spa Eldorado Hotel & St., 988-4455 o isc nc Fra n Sa .

309 W

Pasa’s little black book ill El Paseo Bar & Gr 848 2-2 208 Galisteo St., 99 El Farol 3-9912 808 Canyon Rd., 98 Evangelo’s o St., 982-9014 200 W. San Francisc Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt Ca na Se La Casa 988-9232 125 E. Palace Ave., at La Fonda La Fiesta Lounge , 982-5511 St. 100 E. San Francisco a Fe Resort nt La Posada de Sa e Ave., 986-0000 lac Pa E. 0 33 a and Sp at the The Legal Tender eum us m d oa ilr Lamy Ra 466-1650 151 Old Lamy Trail, g arts Center in rm Lensic Perfo o St., 988-1234 211 W. San Francisc e Lodge Th Lodge Lounge at Francis Dr., St. N. 0 75 Fe a at Sant 992-5800 l rider Bar at Hote Low ’n’ Slow Low Fe 125 Washington a Chimayó de Sant Ave., 988-4900

The matador 116 W. San Francisco St., 984-5050 The mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 molly’s kitchen & Lounge 1611 Calle Lorca, 983-7577 museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 music Room at Garrett’s desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030

continued on Page 73

Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 988-3333 Sweetwater Harvest kitchen 1512-B Pacheco St., 795-7383 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at Evangelo’s 200 W. San Francisco St., 819-1597 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia diner 326 S. Guadalupe St., 988-7008

PASATIEMPOMAGAZINE.COM

69

exhibitionism

A peek at what’s showing around town

Patricia Galagan: Goldeneye, 2013, archival pigment ink print.

Photographer Patricia Galagan’s exhibition The Green Fuse documents the short- and long-term effects of forest fires, with significant attention paid to new growth and cycles of regeneration. The show opens at Photo-eye Bookstore (370-A Garcia St., 988-5152) on Saturday, Aug. 24.

Roseta santiago: Santa Fe, 2013, oil on canvas.

Roseta Santiago renders still lifes and portraits with a sense of mystery, reverence, and beauty. “In conjuring up my compositions, I synthesize imagined and live subjects, bringing them seamlessly together in romantic and lyrical fashion,” she writes.

The Transcendental Tea Shop, an exhibit of her work at Blue Rain Gallery (130-C Lincoln Ave., 954-9902), opens on Friday, Aug. 23, with a 5 p.m. reception.

70

PASATIEMPO I August 23 -29, 2013

Linda Fillhardt: Unfurled Plume, 2013, mixed media. Four artists explore the concepts of motion and time in the exhibition Momentum at Vivo Contemporary (725 Canyon Road).

Linda Fillhardt, Russell Thurston, Pam Egan, and Marina Brownlow work in a variety of mediums, including sculpture, encaustic, and mixed media on paper.

The opening reception is at 5 p.m. on Friday, Aug. 23. Call 982-1320.

Keiko sadakane: Battesimo, 2013, acrylic on wood. Keiko Sadakane’s series, Geometric Painting After Piero della Francesca, is on view at Gebert Contemporary (558 Canyon Road, 992-1100). Sadakane’s paintings are colorful abstractions based on the underlying geometric patterns in the work of the Renaissance artist.

The reception is Friday, Aug. 23, at 5 p.m.

Robert Daughters: Grand Tetons, circa 2011, oil on canvas.

Meyer Gallery presents Re-Collections: A Lifetime of Masterworks, a selection of paintings by Robert Daughters.

His subjects include vibrant landscapes, botanicals, and architecture of the Southwest. The exhibition opens on Friday, Aug. 23, with a 5 p.m. reception. The gallery is at 225 Canyon Road. Call 983-1434.

At the GAlleries Addison Rowe Gallery 229 E. Marcy St., 982-1533. Works by early 20th-century Santa Fe artists known as the Transcendental Painting Group, through Sept. 6 (see review, Page 50).

Axle Contemporary 670-7612 or 670-5854. The Gesture Rendered, group show, visit axleart.com for van locations through Sept. 1.

Bindle Stick Studio 616½-B Canyon Rd., 917-679-8080. The Drifter: 2008-2013, recent works by Jeffrey Schweitzer (see story, Page 56).

Chiaroscuro Contemporary Art 702½ Canyon Rd., 992-0711. Headwater, Emmi Whitehorse’s paintings; contemporary Native group show, including Rick Bartow, Rose B. Simpson, and Harry Fonseca; through Sept. 14 .

David Richard Gallery 544 S. Guadalupe St., 983-9555. Ted Larson: Some Assembly Required; Peter Demos: Ten Paintings; Matthew Penkala: There’s No Shame in It; Lilly Fenichel: High Contrast; through Sept. 7.

Evoke Contemporary 130-F Lincoln Ave., 995-9902. Retrospective of work by the late New Mexico landscape artist Louisa McElwain, through August.

Jane Sauer Gallery 652 Canyon Rd., 995-8513. Abstract Rhythms, ceramic sculpture by Sheryl Zacharia, through Sept. 16.

La Posada de Santa Fe Resort and Spa 330 E. Palace Ave., 986-0000. Mixed-media paintings by Darlene Olivia McElroy, through mid-September.

Legends Santa Fe 125 Lincoln Ave., 983-5639. Totem and the Animal Within, works by Marla Allison and Robert Spooner Marcus, through Sept. 16.

New paintings by Ben Wright, through Sept. 18.

Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Those Who Dared, portraits of historical figures and other noteworthy individuals, through Sept. 22.

New Concept Gallery 610-A Canyon Rd., 795-7570. Ethnic Pottery Prints, etchings and collagraphs by Julia Roberts, through Sept. 2.

Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Idioms, work by abstract artist Charles Green Shaw (1892-1974), through Sept. 3.

Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Soul of Science, drawings and paintings by Daniel Martin Diaz, through August. Dream Catchers, paintings by Joel Nakamura, through August.

Santa Fe Art Institute SFUA&D, 1600 St. Michael’s Dr., 424-5050.

Anishnaabensag Biimskowebshkigewag (Native Kids Ride Bikes), installation by Métis artist Dylan Miner, through Sept. 27.

Santa Fe Clay 545 Camino de la Familia, 984-1122. Works by ceramicists Priscilla Mouritzen, Monica Rudquist, and Hide Sadohara, through Sept. 7.

Scheinbaum & Russek 369 Montezuma Ave., Suite 346, 988-5116.

Retrospective exhibit of work by photographer Jerry Uelsmann, through August.

TAI Gallery 1601-B Paseo de Peralta, 984-1387.

Fushi, bamboo baskets by Fujinuma Noboru, through Saturday, Aug. 24.

Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Two Generations of Master Tanba Pottery, works

by Tadashi Nishihata and Haruna Nishihata, through Saturday, Aug. 24.

Verve Gallery of Photography 219 E. Marcy St., 982-5009. Figures Studied, 10th anniversary group show, through August.

William & Joseph Gallery 727 Canyon Rd., 982-9404. Rhythms in Geometry, new work by sculptor Laird Hovland, through August.

William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Modernist Printmaking in the Southwest, 1920-1950, including works

by Emil Bisttram, Gerald Cassidy, and Gene Kloss, through August. Indian Summer, 1830-1940, works by Karl Bodmer, George Catlin, Peter Moran, and Datus Myers, through Sept. 7.

William Siegal Gallery 540 S. Guadalupe St., 820-3300. Nauticus, works by Karen Gunderson, David Henderson, and Tom Waldron, through Sept. 14.

Yares Art Projects 123 Grant Ave., 984-0044. Radiance + Reflection: Stain Paintings + Drawings, work by Jules Olitski (1922-2007); The Mujer Pegada Series, sculpture and works on paper by Manuel Neri; through Saturday, Aug. 24.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. New work by jewelers Yazzie Johnson and Gail Bird, through Sept. 21.

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. Making Places, interdisciplinary installation by Linda Fleming and Michael S. Moore, through Sept. 22. Gallery hours available online at ccasantafe.org or by phone, no charge.

El Rancho de las Golondrinas 334 Los Pinos Rd., 471-2261. Living history museum and historic paraje on El Camino Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge.

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Works from students of the museum’s 2013 Art & Leadership Programs for Girls and Boys, through Sept. 6 • Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.-5 p.m.

Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Changing Hands: Art Without Reservations 3/Contemporary Native North American Art From the Northeast and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines; Cannupahanska Luger: Stereotype: Misconceptions of the Native American. Open 10 a.m.-5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

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

What’s New in New: Recent Acquisitions, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions.

Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays.

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

Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, collection of toys and 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; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays; school groups no charge.

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

Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • Stations of the Cross, works by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works

by Spanish Market artists, through August • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation.

Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; no charge for NM residents on Sundays.

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

Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. TuesdaySunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings

by Helen Hardin (1943-1984), through September. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission.

Poeh Museum Fashion designs by Patricia Michaels, through November. 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted.

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

Enrique Martínez Celaya: The Pearl, site-specific installation, through Oct. 13. Open 10 a.m.5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; $10; seniors and students $5; 10 a.m.-noon Saturday no charge; Friday no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m.

Monday-Saturday, 1-5 p.m. Sunday.

New Mexico history Museum’s exhibit Cowboys Real and Imagined, artifacts and photographs from the collection; shown, Navajo Riders, circa 1930

PASATIEMPOMAGAZINE.COM

71

In the wings MUSIC

Slaid Cleaves Singer/songwriter, 7:30 p.m.

Friday, Aug. 30, Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, southwestrootsmusic.org, $25 at the door.

Mariachi Extravaganza Annual concert in conjunction with Fiestas de Santa Fe, 7:30 p.m. Sunday, Sept. 1, Santa Fe Opera, 301 Opera Dr., $30-$65, 986-5900, santafeopera.org.

Concierto de Mariachi Annual concert celebrating Fiestas de Santa Fe, 10 a.m. Wednesday, Sept. 4, the Lensic, $5, 988-1234, ticketssantafe.org.

Michael Hearne’s 11th Annual Big Barn Dance Music Festival Lineup includes Sonny Throckmorton, Claude “Butch” Morgan, Jimmy Stadler, and South by Southwest, Thursday-Saturday, Sept. 5-7, Taos Ski Valley, details available online at michaelhearne.com.

Donna Dean Country singer/songwriter, Jono Manson opens, 7:30 p.m. Friday, Sept. 6, The Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $15 in advance online at brownpapertickets.com, $20 at the door.

Melissa Etheridge Rock singer/songwriter, 7:30 p.m. Friday, Sept. 6, Santa Fe Opera, 301 Opera Dr., $44-$81, 986-5900.

Santa Fe Symphony Featuring pianist Vadym Kholodenko and violinist Chee-Yun in a program of Rachmaninoff, Saint Saëns, and Sarasate, 4 p.m. Sunday, Sept. 8, pre-concert lecture 3 p.m., the Lensic, $22-$76, 988-1234, ticketssantafe.org.

Maria de Barros Jazz and traditional Cape Verde coladeira singer, 7:30 p.m. Thursday, Sept. 12, the Lensic, $15-$35, ticketssantafe.org, 988-1234.

Leon Russell joins the lineup at Albuquerque’s annual globalquerque music festival sept. 20-21.

Brian Hass Jazz pianist/composer, with percussionist Dave Wayne, 8 p.m. Thursday, Sept. 12, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

Neko Case Alt-country singer/songwriter, 7:30 p.m. Friday, Sept. 13, the Lensic, $29-$39, ticketssantafe.org, 988-1234.

Jerry Lopez Singer/songwriter, 7 p.m. Saturday, Sept. 14, the Lensic, $20-$35, 988-1234, ticketssantafe.org.

McFish Duo Harpsichordist Kathleen McIntosh and violist Marlow Fisher perform music of Bach, Brouwer, and Alex Shapiro, 3 p.m. Sunday, Sept. 15, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $5 at the door, for more information call 670-8273.

72

PASATIEMPO I August 23 -29, 2013

David Finckel, Philip Setzer, and Wu Han Beethoven, Shostakovich, and Dvoˇrák piano trios, 7:30 p.m. Monday, Sept. 16, the Lensic, $20-$50, 988-1234, ticketssantafe.org.

Santa Fe Pro Musica season opener Conrad Tao: piano recital, music of Bach, Ravel, and Rachmaninoff, 7:30 p.m. Thursday, Sept. 19; the orchestra performs a program of Haydn, Shostakovich, and Mozart, featuring Tao and trumpeter Brian Shaw, Saturday and Sunday, Sept. 21-22, the Lensic, $20-$65, 988-1234, ticketssantafe.org.

Shortgrass Music Festival Celtic music by Adam Agee and Jon Sousa, Texas country-rocker Joe Ely, and violin/cello duo Parnas, Friday-Sunday, Sept. 20-22, Cimarron, $10 and $20 in advance and at the door, ages 18 and under no charge, 888-376-2417, shortgrassfestival.com.

Notes on Music Illustrated presentations; music of Richard Strauss, with soprano Gina Browning, Tuesday, Sept. 24; pianist/conductor Joseph Illick on Verdi, Tuesday, Oct. 22; United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, 988-1234, ticketssantafe.org.

Natalie Maines Singer/songwriter, 7 p.m. Friday, Sept. 27, Santa Fe Opera, 301 Opera Dr., $42-$94, 986-5900, santafeopera.org.

Canticum Novum Chorus & Orchestra The 10th season opens with music of Pergolesi, Mendelssohn, and Donizetti, performers include soprano Cecilia Leitner and baritone Tim Wilson, 4 p.m. Saturday and Sunday, Oct. 5-6, Scottish Rite Center, 463 Paseo de Peralta, Oliver Prezant pre-concert lectures on both dates, $25 and $35 in advance and at the door, discounts available, 988-1234, ticketsantafe.org Yuja Wang Pianist; music of Prokofiev, Chopin, and Stravinsky, 7:30 p.m. Thursday, Oct. 10, the Lensic, $25-$95, 988-1234, ticketssantafe.org.

World Blues Tour Featuring Taj Mahal, Vusi Mahlasela, Fredericks Brown, and Deva Mahal, 7:30 p.m. Sunday, Oct. 13, the Lensic, $25-$55, ticketssantafe.org, 988-1234.

Steve Vai Rock guitarist, 7:30 p.m. Thursday, Oct. 24, the Lensic, $29-$51, ticketssantafe.org, 988-1234.

Upcoming events Sept. 19-29, 1050 Old Pecos Trail, $20, discounts available, holdmyticket.com, call 982-7992 for reservations, Sept. 18, dress rehearsal, pay-what-you-wish.

Vanya and Sonia and Masha and Spike Fusion Theater presents Christopher Durang’s comedy, Friday and Saturday, Sept. 27-28, $20-$40, student discounts available, 988-1234, ticketssantafe.org.

Hungarian State Folk Dance Ensemble 7:30 p.m. Thursday, Oct. 3, the Lensic, $25-$45, 988-1234, ticketssantafe.org.

Minds Interrupted: Stories of Lives Affected

by Mental Illness National Alliance on Mental Illness and Compassionate Touch Network present personal stories written and presented by residents of Santa Fe and surrounding areas, 7 p.m. Wednesday, Oct. 9, the Lensic, general admission $15, reserved seats $50, 988-1234, ticketssantafe.org.

Te Amo, Argentina Multimedia performance with tango dancers Miriam Larici and Leonardo Barrionuevo, The Capitol Ensemble, with pianist Brian Pezzone and double bassist Pablo Motta, 7:30 p.m. Friday, Oct. 11, the Lensic, $20-$40, 988-1234, ticketssantafe.org.

National Theatre Live in HD Othello, 7 p.m. Tuesday, Oct. 15; Macbeth, 7 p.m. Tuesday, Nov. 5; 50th anniversary event showcase, 7 p.m. Tuesday, Nov. 12; the Lensic, $22, discounts available, ticketssantafe.org, 988-1234.

HAPPENINgS

Santa Fe Opera Ranch Tour Extended tour of the grounds and artist meet-and-greet, Friday, August 30, tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule of other community events.

Fiestas de Santa Fe Annual community celebration (since 1921) running Aug. 31, through Sept. 8; arts & crafts market; concerts; historic processions and reenactments; burning of Zozobra Thursday, Sept. 5; for schedule and details visit santafefiesta.org.

Hungry Mouth Festival Hosted by St. Elizabeth Shelter in celebration of its 27th anniversary; chefs-led cook-off, music, and auction, 6-9 p.m. Saturday, Sept. 14, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $100, 982-6611.

Museum of International Folk Art Fall Harvest Festival and 60th-birthday celebration Presented in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Mas, 1-4 p.m. Sunday, Sept. 15, 706 Camino Lejo, Museum Hill, 476-1200; by museum admission.

Station to Station National, train-traveling, multimedia public-art event; including singer/songwriters Cat Power and Nite Jewel and performance artist Doug Aitken, 6-9:30 p.m. Wednesday, Sept. 18, Lamy Depot, 33 Old Lamy Trail, $25 in advance online at stationtostationlamy.eventbrite.com.

Cowboy Movie Night: John Wayne Join Santa Fe New Mexican journalist Robert Nott for a discussion and screening of the 1972 film The Cowboys in conjunction with the New Mexico History Museum exhibit Cowboys Real and Imagined, 5:30-8 p.m. Friday, Sept. 20, museum auditorium, 113 Lincoln Ave., no charge, 476-5200.

Santa Fe Renaissance Fair Juggling/fire-eating/magic troupe Clan Tynker, medieval combat reenactments, vendors, and food, 10 a.m.-6 p.m. Saturday and Sunday, Sept. 21-22, El Rancho de las Golondrinas, call for tickets, 471-2261.

23rd Annual Santa Fe Wine & Chile Festival Luncheons, tours, and seminars, Sept. 25-29, visit santafewineandchile.org or call 438-8060 for tickets and details.

Lannan Foundation: In Pursuit of Cultural Freedom series Tim DeChristopher, climate justice activist and co-founder of Peaceful Uprising, in conversation with Terry Tempest Williams, 7 p.m. Wednesday, Sept. 25, the Lensic, $6, students $3, ticketssantafe.org, 988-1234.

A Little Magic Under the Big Top Benefit gala for Big Brothers Big Sisters; dinner prepared by Chef Charles Dale of Bouche French Bistro, art auction, and a performance by circus arts and puppetry troupe Wise Fool New Mexico, 6 p.m. Saturday, Oct. 5, Buffalo Thunder Resort & Casino, visit bbbsnorthernnm.org or call 983-8360 for tickets and details.

Paul Hawken Environmental lecturer, 7 p.m. Tuesday, Oct. 8, the Lensic, $15-$30, 988-1234, ticketssantafe.org.

THEATER/DANCE

Aspen Santa Fe Ballet Dancer Katie Dehler is showcased in the final performance of the summer season, 8 p.m. Saturday, Aug. 31, the Lensic, $25-$72, 988-1234, ticketssantafe.org.

Revelations A play by the late James Galloway presented by Sandia Performing Arts; Saturday and Sunday, Aug. 31-Sept. 1, Teatro Paraguas, 3205 Calle Marie, $15, discounts available, 424-1601.

Good People Santa Fe Performing Arts presents the play by David Laindsay-Abaire, 7:30 p.m. Thursday-Saturday, 4 p.m. Sunday,

singer/songwriter natalie maines performs sept. 27, at the santa Fe opera.

pasa week

from Page 69

24 Saturday (continued) Santa Fe Pre-Fiesta Show Traditional dance troupes, mariachi bands, and costumed portrayals of Don Diego de Vargas and members of the Royal Court, 3-7 p.m., the Plaza, visit santafefiesta.org for Fiesta de Santa Fe events.

Sunprints Georgia O’Keeffe Museum family program, 9:30-11:30 a.m., 217 Johnson St., no charge, 946-1039.

Survival: New Mexico Interactive presentations hosted by El Rancho de las Golondrinas, 10 a.m.-4 p.m. today and Sunday, 334 Los Pinos Rd., 471-2261. $8; seniors and teens $5; ages 12 and under no charge.

Swingin’ the Odd Fellows Hall Cathy Faber’s Swingin’ Country Band swing dance series, 7-10 p.m., 1125 Cerrillos Rd., $15 at the door, cathyfaber.com.

Theater Grottesco’s 30th-Birthday Summer Bash Dinner, drinks, games, prizes, and silent auction, 5-8 p.m., Jackalope, 2820 Cerrillos Rd., $20 in advance, $25 at the door, 474-8400, theatergrottesco.org.

Warehouse 21 fashion show and 17th-birthday celebration Fashion designs

by Rudylee Jr. Design, Farin Juliette Bustos, and Jenny Lynn Lorene Barker, 7 p.m., 1614 Paseo de Peralta, $10 at the door, proceeds benefit W21, 989-4423.

Flea MarkeTS

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 the year.

The Santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.

NIGHTlIFe

(See Page 69 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at el Mesón Ryan Finn Quartet, Caribbean-style jazz, 7:30 p.m.-close, call for cover.

Cowgirl BBQ Acoustic string band Hot Club of Santa Fe, Gypsy jazz, swing, and bluegrass, 2-5 p.m.; Americana band Boris & the Salt Licks, 8:30 p.m.-close; no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Saudade Combo, Cape Verdean and Brazilian rhythms, 9 p.m.-close, call for cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Funk and R & B band Soulstatic, 8-11 p.m., no cover. la Posada de Santa Fe resort and Spa Jazz vocalist Whitney Carroll Malone, bassist Asher Barreras, and guitarist Pat Malone, 6-9 p.m., no cover.

Pranzo Italian Grill Jazz night with pianist Jon Rangel and vocalist Faith Amour, 6-9 p.m., call for cover.

Second Street Brewery Kodama Jazz Trio, 6-9 p.m., no cover.

Second Street Brewery at the railyard Local singer/songwriter Eryn Bent, 7-10 p.m., no cover.

Sweetwater Harvest kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover.

Tiny’s Rock band The Strange, 8:30 p.m.-close, no cover.

Tortilla Flats Singer/songwriter Dana Smith, country-tinged folk, 6-9 p.m., no cover.

The Underground at evangelo’s DJ Dynamite Sol, 9 p.m., call for cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; jazz trumpeter Ron Helman, 8 p.m.; call for cover.

25 Sunday ClaSSICal MUSIC

Santa Fe Concert association season opener Guest soloists soprano Heidi Melton and tenor Brandon Jovanovich, 4 p.m., the Lensic, concert $25-$95, ticketssantafe.org, 988-1234, or the SFCA box office, 984-8759.

Gala-opening party follows at a private residence, call the SFCA box office for gala tickets, $250, $175 tax deductible (see story, Page 28).

IN CONCerT

39th annual Santa Fe Bluegrass and Old Time Music Festival Headliners, Claire Lynch Band and Foghorn Stringband (see story, Page 34), New Mexico bands include Hard Road Trio, Lost Howlin’ Coyotes, and the Bill Hearne Trio, 9 a.m.-4 p.m., Santa Fe County Fairgrounds, 3229 Rodeo Rd., $15-$40 in advance at southwestpickers-festival.org.

THeaTer/DaNCe

The Alan Allen Show Alan Vetter, aka Al Dente of Vanilla Pop, in his one-man musical comedy show, 7 p.m., The Palace Restaurant & Saloon, 142 W. Palace Ave, $10 in advance, $12 day of show, 428-0690.

Juan Siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1 (see review, Page 42).

Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico Crypto-Jews, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 424-1601.

Starting Here, Starting Now Greer Garson Theatre’s student production of Richard Maltby Jr. and David Shire’s musical revue, 2 p.m., Weckesser Studio Theatre, SFUA&D, 1600 St. Michael’s Dr., $10, ticketssantafe.org, 988-1234, Friday-Sunday, through Sept. 1.

BOOkS/TalkS

kathy Wan Povi Sanchez and Tewa Women United Journey Santa Fe hosts a discussion with the community activist from San Ildefonso Pueblo and members of the intertribal collective, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

OUTDOOrS

Santa Fe Farmers Market 18th annual Farm Tour Self-guided tour through Northern New Mexico properties; 9 a.m.-3 p.m., including Synergia Ranch, Purple Adobe Lavender Farm, and KJ Farms, visit santafefarmersmarket.com for details and directions.

Tapestry, by Alexander Calder, Palette Contemporary, 7400 Montgomery Blvd. N.E., Albuquerque

eVeNTS

Johnson Street block party Hosted by Georgia O’Keeffe Museum, 1-6 p.m., Johnson St. between Grant Ave. and Guadalupe St., no charge. railyard artisans Market 10 a.m.-4 p.m.; live music with busker J. Michael Combs, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta.

Santa Fe Society of artists Show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.

Survival: New Mexico Interactive presentations hosted by El Rancho de las Golondrinas, 10 a.m.-4 p.m., 334 Los Pinos Rd., 471-2261. $8; seniors and teens $5; ages 12 and under no charge.

Flea MarkeTS

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 the year.

The Santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.

NIGHTlIFe

(See Page 69 for addresses) agoyo lounge at the Inn on the alameda Jazz guitarist Pat Malone, 5-7 p.m., no cover.

Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover.

Cowgirl BBQ Joe West and Friends, eclectic folk, noon-3 p.m.; New Mexico duo Vicious Kitties, 8 p.m.; no cover.

The Den at Coyote Café Jazz singer Faith Amour’s trio, 6:30 p.m., no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s Tone & Company, R & B, 8:30 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 Classic movie night, 6-10 p.m., no cover. la Posada de Santa Fe resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover.

Second Street Brewery at the railyard Americana band The Backwoods Benders, 1-4 p.m., no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

73

29 Thursday iN CoNCERT

sylvia McNair The singer headlines Santa Fe Desert Chorale’s gala benefit; al fresco cocktail reception, dinner, live auction, and performance, 6 p.m., La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $300 ($200 tax deductible), 988-2282.

ThEaTER/daNCE

Evoke Contemporary shows paintings by the late artist Louisa McElwain, 130-F Lincoln Ave.

The Underground at Evangelo’s Rob-A-Lou’s rockabilly Sunday nights, 9 p.m., call for cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

26 Monday books/Talks

New Mexico Museum of art gallery talk The summer series concludes with Mayor David Coss, 12:15-1 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

Pilgrimage, Ritual, and Chacoan society A Southwest Seminars lecture with Ruth Van Dyke, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

Rabbi ben kamin The author reads from and signs copies of Room 306: The National Story of the Lorraine Motel, introduced by historian Hampton Sides, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 14).

NighTlifE

(See Page 69 for addresses) Cowgirl bbQ Cowgirl karaoke with Michele Leidig, 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 Los Wise Guys, oldies/country/rock, 7:30 p.m.close, no cover.

Upper Crust Pizza Gerry Carthy, tenor guitar and flute, 8 p.m.-close, no cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

27 Tuesday ThEaTER/daNCE

Juan siddi flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1 (see review, Page 42).

EVENTs

santa fe farmers Market 7 a.m.-noon; cooking demonstrations with health coach Val Alacron 10 a.m., 1607 Paseo de Peralta, 983-4098. santa fe farmers Market on the southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940.

74

PASATIEMPO I August 23 -29, 2013

NighTlifE

(See Page 69 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover.

Cowgirl bbQ Pop singer/songwriter Cait Black, 8 p.m., no cover.

El farol Canyon Road Blues Jam with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Los Wise Guys, oldies/country/rock, 7:30 p.m., no cover. second street brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover.

Tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m.-close, no cover.

The Underground at Evangelo’s Optamystik karaoke, 9 p.m., call for cover.

Vanessie Pianists Doug Montgomery, 6-8 p.m.; David Geist, 8 p.m.; call for cover.

28 Wednesday ThEaTER/daNCE

A Fowl Play & A Fracking Good Time 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; opening night street party honoring the Fiesta Court, 6:30 p.m., curtain 7:30 p.m., Santa Fe Playhouse, 142 E. DeVargas St., street party and performance $30, performance $20, 988-4262, continuing through Sept. 8 (see story, Page 44).

Juan siddi flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, TuesdaysSundays through Sept. 1 (see review, Page 42).

books/Talks

addressing inequality of opportunity: lessons from the oECd & latin america A talk by Ulrich Lachler, former lead economist at the World Bank, 5:30 p.m., The Forum, SFUA&D, 1600 St. Michael’s Dr., $20, hosted

by Santa Fe Council on International Relations, 982-4931.

Curator’s talk Lunchtime gallery discussion led by Georgia O’Keeffe Museum’s curatorial department, 12:30 p.m., 217 Johnson St., 946-1000, by museum admission. dharma talk With Tias Little, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., no charge, 986-8518.

learning from the Most sustainable Place on Earth A talk by Cuban permaculturist Roberto Perez, 7 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $15-$20 suggested donation benefits Eleventh International Permaculture Convergence Scholarships, for more information contact Jeremiah Kidd, 501-4769.

Pechakucha santa fe Twenty-second slide presentations by community members, 6 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.

Weaving in New Mexico New Mexico Museum of Art’s weekly docent talks continue, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075.

oUTdooRs

santa fe Canyon Preserve nature hike Meet in the parking lot at the intersection of Upper Canyon and Cerro Gordo roads by 10 a.m. (hike ends about 11:30 a.m.), RSVP to Robert Martin, 946-2029, hikes continue to Oct. 16, hosted by The Nature Conservancy.

EVENTs

la Montanita Co-op Celebration Viewing of a mural by local artist Sebastian Velazquez; beverages and snacks served, 5-7 p.m., La Montanita Co-op, 913 W. Alameda St., Solana Center, 984-2852.

NighTlifE

(See Page 69 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7:30 p.m., no cover.

Cowgirl bbQ Michele McAfee & Myshkin, Americana-tinged folk pop, 8 p.m., no cover.

El farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover.

Tiny’s Mike Clymer of 505 Bands’ electric jam, 8:30 p.m.-close, no cover.

Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

A Fowl Play & A Fracking Good Time 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; 7:30 p.m., Santa Fe Playhouse, 142 E. DeVargas St., $15, 988-4262, continuing through Sept. 8 (see story, Page 44).

Juan siddi flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, TuesdaysSundays through Sept. 1 (see review, Page 42). stepology: Tap into the Now! Tap dancers’ showcase, including Santa Fean Elise Gent’s D’Jeune D’Jeune African Dance Ensemble, accompanied by locals Bert Dalton and John Bartlit, 7:30 p.m., the Lensic, $15-$35, 988-1234, ticketssantafe.org.

books/Talks

Justin st. germain The author reads from and signs copies of Son of a Gun: A Memoir, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 16).

EVENTs NighTlifE

(See Page 69 for addresses) Cowgirl bbQ Pollo Frito, New Orleans-style funk and soul, 8 p.m., no cover.

Evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. la boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la fiesta lounge at la fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. low ’n’ slow lowrider bar at hotel Chimayó de santa fe Gerry Carthy, tenor guitar and flute, 8 p.m., call for cover.

The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m.-close, no cover. second street brewery Roots rock and blues guitarist Jono Manson, 6-8 p.m., no cover. second street brewery at the Railyard Acadian Drifters, blues and bluegrass, 6-8 p.m., no cover.

Tiny’s Joe West’s Santa Fe Revue, eclectic folk-rock, 8 p.m.-close, no cover.

The Underground at Evangelo’s Rock band Danger Cakes, 9 p.m., call for cover.

▶ Elsewhere albuquErquE Museums/art spaces

albuquerque Museum of art & history 2000 Mountain Rd. N.W., 505-243-7255.

Estampas de la Raza: Contemporary Prints From the Romo Collection, through Sept. 29 • Changing Perceptions of the Western Landscape, contemporary group show, through Sept. 1 • Landscape Drawings

From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge.

Indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

artists ages 18 and older residing in Santa Fe County; framed two- and three-dimensional pieces are eligible; deadline for entry forms is Monday, Sept. 16; visit santafeartscommission.org or call 955-6707 for more information.

Fiesta de Cerrillos Artists and craftspersons interested in a booth at the Sept. 21, event can contact Sandy Young, 438-2885, sandy@dirtdauberstoneware.com.

New Mexico Arts 2013 Purchase Initiative Artwork (ranging from $1,000 to $40,000) sought from artists of all media residing in Arizona, Colorado, New Mexico, Oklahoma, and Texas; galleries located in these states may submit work by artists regardless of residency; submission deadline 11:59 p.m. Monday, Sept. 23; application and selection process online at callforentry.org.

Events/Performance

Chatter Sunday The ensemble performs Brahms trios, 10:30 a.m. Sunday, Aug. 25, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.

Chatter Cabaret Pianist James D’León performs music of Mendelssohn, Albéniz, and Liszt, 5 p.m.

Sunday, Aug. 25, Casablanca Room, Hotel Andaluz, 125 Second St. N.W., $20, brownpapertickets.com, chatterchamber.org.

Filmmakers/Scribes

Playwriting forum for Benchwarmers 13 Noon Saturday, Aug. 24, at Santa Fe Playhouse; RSVP to playhouse@santafeplayhouse.org or 988-4262.

Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.

angel fire

Music From Angel Fire The Salon Concert, 2 p.m. Sunday, Aug. 25, Angel Fire Community Center, 15 CS Ranch Rd., $20-$35, 888-377-3300, musicfromangelfire.org; a benefit auction follows in the lodge at Angel Fire Resort.

Music From Angel Fire Musical Conversations II — Eight Seasons, music of Vivaldi and Piazzolla, 7 p.m.

Thursday, Aug. 29, United Church of Angel Fire, 40 W. Ridge Rd., $20-$35, 888-377-3300, musicfromangelfire.org.

Volunteers

Datura Swirl, by Key Sanders, Santa Fe Public Library, Main Branch, 145 Washington Ave.

taos

Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. Open 10 a.m.-5 p.m.

Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m.

Sunday. Adults $8; under 16 $4; children under 5 no charge.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge.

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

Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Museums/Art Spaces

Events/Performances

las vegas

Music From Angel Fire Baroque to Today, music of Telemann and Britten and original compositions by Imani Winds, with clarinetist Richard Stoltzman, 7 p.m. Friday, Aug. 23, Ilfeld Auditorium, 12 University Ave., musicfromangelfire.org, 888-377-3300, $20-$35.

los alamos

Gordon’s Summer Concerts The weekly series continues with reggae artist Pato Banton & the Now Generation, 7 p.m.

Friday, Aug. 23, Ashley Pond, 2132 Central Ave., no charge, gordonssummerconcerts.com.

Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens.

Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m.

Saturday, visit pajaritoeec.org for events schedule, no charge.

peñasco

Instinct Quartet The summer season continues with a multimedia performance of modern jazz standards, 7:30 p.m. Saturday, Aug. 24, Peñasco Theatre, 15046 NM 75, $10 at the door, 575-587-2726.

David Anthony Fine Art 132 Kit Carson Rd., 575-758-7113. Annual DAFA Photography Invitational, photographs of The Beatles’ 1964 concert in Washington D.C., through August.

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

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

Music From Angel Fire How Is Same so Different?, music of Stravinsky and Schubert, 7 p.m. Saturday, Aug. 24, Taos Center for the Arts, 145 Paseo del Pueblo Norte, $20-$35, 888-377-3300, musicfromangelfire.org.

Dmitri Matheny Group Fluegelhornist Matheny, with Santa Fe musicians Bert Dalton on piano, Milo Jaramillo on bass, and John Trentacosta on drums, 8 p.m. Saturday, Aug. 24, KTAOS Solar Center, 9 NM 150 (Taos Ski Valley), $12, 575-758-5826, ktao.com.

The Incredible Life and Legend of Kit Carson The Kit Carson Home and Museum summer lecture series concludes with historian Hampton Sides, 4 p.m. Sunday, Aug. 25, 113 Kit Carson Rd., no charge, 575-758-4945.

Music From Angel Fire 10 a.m. Wednesday, Aug. 28, family/youth concert, no charge; evening concert 7 p.m., A Margrave’s Musical Gift, the complete Bach Brandenburg Concertos; Taos Center for the Arts, 145 Paseo del Pueblo Norte, $20-$35, 888-377-3300, musicfromangelfire.org.

vadito

Music on the Rocks All-day festival showcasing regional and local musicians; featuring Ryan McGarvey, the Sean Healen Band, and Eric George’s Man No Sober, 10 a.m. through the evening. Saturday, Aug. 24, Sipapu Ski & Summer Resort, 20 miles southeast of Taos on NM 518, visit sipapunm.com or call 505-414-1550 for details, no charge.

▶ people who need people Artists

2013 Icheon Ceramics Festival City of Santa Fe Arts Commission is accepting qualifications from ceramic artists interested in participating in an international event held in South Korea, Sept. 28-Oct. 20; open to Northern New Mexico resident ceramists; mail or deliver letter of interest, résumé, artist’s statement, and references by Tuesday, Aug. 27; City of Santa Fe Arts Commission, P.O. Box 909, Santa Fe, NM, 87504-0909, Attention: Icheon Ceramics Festival; SFAC office, Room 323, 120 S. Federal Pl., visit santafeartscommission.org or call 955-6707 for more information.

City of Santa Fe Arts Commission call for entries Common Ground annual prize and exhibit; open to amateur and professional

Santa Fe Botanical Garden Guide 6th- to 9th-grade students in the exploration of Leonora Curtin Wetland Preserve in SFBG’s Science at the Cienega Program; training sessions held TuesdayThursday, Aug. 20-22; register for training online at santafebotanicalgarden.org; call 471-9103 for more information.

Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; 9:30 a.m.-4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details.

Spanish Colonial Arts Society Office and grounds workers; plus, docents needed all year long at the Museum of Spanish Colonial Art; if interested, call Linda Muzio, 982-2226, Ext. 121, or email education@ spanishcolonial.org.

▶ Under 21 King of the Small Wall Graffiti Battle Warehouse 21 workshop, 5-8 p.m. Friday, Aug. 23, $8 to participate, $3 to observe, 989-4423.

▶ pasa Kids Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, 989-8359, visit santafechildrensmuseum.org for weekly scheduled events.

Sunprints Georgia O’Keeffe Museum family program, 9:30-11:30 a.m. Saturday, Aug. 24, 217 Johnson St., no charge, 946-1039.

Bee Hive Kids Books event Bookmark-making workshop, 11 a.m. Saturday, Aug. 24, 328 Montezuma Ave., no charge, 780-8051.

Santa Fe Art Institute graffiti workshops Free; geared to ages 11-19; 11 a.m.-1 p.m.

Saturdays, continuing into the fall, call 424-5050 to register. ◀ PASATIEMPOMAGAZINE.COM

75

B E S T S E L E C T I O N … B E S T P R I C E S … B E S T S E RV I C E Fruit trees

Apples Apricots Peaches Plums Pears Cherries Nectarines

roses

one Gallon perennials Save $5

ime Great lTant! to P

#5 Containers $24.99 Regularly $29.99

#4 Containers $16.99 Regularly $21.99

#1 Containers $7.99 each or 5 for $35.00

daylillies

Chamisa

three leaf sumac

Best n Selectio

t Drough t Toleran Native

#2 Containers $14.99 or 2 for $20.00

#5 Containers $29.99 or 2 for $50.00

Greensand

professional potting soil

yum yum mix Save $20

organic

40lbs $24.99 Regularly $29.99 Pete Moss’ Garden Tip: Gophers are starting to do their last

40lb Bags $22.99 Regularly $42.99

2.5 cubic foot bags $12.99 Regularly $19.99

Family Owned & Operated Since 1974

aggressive push for new territory and feeding grounds. This means more damage to your gardens and landscapes. The best way to protect your yard is to keep them out with Mole Go repellent. If they are already NEWMAN’S ALWAYS FRIENDLY Newmans in your yard, you can push them out by constantly crushing their tunnels PROFESSIONAL and regularly applying Mole Max. In addition to repellents, you can trap NURSERY SERVICE and poison gophers. One of the best strategies for getting rid of gophers 9:00am to 5:00pm permanently is to organize groups of neighbors or entire neighborhoods seven days a week. on their eradication.

Good thru 08/29/13 • while supplies last • stop by today and see our Great selection.

Jaguar Drive

sR oa

Ce

rri

llo

Ocate Road

Walmart

d

Greensand is the organic way to help green up yellowing aspen, willows and other trees that need iron.

#5 Containers $29.99 or 2 for $50.00

76

PASATIEMPO I August 23 - 29, 2013

5 I-2

7501 Cerrillos rd.

471-8642