Pasatiempo, August 9, 2013

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture August 9, 2013

Patio dining. Weekly specials.

Serving Dinner Nightly from 5:30

the bar @ Happy Hour 5-7, Mon. - Fri.

20% OFF LUNCH SPECIAL with minimum purchase $12 per person (must present this ad)

Lunch Tues. - Sat., 11:30 - 2:30 through August 548 Agua Fria, Santa Fe • 982-8608 • www.ristrarestaurant.com

Spani Where The Locals Eat lunch from 8.50 / dinner from 19.00 walk-ins always welcome! we are open every day!

lunch from 8.50/dinner from 19.00 we are open every day!

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

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

Pre –– Performance Performance Dinner Pre Dinner Special Special courses –– $35 33 courses $35 // 5:30 5:30 seating seating HAPPY HOUR HOUR 4 6 p.m., p.m., Mon. HAPPY 4– –6 Mon. thru thru Fri. Fri.

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S A N TA F E O P E R A PRESENTS

La Périchole, 2009; Ken Howard photo

APPRENTICE SCENES AUGUST 11 & 18 at 8:00 PM

One of the B ES T entertainment values of the summer.

Don’t miss attending one or both of these special evenings!

The Opera’s apprentice singers and technical apprentices take the mainstage spotlight for two special evenings of fully-staged scenes from popular operas. Discover why the apprentices are such an integral part of the season as their talents shine on their own. Long considered one of the best young artist programs in the world, The Santa Fe Opera’s apprenticeships have launched numerous distinguished careers, including those of William Burden, Joyce DiDonato, Brandon Jovanovich, Susanna Phillips, Kate Lindsey, and Samuel Ramey to name a few.

DONʼT MISS the STARS of TOMORROW THIS WEEKEND! Only $21 for adults and $7 for youth www.SantaFeOpera.org I 505-986-5900 I 800-280-4654 4

PASATIEMPO I August 9 - 15, 2013

The Linen & Cotton Store Larger Sizes Too Free Chocolate with Every Visit

223 Galisteo between Water & Alameda • 505.983.6331 • Mon-Sat 10-6, Sun 11-5

indian Market on canyon road at jacQueline’s Place

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

Featuring Attractive Hand Crafted Southwestern Furniture

photo: daniel nadelbach

NEW SHIPMENT OF OUR KACHINA RANCH LINE

We Will knock you out With our MuseuM Quality native aMerican jeWelry and clothing

Please join us Fri., aug., 16th to Meet aWard Winning native aMerican jeWelry artist, Wayne aguilar and herbert rations. in addition, aWard Winning clothing designer, virginia yazzie-ballenger. FroM 2PM to 7PM at jacQueline’s Place Fashion shoWs throughout the day, Food and Music. don’t Miss this Weekend oF Fun at jacQueline’s Place.

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PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

August 9 - 15, 2013

www.pasatiempomagazine.com

On the cOver 28 Jean cocteau reborn French polymath Jean Cocteau believed that cinema was “an admirable vehicle for poetry.” The novelist, artist, poet, and filmmaker created movies that are often provocative and visually startling — the first film in his Orphic Trilogy, 1930’s The Blood of a Poet, reflects the tenets of Surrealism that were taking shape at the time. Pasatiempo looks at the life and work of the artist and celebrates the reopening on Friday, Aug. 9, of the movie theater that bears his name. On the cover is a poster for Orphée (Orpheus), which screens this weekend.

mOving images

BOOKs 18 in Other Words Wyatt Earp

76 The Act of Killing 80 Blackfish 82 Pasa Pics

mUsic and PerFOrmance 22 24 26 56 58 61 62 64

Listen Up Santa Fe Chamber Music Festival Pasa reviews Eddie Palmieri Septet sound Waves D Numbers terrell’s tune-Up Gogol Bordello Pasa tempos CD Reviews Onstage Viva Las Vegas Kinder opera Noah’s Flood master apprentice David Holloway

caLendar 89 Pasa Week

and 14 mixed media 17 star codes 86 restaurant review: tia’s cocina

Jean cOcteaU cinema 32 36 40 44

resurrection George R.R. Martin From suds to cinema The building robby in the lobby Forbidden Planet Barrio in black and white Janet Russek

events 66 rough and tumble Gay rodeo

art 70 native accounts Ledger art 74 Objects of affection Ralph T. Coe

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

Noah’s Flood rehearsal, a santa Fe Opera youth production; photo by Ken howard, courtesy santa Fe Opera

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

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

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

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

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

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

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cOntriBUtOrs Loren Bienvenu, Laurel gladden, Peg goldstein, robert Ker, Wayne Lee, Jennifer Levin, James mcgrath morris, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, david J. salazar, casey sanchez, michael Wade simpson, steve terrell, Khristaan d. villela, hollis Walker

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PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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advertising directOr Tamara Hand 986-3007

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marKeting directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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advertising saLes mike Flores 995-3840 stephanie green 995-3820 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

Move Your Feet

Feel the Beat

e r b i L o p m e i T returns to Santa Fe Fri, Aug 16 Perfo rm

The L ensic

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ing A rts

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Tick ets sta rt at $ 12

• At The Door 505.982.1890 • TicketsSantaFe.org

PASATIEMPOMAGAZINE.COM

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S AVO R I N G A

SOUTHWESTERN SUMMER The Anasazi Patio Al fresco drinks & casual dining on the Plaza New small plate dinner menu with full bar & wine selections The Anasazi Restaurant & Bar Unique American cuisine in a sophisticated setting Introducing the Aria Dessert Menu June 28 -August 24 Extended Bar hours to accommodate operagoers

39th Annual Santa Fe

Bluegrass and Old Time Music Fesitval August 23-25, 2013 Friday Night Country Dance Great Food & Camping Gospel Sunday Jamming!

Headliner Hosted Workshops Contests, Band Scramble Barn Dance

Sponsored by: The Southwest Traditional and Bluegrass Music Association

Claire Lynch Band

Foghorn Stringband

Private dining available

113 Washington Avenue Santa Fe, NM 87501 (505) 988-3030 innof theanasazi.com

Hard Road Trio, The Lost Howlin’ Coyotes, The Green Billies, Anne & Pete Sibley, 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:

ATADA Morning Events at Whitehawk The Antique Tribal Art Dealers Association once again is partnering with the Whitehawk shows to present two morning events at the Santa Fe Community Convention Center.

Seton Birthday Celebration

All ATADA-sponsored events are open to the public at no charge.

7:00 pm - 9:00 pm

Saturday, August 10, 9-10 am

Tony Eriacho: Zuni Jewelry - Real or Fake?

Zuni silversmith Tony Eriacho will point out the differences, showing examples of each. Bring your jewelry!

Monday, August 12, 8-10 am

Evaluation Day An all-star line-up of ATADA experts will estimate current market values of Native American and tribal art brought by the public. Limit: two items please.

Evaluators include pottery/jewelry expert Bob Gallegos, and basket experts Terry DeWald, Natalie Linn, and Elaine Tucker.

Tuesday, August 13, 8:30 am

Annual ATADA General Meeting.

Members and friends are welcome.

Zuni olla, circa 1880 Private collection, Margaret and Turner Branch

www.atada.org 8

PASATIEMPO I August 9 - 15, 2013

WED, AUG 14

The Academy for the Love of Learning invites you to join us for our annual celebration of Ernest Thompson Seton's Birthday. You are welcome to view the new exhibit at your leisure —the gallery will be open from 10-4 and again from 7-9 for an evening reception.

We hope you will plan to be with us at 8pm when curator David L. Witt will lead us in a champagne toast to honor the“Chief”.

FREE to the public | RSVP 505.995.1860

Learn more about what lives behind

A love of learningSM

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Santa Fe Chamber Music Festival

Concert venues this week include SFA: St. Francis Auditorium, 107 W. Palace Ave. and LEN: The Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe

BACH & VIVALDI CONCERTOS

mOZART SCHumANN GESuALDO! •

•

Featuring The Orion String Quartet – with chamber stars including: Ida Kavafian, Peter Wiley, Anne-Marie McDermott, and many more!

Your Last Chance!

Get ready for the final concerts of the 2013 Santa Fe Chamber Music Festival at the Lensic Performing Arts Center!

Violinist Ida Kavafian, cellist Peter Wiley, and pianist Anne-Marie McDermott

AUG 17

mON AuG 12 • WED AuG 14 • THu AuG 15 • mON AuG 19 All concerts 6 pm at The Lensic performing Arts Center

J.S. Bach’s Orchestral Suite No. 2, C.P.E. Bach’s brilliant Cello Concerto No. 3,

28 masterpieces and 23 superb artists spanning 4 incredible concerts beginning Monday, August 12th – all part of our Years of Wonder Mini-Festival.

Artists include the Orion String Quartet,

Four incomparable Mozart Piano Trios performed by

cellist Eric Kim, violinists William

chamber music greats: violinist Ida Kavafian, cellist

Tara Helen O’Connor!

Peter Wiley, and pianist Anne-Marie McDermott!

Savor 3 string quartets, the piano quartet, and the piano quintet by Robert Schumann at the height of his romantic power! With the Orion String Quartet,

BEETHOVEN STRING QuINTET & mORE

Trios! Be there to see these exceptional Also a part of these concerts –

and Vivaldi’s Concerto for Two Violins.

Preucil and Benny Kim, and flutist

house with four amazing Mozart Piano concerts on August 12, 14, 15, and 19.

SAT 6 pm @ LEN An evening of sublime music features

return to the Festival to bring down the

Gesualdo’s singularly amazing madrigals and Schumann’s greatest string quartets!

On August 17, music by J.S. Bach and C.P.E. Bach will fill your senses with “Bachian” delights! And, on August 18, don’t miss Beethoven’s intensely beautiful String Quintet in C, played by violinists William Preucil and Benny Kim, violists Steven Tenenbom and Daniel Phillips, and cellist Eric Kim. A star-studded

Benny Kim, Eric Kim, Anne-Marie McDermott,

musical celebration!

William Preucil, and Steven Tenenbom.

Please reserve your seats now –

And, experience the genius of Carlo Gesualdo’s

as these final Festival concerts

complete Book V madrigals – still astonishing to

are selling fast!

hear 400 years after they were written – sung by the acclaimed Santa Fe Desert Chorale!

AUG 18

SuN 6 pm @ LEN

yOuTH CONCERTS – FREE!

Beethoven’s lavish and dramatic String Quintet in C, played by chamber

THU AUG 15

and Benny Kim, violists Steven Tenenbom

GARRICk OHLSSON pIANO RECITAL

and Daniel Phillips, and cellist Eric Kim! Also, renowned pianist Garrick Ohlsson in a special performance of Thuille’s chamber music’s top wind players!

MUSiC AT NooN Generously sponsored by the Edgar Foster Daniels Foundation

music greats – violinists William Preucil

Sextet for Piano and Winds, alongside

Intimate. Compelling. Unforgettable.

SAT, AuG 17 • 10 Am @ LEN ¡Latin Jazz with Tiempo Libre!

Artist-in-residence and monumental pianist Garrick Ohlsson plays selections

by Chopin and Prokofiev in this not to be missed recital!

Marc Neikrug, Artistic Director

puRCHASE yOuR TICkETS TODAy! 505.982.1890 SantaFeChamberMusic.com Ticket Office: NM Museum of Art 107 West Palace Avenue

The Santa Fe Chamber Music Festival is funded in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Office of Cultural Affairs; and the National Endowment for the Arts.

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PASATIEMPO I August 9 - 15, 2013

The New Earth Institute of Southwestern College presents the 32nd Annual

TRANSFORMATION AND HEALING CONFERENCE

Creative Approaches to the Healing Arts

For a limited time...

Experience our $35 Prix Fixe Menu.

Now through August 24th, enjoy our Performing Arts 3-course menu featuring any starter, delectable entrée, and tempting dessert from our tantalizing menu.

Wednesday - Sunday August 21-25 in Santa Fe at SWC Campus and Center for Spiritual Living

KEYNOTE SPEAKER: Judy Weiser, R.Psych., A.T.R., Founder/Director of the PhotoTherapy Centre

EARN CECs

Saturday, August 24 — 9 to 5:30: Using Photos to Improve Well-Being and Reduce Social Exclusion: A Picture is Worth Far More than a Thousand Words!

Sunday August 25 — 1 to 4pm: Using Photos to Help People with Addictions: 3-hour Illustrated Presentation, plus Discussion plus 18 experiential Workshops August 21-23

To register, call 505.471.5756 or visit swc.edu/transformation-and-healing-conference/

Reservations recommended. Please call 505.995.4530.

Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com *Surcharge applies to some items.

S a n t a Fe

DESERT CHORALE

July 26, 30 – Aug 6, 13 At turns playful, sensual, tender – and even a bit naughty

8p

these little gems are a delight!

THE TRIUMPHS OF ORIANA: The Birth of the English Madrigal

AUGUST 15,16,18,19 8pm The Santa Fe Desert Chorale’s final program for the summer. Enjoy the greatest of the English madrigal collections, The Triumphs of Oriana, published in London

by Thomas Morley, in honor of Queen Elizabeth I.

FOR SFDC SUMMER FESTIVAL TICKETS visit: desertchorale.org or call 505.988.2282 Summer Festival 2013 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and 1% Lodgers’ Tax.

PASATIEMPOMAGAZINE.COM

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Friday, aug. 9 6 pm, Auditorium Mark Lee Gardner and Rex Rideout on Jack Thorp’s Songs of the Cowboys.

Reception following in the Meem Community Room.

Saturday, aug. 10 Daily demonstrations 10 am – 4 pm Clint Mortenson,, silversmithing and trophy buckle engraving; Wes Mastic, Mastic leather carving and saddle making; Rebecca MorganAlbertson and Cybele Geidemann,, rawhide/horsehair braiding & cinch making; Deana McGuffin,, boot making; O’Farrell Hats,, hat making; Bert Ancell,, Dutch-oven cooking by the former manager of the legendary Bell Ranch.

Sunday, aug. 11 Daily demonstrations 10 am – 4 pm Stewart Williamson, silversmithing; Tom Schatzinger, saddle making; Rebecca MorganAlbertson and Cybele Geidemann, rawhide/horsehair braiding & cinch making; Deana McGuffin, McGuffin boot making; O’Farrell Hats, hat making; Bert Ancell, Dutch-oven cooking.

10 –11 am Rex Rideout and Mark Lee Gardner present a cowboy-music workshop for the whole family.

10:30 am, 11:30 am, 1 pm, 2 pm Julio and Reynaldo Maestas show off roping in front of the Palace Portal.

11–11:30 am, 1:30 –2 pm Peggy Godfrey performs cowboy poetry.

11:30 am – 1 pm Rex, Mark, illustrator Ron Kil, and printer Tom Leech will chat

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PASATIEMPO I August 9 - 15, 2013

10:30 am, 11:30 am, 1 pm, 2 pm Julio and Reynaldo Maestas show off roping in front of the Palace Portal. with visitors about the new Palace Press book, Jack Thorp’s Songs of the Cowboys.

Cowboys

11–11:30 am, 1:30 –2 pm Mike Moutoux performs cowboy poetry.

Noon–1 pm, 2:30–4 pm Local favorites The Buckarettes get you dancing with their western swing and then some!

Noon–1 pm, 2:30–4 pm Traditional western dance band The Tumbleweeds performs. Grab your partner!

W H AT ’ S N E W AT S A N TA F E B OTA N I C A L G A R D E N

Santa Fe Botanical Garden at Museum Hill 715 Camino Lejo

Now open 7 days a week, 9am–5pm Many thanks to our members, volunteers, donors and the Santa Fe community for enthusiastically supporting our Grand Opening weekend.

Come see Santa Fe’s newest gathering place! The Garden is lush with new growth from recent rains.

Member Plant Swap

Santa Fe Botanical Garden at Museum Hill, 715 Camino Lejo

September 7, 9am setup, 10am swap begins Swap plants, seeds, cuttings, bulbs and seedlings with fellow gardeners. Free for Members.

Memberships will be available.

SFCA

The Santa Fe Concert Association presents

Opening Gala

Concert Heidi Melton, soprano

¡Viva Flora!

Treasured Plants of NM, Botanical Art Show Painting by Jan Denton, New Mexico Evening Primrose

Tues–Fri 10am–5pm & Sat 9:30am–4pm through August at the Community Gallery, 201 West Marcy St. August 17: Especially for Kids - Creating Works of Art with Flowers, Noon–4pm. Children ages 7+ welcome and must be accompanied by an adult.

Brandon Jovanovich, tenor SFCA Orchestra Joseph Illick, conductor

All-Wagner Program www.santafebotanicalgarden.org • 471-9103

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

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:

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

PASATIEMPOMAGAZINE.COM

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PASATIEMPO I August 9 -15, 2013

Austin Enterprises chess set and board, 1962; below, Indian stone torso, circa 14th century

The show-me state Expect to find some unique treasures at the fourth annual Santa Fe Show: Objects of Art. More than 65 exhibitors present antique and contemporary wares, including books, textiles, folk art, tribal art, and jewelry. Visitors have the opportunity to purchase arts and crafts from Asia, Africa, and the Americas as well as other regions of the world. You’ll encounter old shop signs, furniture, beads, toys, katsina dolls, oil paintings, prints, sculptures, housewares, and more. You may not discover the lost Ark of the Covenant (although you never know), but you will find Santa Fe’s own Traders of the Lost Arts in addition to other local, regional, national, and international dealers.

The show begins at 6 p.m. Friday, Aug. 9, with an opening night gala at El Museo Cultural de Santa Fe. Tickets for the gala cost $50 and benefit Albuquerque public-television station KNME. The show takes place at El Museo from Saturday, Aug. 10, through Monday, Aug. 12, from noon to 7 p.m. and on Tuesday, Aug. 13, from noon to 5 p.m.

Run-of-show tickets cost $13 at the door or $10 online at www.santafeshowtickets. eventbrite.com. Gala tickets can also be purchased online or at the door. Admission includes entry to The Ralph T. Coe Legacy: Instruments of Passion, an exhibit of ethnographic objects from Coe’s collection, curated by Bruce Bernstein, Taylor Dale, and Lisa Hsu Barrera, and to A Separate Country: The Creative Journey of Larry John Palsson, an exhibit of outsider art. The Ralph T. Coe Legacy will remain on view at El Museo through Aug. 30, and A Separate Country shows through Aug. 13.

El Museo is located at 555 Camino de la Familia. Call 660-4701 or visit www.thesantafeshow.com for information.

— Michael Abatemarco

MIXED MEDIA 18 years serving locals & tourist alike

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Joseph Latoma: polychrome water jar, 2012; top, Geraldine Lovato: polychrome jar, 2012; images courtesy the School for Advanced Research

Magnificent seven: San Felipe Pueblo artists Facilitated by the Indian Art Research Center at the School for Advanced Research, a group of seven contemporary potters at San Felipe Pueblo have been gathering to discuss an emerging ceramic tradition virtually unknown to the public. In 2012 and 2013, the seven artists — Daryl Candelaria, Gerren Candelaria, Hubert Candelario, Ray Garcia, Joseph Latoma, Geraldine Lovato, and Ricardo Ortiz — participated in a series of seminars to define San Felipe pottery; explore its history of innovation and experimentation; share resources, materials, and techniques; and consider broader issues surrounding their art form. After the seminars, the potters worked with IARC staff to create Evolution in Clay: San Felipe Pueblo Artists, an online exhibition on the SAR website (www.sanfelipe.sarweb.org). To help launch the online show, a reception with the artists takes place in the New Mexico Room of La Fonda Hotel (100 E. San Francisco St.) on Thursday, Aug. 15, at 5 p.m. The event includes a meet-and-greet with the artists, who also present and sell their work, and is free to the public. For information contact the IARC at 954-7205.

— Michael Abatemarco

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

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15

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.

& Gift Show Museum of International Folk Art 706 Camino Lejo Santa Fe

Saturday • August 10 10 am - 4 pm Festival Open Sunday • August 11 10 am - 4 pm Festival Open Handcrafted rag rugs and other home furnishings, fashions and personal adorments, and gifts of every description. An Economic Development program helping to create a more abundant life for New Mexico’s women and girls.

Admission and Parking Free

Funded and hosted by New Mexico Women’s Foundation 1000 Cordova Place #411, Santa Fe, NM 87505 www.nmwf.org info@nmwf.org 505.983.6155

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PASATIEMPO I August 9 - 15, 2013

STAR CODES

EARNING L SMALL WORLD PreSchool & Kindergarten

Heather Roan Robbins

Child Care Center Age 2½ - 6

We’re in the height of Leo season. The hot August days along with the sun and moon in generous, expressive Leo call us out to arts festivals and farmers markets to appreciate human creativity and to the garden to enjoy nature’s creativity.

We may feel unusually subdued and thoughtful this summer, looking for deeper connections than a quick summer romance and demanding more of our own work with the two emotional planets — Venus and Mars — in introspective and self-protective Virgo and Cancer.

Mars in Cancer from July 14 through Aug. 29 helps us share and appreciate tenderness. It encourages us to stick close to home. This Mars can also leave us feeling as prickly as a porcupine if our defenses are triggered, so giving and receiving constructive criticism, even gentle teasing, may be tricky.

Defensive quills can pop up at the least provocation, and this goes for countries as well as for family members. Once our spikes are up, it takes time, safety, and privacy to get them down again. If we’ve set off another’s quills, a simple apology and respect will do wonders.

Attitude matters as the weekend begins under a lovely but edgy moonVenus conjunction in Virgo. If we focus on what could have been done better, the world will feel gritty. If we look to the growing crops, we will see beauty.

Over the weekend a Libra moon puts a shine on artistic and sociable endeavors. Early in the week the mood is stormy but potentially industrious.

Just keep on track with a broader blueprint and don’t get lost in the details.

On Thursday, look for a shift in foreign policy and feel a lust to wander or let the mind meander.

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Friday, Aug. 9: We run hot, cold, and nervy on the surface, so tune into the creative, productive vibe underneath, where craftsmanship flows with creativity. Rein in the critical and self-critical edge. Early tonight the moon and Venus conjunct beautifully in the western sky; let’s let it in and count our blessings.

“Holding your hand through the entire process”

Saturday, Aug. 10: It’s an impractical but potentially idyllic, spacey summer day. People negotiate fairly when others seem honest, but unfairness and harshness will set off our quills. Watch for problems created by alcohol, water, zealotry, or wishful thinking tonight as Mercury challenges Neptune.

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Sunday, Aug. 11: On the surface, people want to get along and not rock the boat. But stubbornness comes through as Mars challenges Neptune.

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Monday, Aug. 12: This impatient morning is good for getting to the bottom of a problem as long as we’re working alone. Intuition is strong, but our critical edge makes interpersonal work challenging under a Scorpio moon.

Expect approach-avoidance feelings about being seen or loved.

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In Other wOrds book reviews Wyatt Earp: A Vigilante Life by Andrew C. Isenberg, Hill and Wang/Farrar, Straus and Giroux, 296 pages In wintertime in the 1870s, only the most foolish of cowboys would have come in from the cold to play a hand at a faro table in Las Vegas, New Mexico. Cheating in the now long-out-of-fashion card game was so common that Hoyle’s Rules of Games warned readers to stay clear of tables at which it was played. But like most such advice, it went unheeded — to the benefit of the tall, thin-faced man with a walrus mustache at the end of the table. While he would later become a storied figure of the West, at this point Wyatt Earp was merely a gambler fleecing hapless Las Vegas cowboys.

The anecdote is one of many contained in Andrew C. Isenberg’s Wyatt Earp: A Vigilante Life that aim to set the record straight about this figure of the Old West whose deeds as a marshal and sheriff are legendary. As a badge-wearing gunfighter, most famously at the O.K. Corral shootout, Earp became the symbol of the vigilante justice needed to tame a lawless frontier. Like the famed guntoting lawman he writes about, historian Isenberg has ridden into town to clean up a messy bit of mythmaking. It turns out that this paragon of frontier justice was anything but.

Earp was born in 1848 to a struggling farming family in Illinois that had no better luck in California and Missouri before Wyatt, one of a large brood of Earps, headed off on his own. After a short-lived marriage to a hotel keeper’s daughter who died while carrying their child, Earp sustained himself by nefarious means that led to jail stays in Arkansas, Arizona, and California. It would be hard, according to Isenberg’s account, to call this a misspent youth. Even as late as 1896 he was accused of refereeing a fixed boxing fight.

“When he was not wearing a badge,” Isenberg writes, “he was variously a thief, brothel bouncer, professional gambler, and confidence man who specialized in selling gold bricks that were nothing more than rocks painted yellow.” In page after page, Isenberg details Earp’s exploits, successful and not, on the fringes of the law. One of the best tales told here is when Earp was running a game of faro in Tombstone and a fire broke out. At enormous risk to his life, Earp gathered the money on the table and escaped through the saloon’s back door. Out front, men — including his brothers — battled the fire thinking Earp was still inside, as he was nowhere to be seen. He had gone to the bank to deposit the money.

But Isenberg’s book is not merely a litany of Earp’s dark side. Rather, it sets out to prove that Earp’s greatest con was a methodical reinvention of himself. By the time of his death in 1929, Earp had spent almost 50 years creating a life story of himself as an enforcer of justice operating outside of civil society. His version took hold in literature and, more important, in Hollywood, with movies like 1957’s Gunfight at the O.K. Corral starring Burt Lancaster and television shows such as The Life and Legend of Wyatt Earp. “The dissonance between the Wyatt Earp of history and the Wyatt Earp of our collective memory, a confused combination of the real and imagined born partly of Hollywood mythmaking and partly of Wyatt’s own efforts to edit his past, is his central story,” Isenberg writes.

That Earp pulled this off is a matter of some significance, according to Isenberg. “Across three-quarters of a century, in battles against organized crime, Soviet communism, Islamist terrorism, and illegal immigration, Americans have invoked the Earp icon to rationalize the extralegal pursuit of justice.” In other words, the mythical Earp helped give license to taking justice into one’s own hands. A timely point, considering the outcome of the recent Zimmerman trial.

If his scholarship stands, Isenberg will have done a great service by debunking the Earp myth, and his book will make a significant contribution to the history of the West. But when it comes to readers, his writing style may be a bit off-putting. He all too frequently complicates a great tale with befuddling professorial references and allusions, such as comparing Earp’s father and son to Ishmael and his progeny or using Prince Hal from Shakespeare’s Henry V to explain Earp’s behavior.

Also slowing the tale is Isenberg’s constant battle with Stuart N. Lake, the biographer who played a key role in Earp’s reinvention. Isenberg wants to bury Lake’s version of events once and for all. Like a child who won’t let things go after a schoolyard brawl, Isenberg can’t let more than a few pages pass without reminding us of Lake’s flaws and, by implication, the author’s scholarly virtue. “Lake was wrong not only in the specifics but in the general context” and “Readers will find no mention of these events in Stuart Lake’s biography of Wyatt, a study that admits no flaws in Earp’s character,” Isenberg writes in typical passages that dot the work.

But if his writing falls short at times, Isenberg has done a masterful job as a historical prosecutor, and his work will be applauded by those who like their history to adhere more closely to facts. There are, however, some who might not share this sentiment. On a recent visit to Tombstone, the site of the O.K. Corral shootout that each year attracts thousands of tourists eager to walk the dusty streets, ride the carriages, and see mock gun fights, I noticed the book was not on sale in any of the stores. I was reminded of an old Texas saying, “Speak the truth but ride a fast horse.”

— James McGrath Morris

SubtextS Book of Martin George R.R. Martin, the man behind the rebirth of Santa Fe’s Jean Cocteau Cinema, was a dedicated comic book fan and collector as a child, and his first published work was a letter to the editor of Fantastic Four in Nov. 1963, when he was a high-school kid.

He wrote fiction for comics “fanzines” of the era and began winning awards while he was still a teenager.

Now a phenomenally successful author and editor of sci-fi, horror, and fantasy (he’s best known for the novels behind the HBO hit series Game of Thrones), he’s still an important figure in the world of comics.

So it seems only fitting that his life has become the subject of a comic-book biography, an unauthorized but respectful release from Bluewater Productions, written by J.S. Earls and Tom M. Smith and illustrated by J.M. Cuéllar. George R.R. Martin: Power Behind the Thrones is nicely drawn, though as it edges into the grown-up George, he suffers a bit of age inconsistency, drifting for a while between today’s plump, white-bearded savant and a leaner, dark-haired version, which is OK for an author of the fantastic.

We ran Martin to ground at the Jean Cocteau to get his reaction. It was muted. “I haven’t seen it,” he said. We showed him a digital copy on our iPad. He flipped through the first few pages, which reveal that before he was a big success he was a kid in Bayonne, New Jersey. “The drawings look like they were done by somebody who’s never been to Bayonne,” he muttered. He scrolled a little further.

“It’s all straight out of my bio, so I suppose it’s accurate.”

More than that he was reluctant to say. “It’s like commenting on a review,” he explained. “You don’t comment on a review.”

— Jonathan Richards

more book reviews on Page 20 18

PASATIEMPO I August 9 -15, 2013

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PASATIEMPO I August 9 - 15, 2013

Of Dice and Men: The Story of Dungeons & Dragons and the People Who Play It by David M. Ewalt, Scribner/Simon & Schuster, 288 pages Author David M. Ewalt describes himself at the outset of his new book Of Dice and Men: The Story of Dungeons & Dragons and the People Who Play It as a “divine spell caster, a lawful neutral twelfth-level cleric.” If you’re familiar with the iconic, role-playing game Dungeons & Dragons, you know he’s not exaggerating when he says, “That makes me a pretty major badass.”

If you’re not familiar with “D&D,” you won’t know what Ewalt is talking about — not just in his self-description but in extended portions of this book. Worse, you might not care. After all, most of us don’t spend much time on imaginary heroic quests in the presence of make-believe wizards, rangers, sorcerers, and rogues.

But that’s what Ewalt and the rest of the D&D die-hards do. Because these legions of the faithful have been at it for nearly four decades now, Dungeons & Dragons is a social phenomenon well worth studying.

To do so, Ewalt reverted to his adolescent roots (when he was a “‘neo maxi zoom dweebie’ in JC Penney slacks”) and jumped back into the game he had given up as an adult. “Before long, I was in over my head,” he confesses. His account of infatuation, bordering on addiction, will resonate with anyone whose passion for chess, Scrabble, or video games has sometimes taken over their lives.

Ewalt, an editor at Forbes, is upfront about his embarrassment at playing D&D as an adult. “Admitting you play Dungeons & Dragons is only slightly less stigmatizing than confessing cruelty to animals or that you wet the bed,” he writes. In fact, things went beyond embarrassing in the 1980s, when the game was blamed for murders, unholy rituals, and teen suicides.

Nonetheless, the game has thrived; an estimated 30 million people have played it since its creation in 1974. Ewalt devotes several highly detailed chapters tracing D&D’s labyrinthine history — details that all but the hard-core fan will find overly involved. He also places D&D in historical perspective with chapters devoted to the game’s precursors, including numerous war games, which Ewalt dismisses as “meant to provoke discussion, not stimulate the imagination like D&D.” The most fascinating parts of the book involve the explanation of this complex game and its enduring popularity. Ewalt describes its workings in simple terms. “D&D is a role-playing game, one where participants control characters in a world that exists largely in their collective imagination ... a fantasy world that is invented by its players but inspired by centuries of storytelling and literature.” In any given game, a “dungeon master” guides the other players through a specific setting, and they navigate it as a team.

In that sense, D&D is a cooperative pastime, not a competitive one. That is one of its greatest appeals.

Creating one’s own “player character” (PC) is another major draw. Each PC is “a unique persona to be inhabited like an actor in a role, imbuing it with motivation and will and action.” There’s lots more information on the intricate workings of the game — including lengthy, blow-by-blow accounts of one particular session — but, again, it’s too much information for this nonplayer.

The bottom line, Ewalt says, is that “D&D offers a unique form of entertainment, a communal storytelling that’s more interactive than video games, more engrossing than TV or film, and more social than books.”

— Wayne Lee

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21

LISTEN UP

James M. Keller

Looking back and forward: Santa Fe Chamber Music Festival

Pia Johnson

Ludwig van Beethoven struck gold with his Septet for Violin, Viola, Cello, Double Bass, Clarinet, Horn, and Bassoon, which he unveiled in Vienna in 1800 and published two years later, in June or July 1802, as his op. 20. Its combination of string and wind instruments offered pleasing, full-textured possibilities for orchestration, yet the ensemble was not so large as to create undue difficulties in assembling the requisite players. Nonetheless, publishers of Beethoven’s time rarely missed an opportunity to expand the market for a piece that proved popular, and before the year was up the Septet accordingly appeared in a transcription for string quintet. Beethoven was not particularly enthusiastic about this arrangement, and he published a notice in a Vienna newspaper that stated: “The making of these transcriptions is on the whole a thing against which nowadays (in our prolific age of transcriptions) a composer would merely struggle in vain; but at least he is entitled to demand that the publishers shall mention the fact on the title page, so that his honor as a composer may not be infringed nor the public deceived.”

He was right to resist struggling against the inevitable. It quickly became one of his most popular pieces — his most popular of all, for a while — and by the time he died in 1827, publisher’s catalogs all over Europe boasted editions of it in its original form and in arrangements for a wide variety of instrumental combinations: for 11 winds, for nine winds, for flute quintet, for piano quartet, for piano trio, for guitar duet, and on and on. Beethoven grew to resent its success, feeling that others of his works deserved its popularity more. In 1815, when a British visitor told him about how enthusiastically the piece had been embraced in England, Beethoven responded gruffly: “That’s a damned thing. I wish it were burned!” The following year, when the publishing firm of Breitkopf & Härtel

issued one of the various settings made for piano four-hands, the company described it as a “particularly beloved, exquisite work — known as one of the most richly melodic, cheerful, and comprehensible among B’s works.”

A group of fine musicians assembled at St. Francis Auditorium to perform the Septet, in its original version, on July 28 and 29 in a concert presented by the Santa Fe Chamber Music Festival (I heard the latter performance). The work found itself in good hands when it came to melodic richness and general comprehensibility. But cheerful it was not, and that is surely the characteristic that most accounted for its success when it was new and that most justifies its inclusion on programs today. Much of the playing was fine indeed. The second movement (Adagio cantabile) was infused with spaciousness, and the third (Tempo di menuetto) caught my interest for being the fastest rendition of that movement I can recall. But everyone was so serious. In its entire 40-plus minutes, I saw exactly one of the seven musicians allow a smile to flicker across her face (thank you, double bassist Kristen Bruya!), and that was on the last page of the finale. Other than that, gazes were trained intently on the music stands, and nobody gave visible evidence of taking the slightest joy in the music that was propped there.

I’m not suggesting that instrumentalists go out of their way to accompany their playing with ongoing mime. But if they are having fun, that tends to come across in their bearing; it becomes part of the spirit they are there to communicate to the audience. What’s more, when players allow themselves to have fun in their music making and don’t suppress their enthusiasm while performing, that gets refracted through their playing. Beethoven’s Septet often smiles, or at least it wants to. If an ensemble is comfortable enough to perform the piece, one would hope they would not just play its notes correctly but also serve as vessels for its cheerfulness.

Garrick Ohlsson

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PASATIEMPO I August 9 -15, 2013

S

S

peaking of Schubert again, the pianist Shai Wosner obviously shares a wavelength with him. On July 30, he offered a brilliantly constructed noon recital, another festival presentation, at St. Francis Auditorium, which included Schubert piano works both tiny and gigantic: the minuscule Klavierstück in E-flat Major (D. 946, No. 1) and the limitless B-flat-Major Sonata (D. 960), both from 1828, the last year of the composer’s life. They were separated by Idyll and Abyss: Six Schubert Reminiscences, composed in 2009 by Jörg Widmann. The Klavierstück received an urgent, almost panicked interpretation that reflected Schubert’s marking of Allegro assai, and Wosner also invested considerably urgency in the opening movement of the Sonata. Tempos made perfect sense throughout; the concluding Allegro ma non troppo was precisely that — “fast but not too fast” — and Wosner’s pace seemed appropriately relaxed, not slow but not hurried either. Perhaps the high point of his interpretation was the second movement, a leisurely expanse with beautiful, Brahmsian nobility at its center; as it reached its end, it drifted off into the gentlest inevitability. Holding

Shai Wosner

Marco Borggreve

omething similar crossed my mind on the evening of Aug. 1 at St. Francis Auditorium in another festival offering, when the Johannes String Quartet played Franz Schubert’s Quartet in A Minor (D.804), the Rosamunde (so called because its Andante movement includes a tune that also figures in the composer’s well-known incidental music for the play Rosamunde). There was some excellent playing, none better than at the spot in the second movement where Schubert, ever given to harmonic wandering, is passing through the realm of F Minor or A-flat Major (depending on how you hear it), and the foursome joined in a bursting crescendo that was executed with organic inevitability.

Schubert’s Rosamunde Quartet is certainly a less smiling work than Beethoven’s Septet, but parts of it do not lack Gemütlichkeit — a word summoned up often in reference to Viennese character to suggest a mood of warm-hearted welcome, cozy cordiality, and unaffected charm. It inhabits the “Rosamunde” theme in the second movement, the “yodeling” trio of the Menuetto, and the affable opening of the finale. But again, one saw no smiles among the players and heard little cheerfulness in the playing.

Earlier that day, the Johannes String Quartet offered two other quartets, both of them challenging: Henri Dutilleux’s Ainsi la nuit (completed in 1976) and Johannes Brahms’ Quartet No. 3 in B-flat Major (op. 67, from exactly a century earlier). Brahms published only three string quartets, and they qualify as his toughest chamber works. At least the first two do; the B-flat-Major one breathes somewhat more freely and is overall less forbidding than its predecessors. That said, even the intermezzo movement that usually provides some emotional relief in Brahms’ most serious pieces is here a nervous Agitato filled with sonic weirdness; the viola plays in full voice while the other three buzz around it more hoarsely, with mutes on their bridges — quite unsettling (and finely rendered here). The group did infuse the finale with an appealing measure of wistfulness — a touch of Gemütlichkeit, if you will — and overall they provided a fluid reading that conveyed their respect for the piece and the seriousness of approach that seems to define their character as an ensemble. The genre of the string quartet may have played to Brahms’ inherently academic streak, and this interpretation seemed “true to Brahms” in respecting that.

More exciting, though, was the ensemble’s rendition of Ainsi la nuit. Dutilleux had gradually become a dean of French composers by the time he died this past May at the age of 97, quietly turning out a parsimonious string of glistening masterworks from his studio tucked away on the Île Saint-Louis in the middle of Paris. He became most famous for his orchestral works, and Ainsi la nuit remains not widely known, even though it qualifies as the most impressive of his few chamber scores. It is structured in seven movements preceded by an Introduction, with four of the movements connected by short spans (“paranthèses,” Dutilleux called them) that summarize what has just been heard and foretell what is about to follow. All that memory and prefiguration adds up to a lot for a listener to keep track of in the course of its 20 minutes, and it may be that the work is most profitably apprehended as an unbroken string of miniatures, each exquisitely crafted, each very pointed in its sonic definition, perhaps reflecting in that regard a French attitude that goes back at least to Debussy. Ainsi la nuit is filled with variety, but in the end it seems a distillation of some cosmic vision. The Johannes String Quartet played it devotedly, paying careful attention to rendering its details with clarity, benefiting at every turn from the extraordinary craftsmanship demonstrated by this much appreciated composer.

this piece together is no easy feat. It ran 38 minutes in this performance but never seemed to drag. Widmann’s six-section set was an appealing exercise in which fragments of actual Schubert pieces waft through and are recontextualized. One might call his process postmodern, except that the term often implies a degree of irony, and there is no irony here — only deep-rooted appreciation.

Most often the Schubertian bits are fleeting, flickering like little shards and disappearing as soon as they are recognized. Occasionally they consist of larger chunks, sticking around long enough for the ear to settle into them. The effect is haunting overall, although in a few spots Schubert’s material is stretched out of shape as if reflected in a fun-house mirror. A challenge with such a piece is that it deflects attention from itself and toward its sources. Listeners who know their Schubert will have found themselves constantly engaged in a game of “Name That Tune,” grasping at familiar (or not so familiar) motives or turns of phrase before they receded out of range. Nonetheless, it was a beautiful experience, and it was entirely apropos when one heard snippets from the B-flat-major Sonata that would shortly receive such a loving interpretation in its entirety.

P

ianophiles have more keyboard artistry to look forward to in the coming week, as the festival’s artist in residence Garrick Ohlsson arrives to appear in Ernest Chausson’s moody Concert for Violin, Piano, and String Quartet (assisting violinist William Preucil and the Orion String Quartet on Sunday, Aug. 11, at 6 p.m., at the Lensic Performing Arts Center) and then appears in a solo recital (on Thursday, Aug. 15, at noon, at St. Francis Auditorium). In the latter, he’ll offer pieces by Prokofiev and Charles Tomlinson Griffes, the premiere of a work completed in 2010 by Michael Hersch, and several compositions by Chopin, including the much-loved Barcarolle. Chopin represents a particular passion for Ohlsson, who has recorded his complete works, an endeavor currently available on 16 CDs on the Hyperion label. But keyboard aficionados also have another fine player to look forward to this week: Anne-Marie McDermott, a perennial visitor to the festival, who launches an exploration of all five of Mozart’s late piano trios, for which she is joined by her long-time chamber colleagues Ida Kavafian (violin) and Peter Wiley (cello). The first of these evenings takes place at the Lensic at 6 p.m. on Monday, Aug. 12, and ensuing concerts are scheduled for Tuesday, Aug. 13 (at noon, at St. Francis Auditorium); Wednesday, Aug. 14 (at 6 p.m. at the Lensic); and Thursday, Aug. 15 (at 6 p.m. at the Lensic); before concluding next week in the festival’s final concert, on Aug. 19 (also at the Lensic). ◀ PASATIEMPOMAGAZINE.COM

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PASA REVIEWS

Eddie Palmieri Septet Lensic Performing Arts Center, July 27

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PASATIEMPO I August 9 - 15, 2013

azz historian and poet A.B. Spellman, as he’s done for all the New Mexico Jazz Festival’s eight years, sat down with its headliner and discussed the music’s history and craft. On the afternoon of July 27, Spellman spoke with Eddie Palmieri about the pianist’s long and distinguished career as well as the state of Latin jazz. The hourlong event was a fascinating look into a bygone era, with such names as Chano Pozo, Mario Bauzá, Dizzy Gillespie, Tito Puente, and Palmieri’s pianist brother, Charlie Palmieri, popping in and out of the conversation. Palmieri’s distillation of how Cuban rhythms were introduced to American jazz artists was enlightening and entertaining. He explained the meaning of “jazz on top” — the notion that American jazz improvisation was supported on a foundation of Afro-Cuban and other Latin rhythmic patterns.

Palmieri admitted to not liking jazz as a young man until he fell under the spell of pianists Art Tatum, Thelonious Monk, and Bill Evans. He recalled hearing John Coltrane in New York on a Sunday in 1965 and how a nearly half-hour solo played by Coltrane pianist McCoy Tyner came to define the way he played.

That evening, Palmieri demonstrated exactly what he had talked about earlier when his septet — two horns, three percussionists, a bassist, and Palmieri on a Roland electric keyboard — kept a variety of tight Latin grooves in play as the soloists mined lyrical, often funky improvisational territory.

Palmieri played both on the top and bottom, soloing with an ear to the history of jazz piano while accompanying with traditional Latin rhythmic patterns that served as a complement to the clave beat. He rose from his keyboard early in the set to lead the audience in clapping the basic three-two clave rhythm.

This rhythmic pattern, the heartbeat of Latin jazz, was apparent in everything played after, no matter the tempo. Seemingly less influenced by Tyner than Monk, Palmieri played with the harmonic and rhythmic quirkiness that was Monk’s signature. The rough, almost grumbling tones of his electronic instrument accented his off-beat play, and his solos seemed to be headed nowhere in particular, instead just stringing together Monk-like lines, until they resolved into familiar Latin figures.

The timbale, congas, and bongos rhythm section was sharp and responsive on both ballads and uptempo numbers. Banger Orlando Vega was particularly crisp and inventive, his rippling patter the highlight of every percussive passage.

José Claussell accented the theatrical side of timbale playing, his sound less involved than his swaying behind the instruments. One couldn’t help but hope that he would break into the kind of dense attack that made Puente famous.

But those hopes were in vain. Conguero Vicente Rivero played with complexity and tightness, his solos unsatisfying only in their short duration.

Palmieri, whose landmark La Perfecta band in the 1960s was known for its trombone front line, here featured trumpet and alto saxophone, a horn section that delivered a sound more connected to Art Blakey’s Jazz Messengers than to almost any Latin band. Yet even at this performance, jazz did not stay on top, especially with the Spanish inflections from trumpeter Jonathan Powell.

Powell, whose play was obviously influenced by Freddie Hubbard, at one point gave something of a bull-ring fanfare, followed by a lyrical quote from Hubbard’s “Little Sunflower.” Saxophonist Louis Fouché showed more than influence taken from altoist Kenny Garrett. In tone and attack, Fouché’s style was so like Garrett’s that it seemed lifted whole — not a bad thing and even appropriate to this music.

— Bill Kohlhaase

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25

SOUND WAVES

Jesse Hof

Loren Bienvenu

Brian Mayhall

Local label reaches a new plateau

It’s a total dream come true – we have these people helping us in Europe, and yet we have all this creative control.– Brian Mayhall

Born of the arid desert lands of New Mexico, the electronic music showcased by Mesa Recordings is more likely to play on radio stations in Berlin, London, and Sydney than the American Southwest.

The three members of D Numbers (a successful, long-running instrumental/ electronic group and one of the rare Santa Fe bands to outgrow its home market) founded the new label partly as a means to promote various individual side projects — guitarist Ben Wright is one half of Public Address (with Andrew Bowen) and also makes music as Mi; bassist and keyboard player Brian Mayhall produces solo material under his own name; and drummer Paul Groetzinger performs and records as DJ Feathericci. All these acts are represented on Mesa Recordings’ forthcoming compilation, We Live in The Desert. To help spread the word, the Mesa team is hosting the first of a series of monthly label showcases at Molly’s Kitchen on Saturday, Aug. 10.

The music on the new release (and earlier ones) falls into a genre best described as experimental dance music, which they say is characterized by softer production and rounder mixes than traditional house and techno music. “It totally has a local flavor,” Wright told Pasatiempo during an afternoon break taken by the three members, in between label business and writing new material for the next D Numbers album. “It’s not Berlin techno. It’s house-inflected, but it’s got some color you wouldn’t find elsewhere.”

Groetzinger agreed: “Yeah, there’s maybe more space and an acoustic nature to our stuff.” Though proud of their homegrown sound, the musicians have been so busy running the label that they haven’t had many recent opportunities to actually perform locally. “Not a lot of people have had the chance to see Brian do his original stuff or Public Address do their original stuff. Something we really want to bring to the dance floor [at Molly’s] is our original dance music, not just DJ music.”

Wright added, “Our distributor is based in the Netherlands, so a lot of the feedback we get is from the Netherlands, Germany, the U.K. It can feel a little far afield from what’s going on here.” Distribution was actually the main impetus behind the founding of Mesa Recordings. Their soon-to-be Dutch distributor 26

PASATIEMPO I August 9 - 15, 2013

initially contacted them with an interest in the D Numbers catalog. “They took a shine to us for potential sync licensing,” Groetzinger Gr explained, referring to licensing music for use in films, television, and commercials. “They don’t just work with bands, so they said, you have to become a label in order for us to distribute you. They weren’t really expecting us to throw a release re at them every two months!”

In Mayhall’s opinion, the new situation is ideal: “Previously when we were touring, we were always hoping some label would pick us up. We were out there in the world thinking, hey guys, we’re making this great music and working really hard har on it. At that time, labels were sort of dying and on the decline. Now it’s cooler than that could’ve ever been, because we have our own label. To me it’s a total dream come true — we have these people helping us in Europe, and yet we have all this creative control.”

Although based in the Netherlands, the distribution company works internationally and releases Mesa’s music on countless digital platforms. They also handle European promotions for the label, sending out press materials and working to secure radio and internet airplay. After a decade or so of doing that legwork themselves, the members of D Numbers were happy to pass along a big chunk of the responsibility.

“Before we’d just send things out into the ether and get back nothing,” Wright said. Now, they receive regular promo reports with encouraging statistics regarding worldwide plays and the occasional surprise highlight, like Mesa spins on BBC radio.

For the most part, however, the music spreads through online means. “Pandora was the first thing that really gave us hope,” Groetzinger said. “You can see who has a D Numbers Pandora station. There are like tens of thousands of people with D Numbers as either a seed band in their station or as the main seed. How would we be getting these hundreds of thousands of downloads and streams a month without that?”

The increase in worldwide exposure came with the potential for new collaboration. According to Mayhall, unsolicited submissions from similarly inspired electronic artists have already begun to trickle in. “We got a really cool submission from someone in Italy. They heard Public Address, on the radio or something, and said, I really like this, I want to reach out. And it was great hearing her music.”

Conversely, the label owners pursue outreach efforts of their own. Mayhall contacted a Ukrainian artist he admired named Kulakostas and asked him to remix one of his own songs. “He did it in a couple weeks, and it’s beautiful. So now we have a connection with this guy, and we’re getting plays on SoundCloud in Ukraine.” Similarly, they are looking forward to releasing a full-length album

by Denver-based producer David Last in 2014 as one of the six releases planned for the upcoming year (and the first one that does not feature a member of D Numbers).

The label’s approach to making low-overhead digital recordings and spreading them far and wide fits the emerging paradigm for independent labels. All three founders record their own music in home studios rather than expensive and elaborate professional ones. They encourage other musicians to do the same, both to lower costs and maintain creative freedom.

“Decent speakers, good plugins, audio interface, microphone, and you’ve got an awesome home studio,” Groetzinger summarized. For the founders of Mesa, who have discovered how to grow internationally without sacrificing their Santa Fe headquarters, the main benefit of the home studio is just that — it’s home.

See Mesa artists at Molly’s Kitchen and Lounge (1611 Calle Lorca, 983-7577), featuring Public Address, Brian Mayhall, and Feathericci, on Saturday, Aug. 10, at 9 p.m. Cover is $5 at the door for the 21-and-over show. ◀

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27

Jonathan Richards I The New Mexican

DON’T LOOK BACK JEAN COCTEAU

W

hen his beloved young wife Eurydice was taken from him by Death, the celebrated poet and minstrel Orpheus of Greek mythology was silenced.

He couldn’t eat, he couldn’t sleep, he couldn’t sing, he couldn’t write. So he made his way to the Underworld, and through the beauty of his songs he was able to strike a bargain no mortal had ever achieved before. He was granted permission to bring Eurydice back to the land of the living.

But there was a catch: if he looked back at her during the journey, the deal was off.

In recent months, there’s been a flurry of construction activity on Montezuma Street in the Railyard, where one of Santa Fe’s most beloved cultural institutions, the Jean Cocteau Cinema, once flourished. It died in 2006, leaving grief in the hearts of local movie lovers. And then this April, Santa Fe novelist and fantasist George R.R. Martin announced that he was undertaking an Orphean journey to lead the Jean Cocteau back to life. He hasn’t looked back. And on Friday, Aug. 9, the Jean Cocteau Cinema opens its doors again.

Inquiring minds are asking: Who was Jean Cocteau, and why is there a movie theater named after him?

To fill in the background, we went to the source. Not to Jean Cocteau, who died in 1963 of a heart attack (possibly brought on by hearing of the death of his close friend Edith Piaf ). We talked to Brent Kliewer, who founded the Jean Cocteau Cinema (he later started The Screen, and continues as its programmer). In the early ’80s Kliewer, a film historian, critic, curator, and deep-dyed movie buff, took over a little downtown

Film will only became an art when its materials are as inexpensive as pencil and paper.

— Jean Cocteau

Jean Cocteau on the set of Orpheus (Orphée), 1949; above, Cocteau directing his last feature, 1960’s Testament of Orpheus (Le Testament d’Orphée) 28

PASATIEMPO I August 9 - 15, 2013

Cocteau on the set of Testament of Orpheus; left, 1960’s Cocteau lithograph Thème Orphique

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movie house called the Collective Fantasy, and in 1984, 21 years after Cocteau’s death, he put part of the legendary French artist’s signature on an elegant black marquee above the theater and opened the doors on a new era of Santa Fe movie going.

“Why Jean Cocteau?” we asked Kliewer. “Oh gosh. At that time I was obsessed with him. There was nobody else I really even thought of. I can’t explain it any better than that. Five years later it might have been someone else. At that particular time of my life I was really into Cocteau.”

Cocteau was a poet, playwright, novelist, librettist, artist, and ballet designer, and a friend and associate of the extraordinary generation of artists who dominated Paris in the first few decades of the 20th century.

His circle included Picasso, Modigliani, Apollinaire, Proust, Gide, Colette, Stravinsky, Diaghilev, actors, dancers, filmmakers, and virtually everyone who was anyone in European artistic life.

“The thing about Cocteau,” Kliewer said, “is that cinema was really the last thing he came to. He was already accomplished and well known for the plays and poetry and all that. And his line drawings are very beautiful, an underrated part of his oeuvre.”

Cocteau was born in 1889, and ran away from home at the age of 15, hiding out in the red light district of Marseilles. By 19 he was a published poet. By 1930, when he made his first feature film, The Blood of a Poet (Le Sang d’un Poète), he was a celebrated fixture in the art world.

That film is often mentioned as a pioneer work of cinematic surrealism, but Cocteau rejected the mantle. “It is often said that The Blood of a Poet is a surrealist film,” Cocteau later wrote. “However, surrealism did not exist when I first thought of it.” It’s not clear when Cocteau came up with the idea for the film, although it seems to have taken shape at a house party in 1929. In any case, Surrealism was certainly up and running by the time he made it. André Breton’s first Surrealist Manifesto was published in 1924, and the Buñuel/Dalí film Un Chien Andalou came out in the late ’20s.

Over the next decade Cocteau’s film career disappeared, perhaps smothered in a recurrence of an opium addiction he had wrestled with continued on Page 30

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29

Jean Cocteau, continued from Page 29 periodically, although he continued to work productively in the theater.

But his creative energies resumed in the following decade. In 1946 Beauty and the Beast (La Belle et la Bête), a romantic fantasy based on an old fairy tale, was screened in Paris. The film, which starred Cocteau’s longtime friend and lover Jean Marais, was critically acclaimed and seemed to recharge his cinematic batteries.

In 1950, his classic Orpheus (Orphée) was released — the film that Martin and theater manager Jon Bowman have selected to launch the rebirth of the Jean Cocteau Cinema (paired with Forbidden Planet, a pioneering 1956 sci-fi film). In Cocteau’s film, a modern retelling of the Greek myth, Orpheus (played by Marais) is a much-admired French poet of a generation beginning to give way to a younger one, a circumstance not unlike Cocteau’s at that time. Orpheus is visited by a beautiful and mysterious woman, the Princess (Maria Casarès), an emissary from the regions of death. Although he has fallen in love with her, Orpheus travels to the Underworld when his wife Eurydice (Marie Déa) is taken there. The Princess sacrifices herself by releasing Orpheus, allowing him to achieve a poet’s immortality.

“There’s a lot of sleight of hand,” Kliewer said, describing Cocteau’s filmmaking techniques. “It’s fun to watch it in these days of digital

What were you trying to say?

This is a fashionable question.

I was trying to say what I said.

— Jean Cocteau

Top, Jean Cocteau aux mains multiples, photo by Philippe Halsman, 1948 Middle, from Beauty and the Beast (La Belle et la Bˆ e te), 1946 Bottom left, Jean Marais in Orpheus; bottom right, Cocteau

30

PASATIEMPO I August 9 - 15, 2013

Photo by Ken Howard

special effects, how his simple camera tricks are so magical. The whole obsession with mirrors, it’s a kind of hieroglyphic and a leitmotif throughout his whole cinema, which is full of special meanings and mirrors and roses and different recurring symbols. He was just such a magician. It still stands up.” Some of Cocteau’s trickery and illusion was thought out and some was inspired adaptation to circumstances and mistakes. When janitors raised a cloud of dust cleaning the studio as he was shooting the final scenes of The Blood of a Poet, Cocteau incorporated the disturbance to add to the atmosphere of mystery.

Orpheus makes up the middle section of Cocteau’s Orpheus trilogy, which begins with The Blood of a Poet and concludes with his last film, 1960’s Testament of Orpheus (Le Testament d’Orphée). Testament of Orpheus stars Cocteau as a time-traveling poet. Sometimes startling, sometimes playful, and stocked with cameo appearances by friends including Picasso, Charles Aznavour, Françoise Sagan, Yul Brynner, Brigitte Bardot, Jean-Pierre Léaud, and bullfighter Dominguín, it’s a summing-up of Cocteau’s philosophy of the poet’s art. As he says in the film, “It is the unique power of the cinema to allow a great many people to dream the same dream together. ... It is, in short, an admirable vehicle for poetry.”

Cocteau was an artist who willfully defied description or category.

Maybe that’s what makes him such a good fit for Santa Fe. “There’s the real person and then there’s the myth,” Kliewer said. “We probably never knew the real person. The myth is kind of what survived. His whole life was his art. He is his art. In some ways he’s greater than the sum of his parts; he’s his own greatest creation. I think that’s what he was after.” ◀

Ano

the

Aug us r Pe t 19 at 8 rfor man :00 pm ce A dde d!

Photo by Ken Howard

The Jean Cocteau Cinema opens on Friday, Aug. 9, with a screening of “Forbidden Planet” at 6:30 p.m. followed by “Orpheus” at 8:45 p.m. and John Carpenter’s “Dark Star” at 11 p.m. The theater is at 418 Montezuma St.; call 466-5528 or see www.jeancocteaucinema.com.

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Photos Jane Phillips/The New Mexican

George R.R. Martin

If he rebuilds it, you will come George R.R. Martin resurrects a Santa Fe institution Robert Nott I The New Mexican

G

rowing up in Bayonne, New Jersey, in the 1950s, author George R.R. Martin regularly attended four movie houses in his neighborhood. “There was the DeWitt, the Lyceum, the Plaza — a dump that specialized in kiddie matinees and horror movies — and the Victory Theater, which was an old opera house that was boarded up but reopened on occasion for film screenings,” he recalled in an interview with Pasatiempo. In those cinemas, Martin enjoyed the fare of the day — particularly science-fiction movies, large-scale adventure epics, and Abbott and Costello comedies.

The theaters are long gone. “Every one of them was knocked down, demolished. The DeWitt is now a McDonald’s, and I think the Lyceum is a laundromat, and the Victory is a supermarket,” Martin said. “The grandeur of these beautiful old movies houses is now in destruction and decay all over the country. And that, unfortunately, is a process that will

32

PASATIEMPO I August 9 -15, 2013

only accelerate in the next 10 years. On top of that, a lot of these small theaters can’t afford the upgrade to digital projection. I think we will lose a lot more of these little idiosyncratic movie theaters in the next decade, and that makes me sad. It’s a part of America that I love.” (Visit the website www.cinematreasures.org for brief descriptions of these cinemas.)

That’s one reason Martin — a Santa Fe-based novelist, screenwriter, and producer best known for his A Song of Fire and Ice books, which have become a popular HBO series — recently purchased the Jean Cocteau Cinema on Montezuma Avenue from the Trans-Lux corporation. “I’m partly inspired by my love of movies and my love of these theaters.

There’s something about these old single-screen cinemas that I love.

Each one had their own personality.”

As of Friday, Aug. 9, the Jean Cocteau will be one of those personable cinemas, under owner Martin and manager Jon Bowman. Bowman,

Jack Gleeson and Charles Dance in HBO’s Game of Thrones

a journalist and film critic who ran the Santa Fe Film Festival for 10 years, shares Martin’s eclectic, offbeat taste in movies. “We’re going to try everything the first year and see what people come out for,” Martin said.

Among the planned film screenings: Swiss-born filmmaker Korinna Sehringer’s award-winning Shouting Secrets, the 2013 sci-fi flick Europa Report, Craig Zisk’s The English Teacher (starring Julianne Moore and also released this year), a revival of Henry Selick’s 2009 animated picture Coraline, and a children’s matinee of Abbott and Costello Meet Frankenstein (1948) — a childhood favorite of Martin’s. “We’re probably the only theater in the country that will run Abbott and Costello comedies,” Bowman said with a laugh.

Bowman also expects to give screen time to independent filmmakers who are based in New Mexico — much as he did as director of the Santa Fe Film Festival.

To kick off the activities, the duo are screening the 1956 sci-fi film Forbidden Planet and Jean Cocteau’s Orpheus (1950) for one week. Admission is free for those two films, though tickets are required (drop by the cinema or call 466-5528). Regular ticket prices are $10, with discounts for senior citizens, students, matinees, and midnight movies.

Yes, the duo plan to run midnight movies on Saturdays — including 1974’s Dark Star (another Martin favorite, which runs Friday and Saturday, Aug. 9 and 10; no charge), the 1959 Ed Wood Jr. movie Plan 9 From Outer Space, and the 1975 cult musical/horror flick The Rocky Horror Picture Show.

Over time, the cinema will program “new and old stuff,” as Bowman put it. Already the pair are talking about a week of programming devoted to baseball films, including 1957’s Fear Strikes Out and 1989’s Field of Dreams. And they’d like to run those old 1930s Warner Bros. Gold Digger films as a series too.

Do they think people accustomed to seeing such titles on classic movie channels will pay to see them on a big screen? “We’ll find out,” Martin said. Bowman added, “If we pick titles that you can stream on Netflix, people won’t pay to go. But older, harder-tofind titles, maybe. And some classic movies people have never seen on a big screen — Casablanca, for instance — so that might pull them in.”

About 90 percent of the screenings will be on a digital projector, though the Jean Cocteau still has an old 35 mm projector dating to the 1950s, Bowman said. continued on Page 34

PASATIEMPOMAGAZINE.COM

33

Theater photos Jane Phillips/The New Mexican

George R.R. Martin and Jon Bowman

George R.R. Martin, continued from Page 33 The cinema will also host readings, book signings, visual art shows, and small musical ensembles. For instance, on Sept. 7, Steve Terrell and Gregg Turner are scheduled to perform solo sets. Martin noted that he first met Bowman in the early 1980s through Terrell, who was then playing gigs at the now-defunct Forge, in the Palace of the Governors.

“We’d all howl along with ‘Wolf Boy,’” Martin said, referencing a Terrell tune. Incidentally, Martin likes those 1940s Wolfman movies, particularly when the Wolfman met up with other monsters in House of Dracula and House of Frankenstein.

Martin and Bowman also hope to mount an exhibit of New York photographer Matt Lambrose’s images of old movie houses.

Lambrose’s website, After the Final Curtain (www.afterthefinalcurtain.net) showcases old, abandoned, and destroyed cinemas.

“It’ll break your heart,” Martin said of that project.

Though the building housing the Cocteau was used for a variety of commercial purposes since it was built about 100 years ago, it opened as the Collective Fantasy cinema, founded by Lynne Cohen, Rich Szanyi, Anne Lewis, and Mary Hetler in the mid-1970s.

Oklahoma native Brent Kliewer took over the independent art house in 1983 and renamed it the Jean Cocteau in 1984. Kliewer has since become the main curator for The Screen at the Santa Fe University of Art and Design.

Martin said his records indicate that Trans-Lux took over the cinema in the mid-1980s. Trans-Lux ran an array of films — including foreign, art-house, and independent titles — there until it closed in 2006. For several years the building housed the New Mexico Film Museum, which never really existed but nevertheless managed to pay a hefty salary to a string of government workers who held the title of director.

Martin said he kept waiting for that museum to take shape. It never did. “I kept thinking, When is it going to open? What sort of exhibits will they have? There was never anything in there!” he said.

So he bought the building (he declined to reveal how much he paid). He is already renting out office space above and behind the cinema. He will run the cinema as a for-profit venture although, 34

PASATIEMPO I August 9 -15, 2013

SFCA

The Santa Fe Concert Association presents

Festival of

he joked, “I think it will turn into a nonprofit, because it won’t make any profit.”

Parking for patrons, Bowman acknowledged, may be “tricky,” though he hopes it will be less of a problem after 6 p.m., when motorists can generally park for free in metered spaces along the streets.

In addition to Bowman, the Jean Cocteau will employ about 10 people, including two projectionists. Martin paid for recent renovations of the lobby and concession-stand area and installed a building-wide sprinkler system.

As for the concession stand, the cinema will offer pizza, pastries, ice cream, and its famous flavored popcorn. According to Martin and Bowman, when people walked by the Jean Cocteau during its recent renovation period, they popped in to ask not what films they planned to screen but whether the cinema will once again sell the best popcorn in town.

Martin and Bowman said they are not going to be in direct competition with other Santa Fe art houses, the Regal 14 complex, or the planned 11-screen Violent Crown theater complex (due to open in the Railyard sometime in the next year or so). “We’re more inclined to show genre films,” Bowman said. “Fantasy, horror, science-fiction, comedy, films that are not necessarily main art-house titles. We won’t put ourselves in a box one way or the other. If we just duplicate what the CCA Cinematheque and The Screen do, what would be the point?”

“In the first year I think you’re going to see us showing a lot of different things,” Martin said. “After a year, we will see what worked and what didn’t. Will people come out for the Saturday midnightmovie shows? If not, we’ll probably stop running them. We won’t screen a film for three people.”

Martin said it makes him feel good to own a small-town theater with a historical tie to the community. Asked what his biggest challenge will be, he said, “To back off and let Jon run it. I should chain myself to a desk and finish my next book. My readers will show up at the Jean Cocteau with pitchforks and torches if I show up there every night.”

Still, he plans to stop in sometimes to introduce and speak about his favorite movies, and he hopes that directors and writers of other films screening at the Jean Cocteau will do the same. And, he said, the Jean Cocteau will always have something no other cinema in the nation will have: signed copies of George R.R. Martin books. ◀

Dance

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!

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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 Jean Cocteau Cinema is at 418 Montezuma Ave. For show times and ticket information, see www.jeancocteaucinema.com or call 466-5528.

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

PASATIEMPOMAGAZINE.COM

35

Paul Weideman I The New Mexican

FROM SUDSTO CINEMA A buildingthat has seenit all he name is the same. Santa Fe’s newest movie house is called the Jean Cocteau Cinema, as it was for more than 20 years. In February, author and screenwriter George R.R. Martin purchased the building, closed since 2006, and hired film critic Jon Bowman as manager. The theater opens Friday, Aug. 9, with a classic-film double feature and a John Carpenter film showing in a renovated space with a new digital projector, screen, and sound system.

The theater first opened in 1977 as the Collective Fantasy, owned by Lynne Cohen, Rich Szanyi, Anne Lewis, and Mary Hetler. It was purchased seven years later by Brent Kliewer, who previously ran the University of Tulsa Film Society and was an organizer of the Oklahoma International Film Festival. Kliewer launched his ownership with a showing of the racy 1929 Louise Brooks film Pandora’s Box and with series featuring the movies of Jacques Tati and Woody Allen.

He also fancified the basic rectangular box of the building, adding a marquee and a special entrance under it. “That marquee was my pride and joy,” he said. “It was done by Arturo Herrera, an artist friend of mine from Venezuela who is now a famous artist in Europe. But Jeff Harnar was the head architect on the remodel. All the curves and modernist design was Jeff’s.”

As were the glass-block entry, the snaky hallways and railings, the Art Deco lamps in the theater, and the flooring in the entry areas, which is a rubber grid of raised circular bumps. Kliewer, today the director of film programming at The Screen on the campus of the Santa Fe University of Art and Design, said, “Nobody was using that rubber at the time. Jeff said it was used in a few major airports, and it was indestructible. It was very comfortable in the theater.”

Another standout feature of the entrance is a large, blue-tiled column. But that wasn’t added during the remodel. “It was there before, and it had to stay or things would have fallen down,” Kliewer said. “We added the tiles. Presentation was important, an important part of the experience. I loved having curtains. They were green, just like the seats.”

Those stage curtains are still there. “We have a green set and a black set,” Bowman pointed out during a recent theater visit.

“We had to change them a little because the new screen is larger than the old one, but we figured out a way to do it. We’ll probably use the green curtains for opening and closing and the black ones for masking.” Bowman, one of the founders of the Santa Fe Film Festival in 1999, said Martin also added a new steel front door, necessary because of increased noise from the New Mexico Rail Runner Express. continued on Page 38

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PASATIEMPO I August 9 -15, 2013

Multivisual capabilities

The projection room at the Jean Cocteau Cinema is crowded. There wasn’t much room before, with the bulky 35 mm projector and the platter system, a table-based film-transport system that requires less frequent attention than the older projector-mounted film reels. Now, up front, right next to the old projector is a brand new digital projector.

Brent Kliewer remembers that the projector in the original Collective Fantasy and in the Jean Cocteau during his tenure was a Brenkert, made in the 1940s. Jon Bowman, the Cocteau’s manager now, said that either Blue Pearl or Trans-Lux, the two companies that ran the theater after Kliewer, changed the projector. The one in there now is a 1950s-model Simplex with a yellow Strong Lume-X lightbox.

The new equipment includes not only a digital projector but also a Blu-ray player and “channels that accommodate different types of input, including streaming from the internet or Skype or an HD cam,” Bowman said.“It’s a very flexible system.”

The Cocteau’s digital projector is the same model as the new one at the Center for Contemporary Arts. “We have both 35 mm and various digital formats. We can do everything now,” said Jason Silverman, film curator for CCA.“We had the best installer in the country come out after we researched this for more than a year. They came out with this incredible equipment that measures the light and color at particular places in the theater, and then that information is used to build a profile for the projector.”

Silverman explained that the digital projection system there and at the Cocteau is called DCP, short for Digital Cinema Package.“The story on that is that the studios decided they wanted to convert to digital, and they created a coalition to come up with a new format that would retain the quality and also be piracy-secure.

“The hard drives they send us can only be played on DCP systems. And there are keys you add that have limited time frames on them. On Thursdays we’ll get keys for our new week of screenings, we’ll plug those in, and that will unlock our films so we can play them for another week.”

A question: Is digital totally better than film? Or are there aficionados who say something is lost in the translation to digital, similar to audiophiles who maintain that music played via vinyl and analog tape sources is superior to that on compact disc?

“I would say that the huge majority of people who go into the Regal Stadium do not know that they converted to digital last November. They can’t tell the difference. I’ve worked with 35 mm film 18 years now, and I love it, but I also love DCP. Yes, film degrades, and there is a certain Zen quality to that: things are born and they die. We had a pristine print of Beasts of the Southern Wild that we showed five times a day for months, and there were places that were a little rough by the end of the run. There is something beautiful about that, but it’s also nice to see things as the creator of the piece intended.” Silverman said the CCA did the same sort of calibrations for its sound system as it did in generating digital profiles for the picture.

Sound has also been upgraded at the Cocteau. At the end of July, there was a bank of large new speakers on the stage. “We have a new Dolby Digital surround-sound system,” Bowman said, and there are two additional speakers for the booth and the concessions area — that’s an old trick from drive-in days. I worked at the Silver Dollar Drive-In in Albuquerque, and you could still hear the dialogue when you went to get popcorn and drinks.”

A new Harkness screen, tailored to digital projection, was on the way to the Cocteau at press time. That should be dandy for a decade or so.

“I was talking to our installer, Curt Rousse from Taos, and he said the next stage will be large monitors [each one actually a seamless assemblage of hundreds of monitors], so you won’t have either screens or projectors any more. That’s probably 10 or 15 years out.”

Bowman said they intend to hold on to their 35 mm projector for the time being.

“One scenario is if we have a guest artist who wants to show a film.”

But Cocteau owner George R.R. Martin and Bowman will likely get rid of the film equipment at some point, because film versions of movies are being converted to digital and there will be no need to have the old-fashioned projection equipment.

Jon Bowman at the revamped Jean Cocteau Cinema; By the way, this is a great time to buy a 35 mm projector.“Five years ago, opposite page, one of the theater’s Art Deco sconces; you’d pay $25,000 for one, and now it’s more like $3,000,” Bowman said. background, concession area skylight — P.W. PASATIEMPOMAGAZINE.COM

37

Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 92229

From suds to cinema, continued from Page 36 “The private screening room has been retained, and the seating is the same as it was, except we had to remove several of the old seats at the back of the theater for handicapped access,” Bowman said. “There are 123 seats now.”

At the tail end of July, workers were installing new stamped-tin ceiling material underneath the marquee and had already put it around the sides of the deep skylight in the concession area. They were in the process of building a new concession stand. Designed by Jayné Franck, it has a pleasing serpentine shape, similar to the former concession stand and echoing other Art Deco design elements in the theater.

But unlike the previous concession counter, this one has a front of glass blocks and strips of LED lights behind it. A controller allows Bowman to key the lighting colors to the mood of the film showing. And yum: the theater has a brand-new popcorn machine.

THE WAY IT WAS Jean Cocteau Cinema building from behind, far left, and Hutchinson Fruit Company, circa 1928

New concessions stand with glass-block front

Because of its location in Santa Fe’s old railroad yard, the Cocteau building has a rich history. Kliewer recalled that when he came to town in the early 1980s, “That was an old area; it was just a bunch of warehouses. The Zia Diner was a garage.

There were artists’ lofts in what is Sanbusco, and across the street there was a water-pipe company.”

The building that houses the Cocteau, at 418/420 Montezuma Ave., is an adobe dating back more than a century. The area originally held a number of warehouse structures built to accommodate the railroad, according to a 1980 application for the building’s inclusion on the State Register of Cultural Properties. Supplies coming from the East Coast were unloaded and distributed here.

The Cocteau building does not appear on an 1882 map titled “Bird’s Eye View of the City of Santa Fé, N.M.,” but on an 1896 station grounds map it appears to be a structure labeled “otherwise unidentified Beer House,” so it must have been built during the intervening 14 years. On a 1904 station grounds map, the building is labeled as the Lemp Brewing Company. The old maps also show several railroad tracks on the Sanbusco side of the building, in addition to the track that remains on the east side. The Sanbusco side of the building also had loading platforms.

Additions to the building reported in The Santa Fe New Mexican include a cold storage house in 1902 and an icehouse (to hold 200 tons of ice) in 1907. A notice in the paper on May 17, 1905, has Henry Krick, Santa Fe agent for the Lemp Brewing Company, advertising several new beverages, among them “Grape Fruit champagne and cherry fruit cider.” A 1913 Sanborn Insurance map shows the Lemp building considerably enlarged by the addition of a two-room adobe structure south of the icehouse.

Firms listed in the 1915 New Mexico Business Directory as located at “the foot of Montezuma Avenue” included the Denver & Rio Grande Railway Company and two railroad-oriented enterprises, the Capital Coal Yard and the Continental Oil Company, both of which were across Montezuma from the Lemp building.

Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 117272

ST. LOUIS BLUES

418 Montezuma Ave., 1977, photo by Arthur Taylor

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PASATIEMPO I August 9 -15, 2013

John Adam Lemp introduced lager beer to the Western Hemisphere in 1838, according to Steven DeBellis of St. Louis, who publishes a monthly historical newspaper under the nameplate of the long-defunct St. Louis Globe Democrat. “Lager needs to be kept cool during aging, and this was before refrigeration, but St. Louis is honeycombed with caves with a consistent temperature of 56 degrees,” DeBellis told Pasatiempo.

“Lemp built icehouses and bottling depots where they would ship kegs of beer packed in ice, and then it was bottled in those cities.

Those beer kegs were always oak and were very thick because they had to contain the pressure of a carbonated beverage.”

While Lemp was at the vanguard of the lager industry in the United States, the company’s story is sad and bizarre. It begins with John Adam Lemp, who arrived in St. Louis in 1838 from Eschwege, Germany, where he had learned the craft of brewing from his father. Lemp built a modest brewery in 1840 and by the time he died, the business had made him a millionaire. William J. Lemp succeeded his father, building the company into a giant. “Lemp beer was as well known in its day as Coca-Cola,” DeBellis said.

A downward spiral began when William’s son Frederick died in 1901 under mysterious circumstances. Three years later, the grieving father shot himself in the head.

William J. Lemp Jr. succeeded him as president of the declining company. His sister Elsa committed suicide in 1920, the year after Prohibition closed the family brewery for good. In 1922 the St. Louis Lemp plant, which had covered 10 city blocks and was valued at $7 million, was sold at auction for $588,500. Soon afterward, William J. Lemp Jr. shot himself. Suicide also claimed his brother Charles. The body was discovered by another brother, Edwin, who lived to the ripe old age of 90.

In Santa Fe, in the 1920s, the Lemp business became known as The Henry Krick Company, Bottlers of Carbonated Beverages.

OPEN FOR BUSINESS

If you look at the 418/420 Montezuma building today, it appears basically similar to the one shown in a 1976-1977 photograph by Arthur Taylor, in which there is an “Opening Soon” sign for The Collective Fantasy mounted on its side.

But go back further, and the questions about the evolution of the site get more complicated.

The Hutchinson Fruit Company, shown in a 1928 photo, appears to be in back of the building on Montezuma, and there is a tree between the two. Today the tree is gone and the structure looks considerably different.

According to Richard Czoski of the Santa Fe Railyard Community Corporation, the site once held a two-room adobe building at the rear and adjacent to that a building formed by stuccoing over two or three railroad boxcars. “The box cars were removed when the portion of the building known as the Patton Building was demolished to make way for the reconfigured tracks adjacent to the Santa Fe Depot,” Czoski said.

According to Hudspeth’s Santa Fe City Directory, the buildings at 418/420 Montezuma housed scores of businesses (besides The Collective Fantasy/Cocteau) during the 20th century. Among the longest-lasting were the Hutchinson Fruit Company and other fruit companies (1928-1958); the Dr. Pepper Bottling Company (1951-1962); Fred Patton Studios, an advertising firm (1963-1975); Hand Graphics (1978-1998); and Southwest Crating Services (1981-1999). ◀

SANTA FE BUILDER’S SUPPLY CO.

Photos Paul Weideman unless otherwise noted

(SANBUSCO CENTER)

CAPITOL COAL CO. CONTINENTAL OIL CO. LEMP BREWING CO.

(JEAN COCTEAU CINEMA)

MONTE ZUMA A V.

Location of the Jean Cocteau building and surrounding businesses from a 1913 Sanborn map

PASATIEMPOMAGAZINE.COM

39

Robert Nott I The New Mexican

ROBBY IN THE LOBBY

or author George R.R. Martin, the best science-fiction film ever made remains MGM’s 1956 Forbidden Planet. He was about 8 years old when he first saw it at the DeWitt Theater in Bayonne, New Jersey. “It was amazing,” Martin recalled. “At that time the big difference between science fiction in print and in movies was that science-fiction films were stupid. But Forbidden Planet got much of it right ... the special effects were state-of-the-art for the time.

Robby the Robot was incredible. I’ve seen it over 100 times since.”

Martin will probably see it again when his Jean Cocteau Cinema on Montezuma Street runs Forbidden Planet during its first week of operation. The picture tops the list of Martin’s 10 favorite science-fiction films — followed

by Aliens, Blade Runner, Alien, Invasion of the Body Snatchers (the 1956 version), The Road Warrior, Dark Star, The War of the Worlds (1953), The Day The Earth Stood Still (1951), and The Empire Strikes Back.

For the mid-1950s Forbidden Planet was unusual fare for MGM, a studio best known for its opulent romantic dramas and singing-and-dancing musicals. Written by Cyril Hume and directed by Fred McLeod Wilcox (not exactly household names then or now), the film’s story follows the crew of an American spacecraft exploring new frontiers in the year 2200. When the craft lands on the once-inhabited planet Altair IV, it discovers two lone human inhabitants: Doctor Morbius (Walter Pidgeon) and his sultry but innocent daughter Altaira (Anne Francis). The doctor also has an agreeable robot named Robby, as well as a lot of secrets to hide regarding the fate of an earlier expedition to the planet.

The cast includes a number of actors who almost or briefly became stars later on, such as Warren Stevens, Jack Kelly, Earl Holliman, James Drury, Robert Dix, and Richard Anderson. Co-star Leslie Nielsen, who plays the craft’s commander, had to wait some 30 years before truly attaining stardom with the irreverent Naked Gun movies.

Film historian and author Tom Weaver interviewed many of the ensemble over the course of his career, and most of them expressed surprise that the picture ever gained traction in the first place. “Hey, work is work!” Stevens told Weaver. “And I’m sure none of us had any idea that it would become the so-called cult classic that it has become.” During a 1999 cast reunion at the Los Angeles Theater, Anderson told the audience, “This was just moving on from one picture to another,” noting that at the time Forbidden Planet was considered a B-level programmer.

Yes and no. MGM initially budgeted $1 million for the picture — which was more or less the dividing-line price between B and A films at that time. Later the studio poured more money into it; contemporary estimates suggest it ended up costing at least $2 million. Much of the film was shot on MGM’s sound stages 30 and 31.

Director Wilcox was mostly known for his 1940s Lassie pictures. Francis told Weaver that as a director, Wilcox basically said, “Look scared. Look more scared.” Hume had written a few Tarzan films, among other titles, for MGM. Top-billed Pidgeon was nearing the end of a 20-year contract with MGM. Francis saw the story in simple terms, as she related to Weaver: “It was a science-fiction fairy tale, and I was the sleeping princess, no more, no less. I was awakened by the prince who landed in his flying saucer. I don’t think anything more could be made of it.” continued on Page 42

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PASATIEMPO I August 9 -15, 2013

Anne Francis with Leslie Nielsen, Jack Kelly, and Robby the Robot

PASATIEMPOMAGAZINE.COM

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Re pre s e n ti ng Henr y Beg ue l i n, Num e ro 1 0 & O f f i c i n e C rea ti ve 725 Canyon Rd. • 505-982-9499 • www.desertsonofsantafe.com Forbidden Planet is notable for featuring the first entirely electronic music score and soundtrack, by pioneering composers Louis and Bebe Barron.

Forbidden Planet, continued from Page 40

What with the story line featuring a magicianlike figure dominating an isolated outpost and protecting his sexually curious daughter while issuing commands to a monster-lackey (the robot), many commentators suggest that the film borrows heavily from The Tempest. Francis laughed that off in the 1999 cast-reunion event: “I had no idea we were doing a science-fiction version of The Tempest, so I didn’t worry about it.” Forbidden Planet may in fact owe just as much debt to Jules Vernes’ 20,000 Leagues Under the Sea, what with that story’s Captain Nemo exhibiting many of the same traits — a willingness to kill, a desire for solitude and beauty, the ability to create his own world — as Pidgeon’s Dr. Morbius.

Anderson told Weaver of the Tempest connection, “Everybody puts a lot of interpretations into these older films; maybe the [screenwriter] was reading Shakespeare and figured he could reshape it into science-fiction material.

And when it got into Metro [MGM], obviously they decided to make it because it was an interesting idea. What they probably liked best about it was the robot.”

Colorful, intelligent, yet somewhat somber, Forbidden Planet does include a few funny lines and comic relief involving Holliman’s drunk cook and Robby the Robot. According to several cast members, one of the two actors playing Robby got drunk in the outfit, toppling over and ruining takes. Still, MGM — and filmgoers — must have liked Robby, for the studio brought him back in a leading role in the inferior 1957 science-fiction lark called The Invisible Boy. In speaking with Weaver, Anderson put the Forbidden Planet project in context within the way studios operated in the golden era of the Hollywood studio system: “They tried to make ’em better and they wanted to make ’em better and they competed against each other, but none of ’em had to be any good because the studios had a lock on the theaters. So with Forbidden Planet — they made it, but it didn’t set the world on fire.” ◀ 42

PASATIEMPO I August 9 -15, 2013

museum of indian arts & culture indian market week the CURATORS BREAKFAST with

Get a rare behindthe-scene peek of Native American art with the Museum of Indian Arts & Culture’s annual Breakfast with the Curators. This series of four breakfasts paired with talks, tours, and artists presentations is an exciting opportunity to meet artists, curators, and scholars in an informal setting.

Turquoise, Water, Sky 8.9.13 Maxine McBrinn, MIAC Curator of Archaeology, guides a behind the scenes preview of our upcoming exhibition Turquoise, Water, Sky opening in April of 2014.

- SOLD OUT

Virgil Ortiz: eVolution 8.16.13 Cutting edge artist, Virgil Ortiz, combines art, décor, fashion, video and film, featured in the MIAC exhibition What’s New In New: Recent Acquisitions, presents a look at his eVOlution as an artist.

NextGen SWAIA: Approaching the Next Century 8.13.13 John Torres-Nez, Chief Operating Officer of SWAIA Santa Fe Indian Market speaks on NextGen SWAIA: Approaching the Next Century.

Heartbeat: Music of the Native Southwest 8.23.13 Tony Chavarria, MIAC Curator of Ethnology, leads a behind the scenes tour of Heartbeat: Music of the Native Southwest, opening in September 2013.

Decoding the Art and Imagery of Virgil Ortiz 8.9.13 • 4–5pm Virgil Ortiz (Cochiti) will decode the meanings in his work: the designs, symbolisms, S&M, Pueblo Revolt, and more. In the MIAC Theater, seating is limited. Free.

Talk and Book Signing with Walter Echo-Hawk 8.14.13 • 12–1pm Walter Echo-Hawk (Pawnee) talks about his book In The Light Of Justice: The Rise of Human Rights in Native America & the UN Declaration of the Rights of Indigenous Peoples followed by a book signing. In the MIAC Theater, seating is limited. Free.

Film Showing and Discussion 8.14.13 • 3–4pm The film The De Anza Motor Lodge and Its Zuni Connection (30 min.) explores the history of the Route 66 De Anza Motor Lodge built in 1939 by Indian Trader Charles Garrett Wallace, followed by a discussion with Elizabeth Chestnut, film producer, and Jonathan Sims (Acoma) filmmaker. Free.

and seating is limited. Purchase tickets in advance at MIAC gift shop or call 505-982-5057.

All topics subject to change, please call to confirm.

www.indiansrtsandculture.org Discussion with Poetry by Suzan Shown Harjo 8.15.13 • 10:30–11:30am Reflections on Repatriation in Light of the French Judicial Decision on Hopi Sacred Objects and Cultural Patrimony’ is a discussion with poetry by Suzan Shown Harjo (Cheyenne & Hodulgee Muscogee).

In the MIAC Theater, seating is limited. Free.

Diné Weaving Demonstration by Gilbert Begay 8.16.13 & 8.17.13 • 10–4pm Diné weaving demonstration

by Gilbert Begay, in the Blommer Gallery as part of the closing weekend for the exhibit They Wove for Horses: Diné Saddle Blankets. Free with museum admission.

Southern Red Drum Group 8.17.13 & 8.18.13 • 10am–1pm Southern Red Drum Group perform songs and drumming for museum visitors, MIAC Portal. Free.

They Wove for Horses: Diné Saddle Blankets 8.18.13 Last day to view the exhibition before it closes.

nt

•

Ne

of Cultu r

Affairs •

Let’s Take a Look 8.21.13 • 12–2pm Curators attempt to identify and explain your treasures. Free with museum admission.

al

Talk and Book Signing with Women Ledger Artists 8.15.13 • 3–4pm Women and Ledger Art: Four Contemporary Native American Artists explores the narratives of Plains Indian ledger art and crosscultural feminism. Ledger artists Linda Haukass (Lakota Sicangu), Sharron Ahtone Harjo (Kiowa) and Dolores Purdy Corcoran (Caddo) join the discussion and book signing. In the MIAC Theater, seating is limited. Free.

tickets: Reservations are required

p a rt m e

Programming highlights below, Visit our website for a complete listing,

$35 per person; $30 for MNMF members. (MNMF members attend all four breakfasts for $100).

Price includes full breakfast and museum admission.

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8:30–10:00 a.m.

Full breakfast at the Museum Hill Café followed by programs at the Museum.

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Museum Hill | 710 Camino Lejo (off Old Santa Fe Trail) | 505-476-1250 | www.indianartsandculture.org PASATIEMPOMAGAZINE.COM

43

Barrio in black and white

Paul Weideman I The New Mexican

44

A

beautifully restored print of the 1929 film Pandora’s Box was owner Brent Kliewer’s first feature at the new Jean Cocteau Cinema in the spring of 1984. When the movie opened on April 18, the theater also featured framed photographs

by Janet Russek. They depicted scenes from the Closson Street neighborhood — buildings, murals, and people, with a special focus on children. In those days, Russek and her husband, photographer David Scheinbaum, lived in that neighborhood. “It used to be called the Guadalupe barrio. We lived there until 1987, and our first gallery was on Don Felix Street. There are a lot of interesting stories there,” she said.

“About those photographs, two things happened sort of simultaneously. This little girl who lived down the street came to me one day. She knew we did something with photography. She was 7, and she had siblings in California. She said she really missed them and would love to send them a picture of how she looked now.

It was a blended family with two women and several children, and she was the oldest. She often took care of them all. She was an amazing little girl, and she was wise and old way before her time.

“I said yes, of course. I had a nice little wooden bench on my porch with an adobe wall behind it, so I started taking a series of pictures of the kids in the neighborhood. She was the first.”

The second motivation had to do with preservation, or at least capturing, some things that might soon vanish. Russek had moved

to Santa Fe in 1980, and she soon realized that the Guadalupe barrio was being gentrifed, street by street, just like what she had seen happening in Brooklyn. So she started photographing the streets and buildings. “I photographed the Boys and Girls Club on Alameda way before the park was built that’s there now. Also, right down the street, there’s a compound called Los Cervantes that I photographed.

I have pictures of Closson Street and several photos of the bridge on Closson and at different times how the bridge was painted with the Lady of Guadalupe and other patterns around it. At that time on Agua Fría, there was a bike shop, and I have a photograph of a couple in a cool old car in front of that.”

Kliewer sold the Jean Cocteau nearly 20 years ago. George R.R. Martin, the new owner, and his manager, Jon Bowman, open the remodeled theater on Friday, Aug. 9. And just like 29 years ago, Russek’s photographs hang on the walls. “There will be 17 prints in the theater’s café area. I have a lot more, but there’s not enough space.

Jon Bowman came over and we worked together to choose these.

“Several of the photos in this show will be the children from the neighborhood, including my own. They’re so beautiful, if I have to say so myself. After all the street work and the children’s portraits, I did a series on the neighborhood’s kitchens and bathrooms. Jon lived on Agua Fría in one of those old houses, and he really liked the photos of the interiors, but we decided there’s no room for the sinks and bathtubs and kitchens. Making the selection, we didn’t think

Janet Russek: Bike Shop, Mr Lujan, Agua Fría, 1983; images courtesy of the artist and Verve Gallery of Photography, Santa Fe

PASATIEMPO I August 9 - 15, 2013

those would necessarily say the neighborhood; it’s more personal.

But someday I hope to show those.”

Shortly after our talk in early July, Russek traveled to Verona, Italy, to be on press with David Skolkin of Radius Books for her new publication, The Tenuous Stem. It features her photographs of flowers, fruits, and vegetables; a series on pregnant women; and what she calls “memory objects” from her parents’ generation, including her father’s typewriter and her mother’s fur-collared jacket.

The memory objects and images from her European travels are featured in a show of Russek’s work opening Sept. 6 at Verve Gallery of Photography. All of those prints were made using a 4 x 5 view camera. She still processes her 4 x 5 film and makes gelatin silver prints from the negatives, although the variety of printing papers has shrunk in the digital age.

Russek has recently been scanning her negatives, not to print them digitally but merely to establish a digital record of her portfolios, including the photographs of the old Closson Street neighborhood.

“I have about a hundred negatives, and I am printing one for the Jean Cocteau show that I hadn’t printed before. But one of the problems is finding a paper to match the old Portriga and Brovira papers that I used for the original prints that we’re showing at the Jean Cocteau.” ◀

details ▼ Janet Russek: The Neighborhood

Top left, Bikes, 1984 Top right, Boomee, 1983 Bottom left, The Jean Cocteau Marquee, 1984 Bottom right, Gilbert and Ruff, 1984

▼ Opens Friday, Aug. 9; through early October ▼ Jean Cocteau Cinema, 418 Montezuma St., 466-5528

PASATIEMPOMAGAZINE.COM

45

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PASATIEMPO I August 9 - 15, 2013

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55

TERRELL’S TUNE-UP Steve Terrell

Bordello on the Río Grande

“Borders are scars on the face of the planet,” Gogol Bordello frontman Eugene Hütz sings in his thick Eastern European accent on “We Rise Again,” the opening song on the band’s new album, Pura Vida Conspiracy. And where better to make such a proclamation than a real live border town. Maybe that’s why Gogol, a New York-based multinational group, decided to record the album in El Paso late last year.

Actually, I’m not really sure why Hütz and Gogol chose El Paso, which has never been known as a major recording Mecca, to put down tracks for all but one of the songs on Pura Vida Conspiracy (“We Shall Sail” was recorded in Río de Janeiro). But one thing that’s noticeable is that the Latin influence on the band’s international smorgasbord of sound — which first became apparent on their previous album, Trans-Continental Hustle, recorded after the Ukraine-born Hütz’s move to Brazil — is even more audible on the new album.

This influence is perhaps most pronounced on “Malandrino,” a lovely melody you can almost imagine Vicente Fernández singing. “My birth I hardly can remember/But I remember from the start/My midwives looking at each other. ... This boy is born with singing heart.” Of course, it’s a little harder to imagine Fernández performing this song after the point in the chorus when it breaks into Gogol’s trademark breakneck rhythm. Either way, the mariachi trumpets at the end of the song are a tasty touch.

Throughout the album you can hear a smattering of Spanish lyrics and flourishes of flamenco and samba, along with Gogol’s regular arsenal of Gypsy violin (Russia-born fiddler Sergey Rjabtzev is, next to Hütz, the band’s most valuable player) and accordion, plus occasional reggae rhythms and Celtic melodies. Part of the melody of “The Other Side of Rainbow,” according to the album’s liner notes, is based on a traditional Ecuadorian song. And then there’s the bossanova-like “I Just Realized,” an uncharacteristically mellow tune for this band renowned for its sweaty, exhilarating attack.

And perhaps the ghost of Marty Robbins — or wicked Felina — haunting modern-day El Paso persuaded Gogol to “go country” on “We Shall Sail.” It’s

an acoustic number with only a guitar and Hütz’s vocals that has a melody that sounds like some long-forgotten cowboy lament.

In case you’re not familiar with this band — and I don’t want to hear your sniveling excuses — here’s some history. The band was formed not long after Hütz landed in New York City in the early ’90s and, naturally, fell in with likeminded musicians, many of them immigrants as well. (According to Gogol-lore, the Hütz family fled Ukraine after the Chernobyl nuclear accident in 1986.) They created a sound Hütz labeled “Gypsy Punk.”

One thing that’s noticeable is that the Latin influence on the band’s international smorgasbord of sound is even more audible on ‘Pura Vida Conspiracy.’

Several songs here could have appeared on virtually any of Gogol Bordello’s previous five studio albums. “We Rise Again” is one of those rousing anthems — such as “Start Wearing Purple,” “Not a Crime,” and “Dogs Were Barking” — that the band does so well. “With a fist full of heart/And relics of future/Mama we rise again,” Hütz and other Gogols sing. Then there’s a rowdy ode to wandering called “My Gypsy Auto Pilot,” in which Hütz sings, “I’ve been watching trains swiftly rolling by/I’ve been jumping them without long goodbyes/To uncover rules of life and how to break them well.” Another future Gogol Bordello classic is the fierce but moving “Lost Innocent World,” in which the narrator yearns to find a place that has long passed, the place where “my father showed me my first guitar chord” and “where my friends are still alive.”

Though Pura Vida Conspiracy on the whole is not as immediately satisfying as the band’s masterpieces Super Taranta! and Gypsy Punks: Underdog World Strike, it’s an impressive and ultimately crazy whirlwind global tour. I hope Hütz keeps jumping those trains and telling his tales. See www.gogolbordello.com.

Also recommended: ˇ Faÿt by Cankiˇ sou. This group’s most recent album, released in late 2011, is another testament to the power and the glory of a band that has a following in its native land (the Czech Republic) and parts of Europe but has yet to catch on ˇ in these United States.Cankiˇ sou has its own strange mythology. The website bio ˇ ˇ reveals: “Cankiˇsou music is based on an old legend about one-legged Canki people, and the band also learnt their language which is understandable all over the world.”

No, I don’t understand the words. But the musical language is very clear.

Like Gogol Bordello and the British band 3 Mustaphas 3 before them, the sevenˇ member group Cankiˇ sou takes musical influences from several cultures and blends them into an exciting, seamless style of rock ’n’ roll. There are melodies and horn riffs that sound Mideastern; saxophones that sound like a jazz band that made a wrong turn in Bucharest; very subtle touches of electronica; and joyously overpowering drums and percussion (two members are drummers).

Faÿt begins with a short, slow invocation called “Absintro,” which sounds a little like Delta blues — except for the Tuvan throat singer and the otherworldly rumblings from a didgeridoo. This slips into the album’s title song, a lively, celebratory rocker.

The song “Khreyyy” has overtones of metal, while “Vardusa Saza” starts off with a throbbing bass and wah-wah guitar that made me think it was going to be ˇ a Canki version of a blaxploitation theme. It’s not. In fact, the song later features a group of women singing in a style reminiscent of Bulgarian choral music. The album ends with “Kambines,” which begins with a flute solo and then goes into a lilting melody that might remind you of South African music. ˇ Cankiˇ sou has yet to release anything on an American label. But that doesn’t mean that much anymore. You can download Faÿt at the usual places at the regular prices, and if you like bands like Gogol Bordello, I suggest you do. Learn ˇ more about Canki culture at www.cankisou.cz/en. ◀ ▼

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PASATIEMPO I August 9 - 15, 2013

Tribal Art & Jewelry Show August 2 - 18

Mon - Sat 11 - 6pm Sun 12 - 6pm

Traveler’s Market ALICE HELSTROM STUDIOS-Adornments for the Soul: Clothing, Accessories and Beads ANTIQUE LINENS & LACE (Bette Rossen): American & European Collectibles, Ethnic textiles ASIAN ART and DESIGN LTD (James Barker): Asian Art and Furniture BEYOND TASTE (Earl Kessler): Asian and Latino Artifacts, Beads, Amulets BONNIE JOSEPH: Jewelry, Beads and Artifacts CARGO (Leslie Clark): Vintage and Ethnic Textiles and Collectibles CHUCK PATERSON ORIENTAL RUGS: Oriental Rugs & Textiles, Folk Art COUP DE FOUDRE (Wilbur Norman): Tribal & Buddhist Art, Rare Books CRAFT CARAVAN (Caroline and Ignacio Villarreal): Fine Ethnographic Art, Textiles & Jewelry: Africa & Tribal Cultures CURIOSITIES AND FINE ART (PJ Cardinale): Jewelry and Folk Art DEBBIE WETMORE: Tribal Jewelry Designs and Beads DIAMANTI DESIGNS (Penelope Diamanti): Jewelry and Components. African/Asian Gemstones, Silver and Gold EARTH DOOR SKY DOOR (Rusty Glicksman): Antiques and Collectibles, Art, Jewelry from India and Tibet ELAINE SIEGEL: Contemporary and Ethnic Clothing, Jewelry & Textiles ERIC SALTER: Eclectic Antiques and Art FOREIGN TRADERS (Alex Tschursin): GORKY Tableware, Folk Art & Handicrafts from Mexico FRANK PATANIA: Java Masks HARRY L. NEUFELD (Harry and Tiala Neufeld): Antique Tribal Art and Jewelry from Nagaland HEAVENLY TREASURES (Silvana Pagani): High Quality Art & Jewelry from around the world INDUS VALLEY (Ijaz Kahn): Ancient Beads and Indus Valley Artifacts JAN DUGGAN: Native American and Indian Artifacts JONATHAN HILL: Antique Tribal Art, Textiles, Jewelry, Artifacts JOYCE BUFORD: Tribal Adornments for the Home JUDIFUL: Textiles, Tribal Jewelry and an Exquisite Collection of Ethnographic Materials LEEKAN DESIGNS (Paddy Kan): Lanterns, Jewelry MAYA JONES (Steve Kalminson): Mayan Folk Art, Textiles, Antiques & Books MEENA MAHAL (Marisa Rufe and Mansoor Badshah): Opulent Silk Exotic Textiles, Dazzling Jewels OBSCURISTAN (Judy and Thor Carlsson): Valued Objects from Remote Cultures PACIFIC ARTEFACTS (Lesley Martin): Oceanic Art, Specializing in New Guinea PAMELA ADGER: Jewelry and Messengers RITA ROBBINS ANTIQUES: Eclectic Mixture of ondrous Objects SAMARKAND (Sheila Ellis): Vintage Ethnic Jewelry, Textiles & Clothing SHAMBALLA (Per and Jana Nilson): Ethnic Art, Antiques, Textiles, Jewelry & Beads SILK ROAD TREASURES: Carpets and Treasures from Central Asia SILVER WOLF (BOB KANNER): Rare Books. Fine Asian & Native American, Antique Art SPECTRUM ARTS (Sherry Kheir-Eldin): Vintage & Contemporary Ethnographic Art/Crafts SWEET BIRDS (Sara Garmon and Mark Hornaday): Exquisite Mexican and Guatemalan Folk Art TEXTILE TREASURES (Pam Najdowski): Chinese Minority Textiles, Clothing & Silver THE BEADED TURTLE (Sarah Gray): Tassels, Hats, Collectibles from Central Asia & China TRADERS OF THE LOST ARTS (Susie & Doug Brown): Antique Ethnic Jewelry/Arts. Designs by Susie TREE OF LIFE (Fatih Dinli): Handmade Turkish, Caucasian and Central Asian Textiles TUHI TUHI (Ravindar Singh): Graceful range of Clothing for Yoga and Everyday Wear VARENYA (Jodie Franco): Sculpture, Textiles & Antiques from India WIND RIVER (Bob Hendler): Tribal Jewelry , Ethiopian Silver Beads, Coptic Crosses and Ethnographic Materials .

PASATIEMPOMAGAZINE.COM

57

PASA TEMPOS

album reviews

To the Wonder Monteverdi L’Orfeo (Avie) Monteverdi’s original Motion Picture L’Orfeo, unveiled in 1607 in soundtrack Music by Hanan Mantua, was the first masterpiece of townshend (Lakeshore records) the newly invented genre of opera. John Terence Malick’s film To the Wonder is a Eliot Gardiner set the gold standard slow, often silent, considered work that among recordings in 1987, with the late deals with fleeting happiness, conflicting Anthony Rolfe Johnson as a mellifluous, emotion, and the costs of devotion. With dramatically compelling Orfeo. Nearly little dialogue, it relies on portraiture, landthree decades later, our understanding of scape, and music to carry both meaning and period performance practices has advanced movement. Composer Hanan Townshend, considerably, as has the technical proficiency of many musicians who also contributed to Malick’s The Tree of Life, has found the (most strikingly instrumentalists) devoted to historically informed right tone and tempo for this moody work. The pieces advance performance. Gorgeous instrumental playing infuses this new reading, slowly and in sustained tones, a drone of synthesizer extending beneath in which Andrew Parrott conducts his crackerjack Taverner Consort & (“Toil”) or shifting strings coursing like a seascape seen from above Players. The opening Toccata enters from afar, ushering listeners into what (“Awareness”). “Deception” is a string of long tones with only slight in 1607 was a new, experimental approach to the confrontation of music and harmonic variation that swell dynamically before fading away. The enchantpoetry. Once the drama begins, Parrott’s forces strike a restrained mode, not at ing spell is seldom broken, and the only vibrancy is supplied by one of two all histrionic yet convincing in sincerity. This is musical storytelling classical works — J.S. Bach’s “Uns Ist Ein Kind Geboren” (BWV 142) — and Monteverdi did identify his piece as a “Favola in Musica,” — that in its assertive way suggests an almost honorable torment a fable in music. Sweet-toned tenor Charles Daniels excels in that comes of conflicted emotions. The other borrowed piece, the title role. His Act 3 aria, “Possente spirito,” in which the prelude to Act 1 of Parsifal by Richard Wagner, with its he charms his way into Hades to retrieve the deceased long rests and foreboding subtext, captures the mood as The opening Toccata Euridice, receives a haunting rendition supported by well as any of the original music. “Sweet Prospect,” based splendid obbligato playing from violins and cornettos. on a hymn by William Walker, seems to capture inner of ‘L’Orfeo’ enters from afar, Bass Curtis Streetman, as the gatekeeper Charon, voices, the ones absent from the film’s characters. For responds with a trillo caprino that will amaze you. All those nights when you need something haunting, someushering listeners into what roles are strongly cast, with veteran soprano Emily Van thing quietly stirring, this is the choice. — Bill Kohlhaase Evera tracing the outer limit of imaginative, historically in 1607 was a new, experimental informed declamatory singing. — James M. Keller LiGHtninG dust Fantasy ( Jagjaguwar) Both members approach to the confrontation of Canadian indie/synth duo Lightning Dust are part of vArious Artists Roll and Go: Chanteys and Sailor hard rock outfit Black Mountain. The side project allows of music and poetry.

Songs From Grenada (Global Jukebox) From Cuban son them to explore absolute minimalism, which is said to be to Trinidadian soca, much Caribbean music remains rooted “Lightning Dust’s only longstanding rule.” Their third fullin dance hall and carnival sounds. But the islands have their length explores realms most reminiscent of 1980s pop while own lesser-known tradition of nautical folk. Recorded in 1962 somehow evoking diverse contemporary acts as well. Josh Wells provides Lightning Dust with its synth textures and drum beats, by ethnomusicologist Alan Lomax during a tour of Grenada and relying on an Akai MPC2000 (a late-’90s sampler and sequencer that was Carriacou, these 14 work songs were functional, used to synchronize hugely popular in the development of hip hop and electronic music) rather rowing movements and to break up the tedium of hard labor on the ocean. than more modern electronic composition tools. Singer Amber Webber’s Like all musical products of the islands, this is a hybrid genre with audible roots. Familiar melodies of British and New England sea chanteys were strong and compelling voice is put to good use through overdubbed harreborn on different shores, incorporating African polyrhythms and griot monies. Her vocal charisma is reminiscent of a better-known indie singer chanting in one of the oldest call-and-response traditions. Led by sailor who shares the same first name — Amber Coffman of Dirty Projectors.

The album’s opening track, “Diamond,” would almost seem at home on Charlie Bristol and his boat crew, “Bell a Ring a Yard O” is a ditty used The Cure’s 1981 album Faith, with pop sensibilities replacing gothto launch boats off to sea. Despite the male-dominated nature of the rock ones. Following that is “Reckless and work, women sing a few of these songs, Wild,” a ballad of surprising mellowness such as “Roll Roll Roll and Go” by Babsy (given its title), which has a drum part that McQueen, who switches between English, sounds like the work of The Postal Service.

Yoruba, and Grenadian Creole. A sailor’s “Loaded Gun,” coming a few songs later, lament, “Hooray Irena,” is a song of longing for one last tryst with a woman before adopts a more industrial edge. The lyrics she is hauled off to jail. Beautiful little gems “We’ve all been waiting/To fight” match the from a lost maritime age, these tracks are album’s shift to a darker tonality, proving reminders that hard work was once that even a minimal palette can evoke timed by song, not by clocks. a wide range of sonic landscapes.

— Casey Sanchez — Loren Bienvenu

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PASATIEMPO I August 9 - 15, 2013

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59

YOUR MORNING FIX.

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

SANTAFE NEWMEXICAN .COM/ NEWSLETTERS

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PASATIEMPO I August 9 - 15, 2013

You turn to us.

ON STAGE Chorus lines: Santa Fe Desert Chorale

The Santa Fe Desert Chorale, directed by Joshua Habermann, presents Romance to Requiem, its biggest concert of the summer season, at the Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, at 8 p.m. on Saturday, Aug. 10 (repeated the following afternoon at 4 p.m. at the Cathedral Church of St. John in Albuquerque). The repertoire is all French, beginning with Renaissance part-songs by Claude Lejeune and Clément Janequin; wending through choral works by Rameau, Saint-Saëns, Debussy (“Trois Chansons de Charles d’Orléans”), and Poulenc; and finally reaching the much-loved Requiem of Maurice Duruflé (the composer’s “organ version,” as opposed to its original 1947 setting with orchestra), which will feature solo input from mezzo-soprano Susan Graham, organist Jonathan Dimmock, and cellist Dana Winograd. Also this week, the chorale gives the first of four performances of the program it has titled The Triumphs of Oriana: The Birth of the English Madrigal. The concert takes place at 8 p.m. on Thursday, Aug. 15, at Loretto Chapel, 207 Old Santa Fe Trail, and will be repeated on Aug. 16, 18, and 19. The program offers part-songs and madrigals by numerous French, Franco-Flemish, Italian, and English composers of the 16th and early 17th centuries, including four items from “The Triumphs of Oriana,” a collection of 25 English madrigals published in 1601. For tickets (prices vary with program and venue), call 988-2282 or buy them online at www.desertchorale.org. — J.M.K.

THIS WEEK

Viva Las Vegas: Meadow City Music Festival

Don’t expect many Elvis impersonators during the second annual Meadow City Music Festival in historic Las Vegas (New Mexico). Instead, the two-day lineup brings together more than a dozen diverse performers ranging from metal to mariachi. The Dead Superheroes, a Chicago band that plays “gothic chamber rock,” headlines the first night (Friday, Aug. 9), with Northern New Mexico Americana act Boris and the Saltlicks opening at 8 p.m. Earlier that evening, between 5 and 7 p.m., local musical legends perform for free. fr Saturday boasts an all-day lineup — the main evening draw being Tobias Rene, known to fans as “the Ricky Martin of New Mexico music.” Tickets for the entire festival cost $35; tickets for individual nights range from $20 to $25, with discounts available.

Performances take place at the El Rialto Patio (141 Bridge St.) and at Plaza Park.

Visit www.meadowcityarts.org for tickets NEW MEXICO and the complete festival lineup. — L.B.

Leading lights: SFO singers

Santa Fe Concert Association’s summer recital series spotlighting leading singers in Santa Fe Opera productions has proved popular with locals as well as with the roving opera herds. Two installments take place this week; both feature tenors on the rise. On Sunday, Aug. 11, at 4 p.m. Paul Appleby (this summer’s Fritz in La Grande-Duchesse de Gérolstein) presents a selection of serenades by a long roster of composers, including Schubert, Brahms, Tchaikovsky, and Britten. On Wednesday, Aug. 14, also at 4 p.m., Michael Fabiano (who portrays Alfredo Germont in La traviata) performs songs and arias by Duparc, Strauss, Tosti, Puccini, Verdi, and Massenet. In both concerts the assisting pianist is Joseph Illick, the Concert Association’s artistic director. The recitals are held at the Scottish Rite Center, 463 Paseo de Peralta. Tickets ($40) are available through Tickets Santa Fe at the Lensic (www.ticketssantafe.org, 988-1234). The series concludes on Aug. 18, when soprano Heidi Stober, mezzo-soprano Susanne Mentzer, and tenor William Burden join pianist and composer Jake Heggie in a program of his music. — J.M.K.

The stars come out: Nação Estrela Brilhante and Nation Beat

Maracatu is a centuries-old rhythmic and parade tradition influenced by Brazilian slave and indigenous music. When the Brazilian maracatu band Nação Estrela Brilhante plays during Carnaval, it employs more than 300 dancers and singers, but for the group’s current U.S. tour with Nation Beat (funded by a $20,000 crowdsourcing campaign), that number has been whittled down to a mere 13.

Nation Beat, a Brooklyn-based music collective that combines maracatu influences with New Orleans second line, is the only American group to have recorded with Nação Estrela Brilhante, which has been getting people to dance since 1906. Rumor has it that when the two bands team up on Monday, Aug. 12, at the Santa Fe Bandstand, the set will start in the audience itself, with the musicians combining their percussive might and energy as they parade their way onstage.

The free show begins at 6 p.m. at the Plaza. See details at www.santafebandstand.org. — L.B.

Paul Appleby PASATIEMPOMAGAZINE.COM

61

Jennifer Levin I For The New Mexican

Ken Howard

1958 the original audience of the now-classic Benjamin Britten children’s opera Noye’s Fludde would have been familiar with the production’s opening hymn, “Lord Jesus, Think on Me.” When the opera — with the spelling of the Middle English title modernized to Noah’s Flood — is staged at O’Shaughnessy Hall at Santa Fe Opera on Saturday and Sunday, Aug. 10 and 11, audience members will have the chance to learn the hymn prior to the opening curtain so they can participate in the show the way Britten intended.

Britten, born 100 years ago in Lowestoft, Suffolk, on the North Sea coast, was a composer of operas, chamber and orchestral music, and music for film, radio, and theater. He began playing and writing music as a child and went on to study at the Royal College of Music. He is one of Britain’s most celebrated and revered composers, whose pieces often deal with man fighting against society or against

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PASATIEMPO I August 9 - 15, 2013

his own ruination. Among his most familiar works are Peter Grimes, Billy Budd, and A Midsummer Night’s Dream. He is also known for The Young Person’s Guide to the Orchestra, a composition still used in children’s music education.

Noye’s Fludde, based on a 15th-century play derived from the biblical story of Noah’s Ark, was first performed at Britten’s Aldeburgh Festival by children and adults with a wide range of musical skill. The opera was meant to be participatory, which is why the audience sings some of the hymns with the chorus. In addition to learning the opening hymn ahead of time, children in the audience at Santa Fe Opera can make their own paper stars to match tin-star props held up during the performance.

The production, part of SFO’s community and youth activities lineup, is a collaboration with the Albuquerque Youth Symphony, whose members will play alongside adult musicians. Alan Dunbar, baritone, is Noah, and Ellie Jarrett, mezzosoprano, is Mrs. Noah. Kevin Burdette, bass, is the Voice of God. Dancers from the

University of New Mexico act as property men, responsible for moving pieces of the set during the performance, and play the roles of the Raven and the Dove. The rest of the roles — Noah’s sons and their wives, the animals, and the Gossips, who are swept out to sea — are played by children from Santa Fe, Albuquerque, Los Alamos, and Rio Rancho. Kathleen Clawson, director of the production, led the children in a weeklong camp during the rehearsal process to explore all aspects of the opera.

“I explained to them the basis of where the words come from, the Chester miracle plays, which were medieval plays in [Middle] English. We also talked about what faith means and why Noah builds the ark. We talked about how Mrs. Noah’s friends, the Gossips, are the first people taken away by the waves.

I asked the kids if they knew what gossiping was and what it means that they are first ones taken by the flood. If they were thieves or murderers [who were taken first], we would understand, but gossiping is something we’re all guilty of. They really loved this idea and wanted to think about it.

“Britten wrote the opera to be done by the community of Aldeburgh, and that is what’s most important to us. Since the piece is all about community, I wanted it to reflect New Mexico. I grew up in Albuquerque, and when I was in school we learned that there were seashells at the top of the Sandia Mountains.

I wondered what it would be like if Noah’s Flood took place here. What would the set look like? What animals would be involved?”

To design such a production, the opera crew called in santero Charlie Carrillo. Carrillo had never designed for the stage before, but he was familiar with the opera and knew what aesthetic was needed. He took inspiration from drawings he did for Shoes for the Santo Niño, a children’s book written in the 1930s by Peggy Pond Church and published posthumously in 2009. (It was made into a children’s opera and staged at Santa Fe Opera in 2011.)

“At first I did a number of quick sketches, and they told me they wanted something more, so I did 30 or 40 watercolor sketches of the stage set and the animal costumes. I didn’t make them, because the opera has a production team — the most fun group of people I’ve ever worked with in my life,” Carrillo said.

“I recast the setting so you’re not looking at the European idea of what the flood would look like. I made it New Mexican. The opera starts at Noah’s house, which is an adobe.” The ark was said to have been made of wood from the cedars of Lebanon, so Carrillo included a cedar tree in front of the adobe.

Many of the animals, played by children wearing masks, are native to the Southwest. Carrillo chose vivid colors based on a rainbow palette but subdued slightly by the hues of the desert. Red became terra cotta; green became sage.

“I wanted a storybook come to life,” Clawson said. “When children are coloring in a coloring book, if they want to have a blue buffalo, they’re going to have a blue buffalo. You can’t tell them that buffaloes aren’t blue. Charlie really got that and ran with that.”

To further reflect New Mexico, Carrillo fashioned Noah’s staff as a hocking knife, or desjarreta, a tall pole with a half moon at the top that was used historically to move animals. The sun and the moon, which are set pieces, are based on Spanish and Native American designs from the dust guard over the altar at the church at Laguna Pueblo. The tools Noah and his family use to construct the ark are modeled on Spanish colonial-era tools.

“Who better to be a partner in creating this world than Charlie?” Clawson said. “His artistry is wonderful, and he has such great knowledge. He came in with amazing research.”

“This is kind of funny to think about now, but when I was a young man, in my very early 20s, I thought it would be wonderful to design sets and costumes because I like to draw,” Carrillo said. “I never pursued it, but here I am at the age of 57, suddenly doing opera stuff. I was out of my realm, and I thoroughly enjoyed myself.” ◀

details ▼ Noah’s Flood ▼ O’Shaughnessy Hall, Santa Fe Opera, seven miles north of Santa Fe on U.S. 84/285 ▼ 4 p.m. & 6 p.m. Saturday, Aug. 10; 10:30 a.m. & 1 p.m. Sunday, Aug. 11 ▼ $5, advance tickets only; 986-5900, www.santafeopera.org

Left, Noah’s Flood rehearsal; right, from top, scene from Benjamin Britten’s Noye’s Fludde; Britten with members of Noye’s Fludde menagerie, 1958

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63

Loren Bienvenu I For The New Mexican

David Holloway’s case, the student has truly become the master.

The opera singer and educator is now in his ninth year as director of Santa Fe Opera’s apprentice singers program — a program he participated in back in the 1960s.

“It was a long road from 1966 and ’67 to 2005, when I became director of the program,” Holloway told Pasatiempo. The baritone’s career in the intervening years serves to illustrate the training program’s success. He performed lead roles at the Metropolitan Opera and the New York City Opera and spent many years singing professionally in Europe — including a stint as lead baritone at the Deutsche Oper am Rhein in Düsseldorf. He retired from the faculty of the Chicago College of Performing Arts in May. This is not to say that Holloway is slowing down in his emeritus years. In fact, he still commutes to the opera campus by bicycle every day from his South Capitol home.

Born in “Nowhere, Kansas,” Holloway became interested in music at an early age.

He was a voice major at the University of Kansas, where he formed an important professional connection. “The conductor at the university, Robert Baustian, was a conductor here in Santa Fe. So the first opera company I ever heard much of was the Santa Fe Opera. I had no dreams or aspirations that I’d ever get there.”

John Crosby, who founded Santa Fe Opera and initiated the apprentice program during SFO’s first season, in 1957, spent part of each fall traveling to different American universities to audition young singers for the program. One of his stops was the University of Kansas. After a successful audition, Holloway was inaugurated into 64

PASATIEMPO I August 9 - 15, 2013

the 10th class of apprentices and returned the following summer. Now he strives to continue many of the traditions established by Crosby. Holloway spends three weeks on the road in late September and early October auditioning the most promising young opera singers in the country.

“The audition process has evolved over the years, [but] we still keep the same values and grading system that [Crosby] developed.” A recent change, only a year or two old, is requiring digital samples from applicants. “We can prescreen singers to determine if they’re up to the level we want to hear. I can hear a young singer on tape for 60 seconds and know if they’ve had the training and the language and everything that goes into the musicality.”

Most years, about 1,500 students apply. Despite the rigorous prescreening process, Holloway still auditions several hundred students in person at various stops across the country. “We’re still hearing around 450 auditions, and [this year] we chose 43 apprentices.” The singers are 27 years old on average.

For Holloway, choosing the cream of the crop is a fairly straightforward process: “It’s all about the singing — the arias.” Those happy few who make it through get to participate in a summer program that is far more than just a résumé builder. As explained succinctly and enticingly by program application materials: “Apprentice singers receive voice lessons, repertory coachings, lessons in movement and diction, and performance opportunities in mainstage roles as well as the ensemble.

They also audition for opera managers and agents from around the world.”

Of course, there is the added benefit of interacting with the world-class professional artists who perform each season at SFO. Holloway said that mentorship relationships often form naturally among the apprentices and the pros, and if not, “we kind

of push it some, to connect people we think are appropriate.” Facilitating this process is the fact that many of the professional artists themselves took advantage of apprentice programs, including the one at SFO. Holloway provided the example of globe-trotting soprano star Joyce DiDonato (also from Kansas), who was an apprentice in 1995 and is the lead in this season’s La donna del lago.

Other notable alums include James Morris, Susanna Phillips, and Neil Shicoff.

Holloway stays in contact with many of his former apprentices and keep tabs on their development. Even he is sometimes surprised by how many continue to thrive, despite the competitiveness of the field and the lifestyle challenges inherent to being a touring opera singer.

“A few years ago the artistic manager, Brad Woolbright, asked me to find out what theaters our singers were in. I sent out an email to about 45 singers who I knew were still working professionally, and I found over 45 theaters represented worldwide. These were all just from my nine years here and included major theaters like Covent Garden [the Royal Opera House in London], Berliner Staatsoper [the Berlin State Opera], the Met, San Francisco, Chicago.”

All apprentices can include Santa Fe Opera on their list of venues performed, because the program culminates in two consecutive Sunday-evening showcases. Each night features eight different scenes from various operas that are usually 10 to 15 minutes in length. “We try to feature each young artist as much as possible,” Holloway explained. “So we’ve chosen scenes that we think these singers can do particularly well.” To this end, he also surveys the accepted singers many months before the summer program begins for any suggestions or personal favorites they might have to offer.

The abbreviated repertoire for the first night (Sunday, Aug. 11) includes scenes from Mozart’s Don Giovanni, Bizet’s Carmen, and Donizetti’s Don Pasquale — in which Holloway could not resist undertaking a small role of his own. The second night (Aug. 18) features excerpts from Strauss’ Elektra, Handel’s Giulio Cesare, and Britten’s Billy Budd, among others. Some of these selections are informed by history as much as by aesthetics. Holloway chose Hans Werner Henze’s Boulevard Solitude, which does not fall into the typical core repertoire, for two reasons: the German composer died in 2012, and this particular piece received its U.S. premiere at SFO in 1967.

“I was an apprentice myself at the time and saw that performance. I was so struck by what a wonderful and brilliant opera that was.” This type of nod to tradition is typical of Holloway, whose love for the history of opera matches his interest in the history of the apprentice program. Reflecting on the program as a whole, he marveled at how much it has developed over the years. “I feel like John Crosby started the program because he knew there were singers out there who could do small parts for the opera, but he didn’t want to pay New York chorister prices.” The decision to bring in nonprofessional singers, possibly influenced by economic necessity, turned into a lifelong passion for Crosby as well as a model soon to be emulated by other companies.

“It’s really the very first training program like it in the country. Now of course all the major opera companies have training programs, [even] companies in Europe. It was a visionary program.” And under Holloway’s leadership, it continues to be so. ◀

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Benjamin Sieverding and Rachel Hall in a scene from this season’s Don Pasquale; opposite page, apprentices and David Holloway (far right) in an excerpt from last year’s Gianni Schicchi; photos by Ken Howard, courtesy Santa Fe Opera

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Hollis Walker I For The New Mexican

Rough and Tumble •••• ••••

Competition and camp at the Zia Regional Rodeo A gay rodeo has all the elements of an ordinary rodeo — horses, cows, and dust; people whooping and hollering, drinking beer, and eating Frito pies — but a gay rodeo is a lot more fun, at least for participants.

So say gay cowboys and cowgirls who compete in the 2013 Zia Regional Rodeo at the Santa Fe Rodeo Fairgrounds on Saturday and Sunday, Aug. 10 and 11. This marks the third consecutive year the event has been held in Santa Fe. Some 100 male and female participants are expected, most from New Mexico, Texas, Colorado, Oklahoma, California, Utah, and Kansas.

For Diane “Craze” Vosseller, president of the New Mexico Gay Rodeo Association, gay rodeos — there are 19 in the United States this year — feel like family reunions. “It’s the same 120 or 160 of us who meet at all the rodeos.” Vosseller, a massage therapist from Edgewood, tries to compete in three or four gay rodeos each year, including the Zia, to earn enough points to get into the world finals.

Santa Fe has been a great venue for the Zia rodeo, Vosseller said. Last year, about 800 people attended the Saturday competition and nearly as many attended Sunday. She said the only problem is that often people incorrectly assume the rodeo is at night. Instead, it’s an all-day competition, starting at 9 a.m. each day and going until the events are completed.

Will Lann will be on his horse most of those two days. Lann started his rodeo career as a child in Arizona in Little Britches junior competitions and competed on college rodeo teams before riding in regular rodeos.

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After friends challenged him to participate in gay rodeo, he gave it a try. “Then it became fun,” he said. “What excited me was I got to rodeo with people who respected me for who I was.” Gay cowboys weren’t particularly welcome in the mainstream rodeo world.

Lann trains horses in San Angelo, Texas, and spends summers in Santa Fe. He looks the part, in jeans cinched with a past Zia Rodeo belt buckle, a shirt emblazoned with sponsor names, boots, and a hat. His classic cowboy looks immediately earned him the nickname Wilma from a rodeo friend 13 years ago. It’s a gay rodeo tradition to give a new “butch” male a woman’s name to bring his ego into check, he said. He’s twice won All-Around Cowboy — top honors — at Zia Regional Rodeo.

Brian Helander — the friend who gave Lann the name Wilma — is a former emergency-room nurse who teaches nursing and develops software for the healthcare industry. Helander splits his time between Phoenix and Santa Fe. He didn’t begin riding horses and participating in gay rodeo until age 40. His first time in the arena, he walked his horse through a flag race. In one of his earliest rodeos, he flew off his horse and over a fence. But he noted drily, “I am a world record-holder and international goat-dressing champ.” Goat dressing, which involves putting underwear on a goat, is one of the “camp” events of gay rodeo. continued on Page 68

Herb Lotz: Richard and Charles, 1994, from the series The Kiss Opposite page, left, Team Roping; right, Camp Events, Wild Drag Racing All photos courtesy Herbert Lotz PASATIEMPOMAGAZINE.COM

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Gay rodeo, continued from Page 66 All rodeos offer silly events, mainly to encourage young people and those who aren’t cowboys to participate. Gay rodeos add a special twist. In the steer-decorating event, participants have to tie a ribbon on a steer’s tail — without getting kicked or run down. In the wild drag race, a cowboy and a cowgirl work to get someone wearing drag onto a steer for a 50-yard run.

Though Helander touted his goat-dressing skills, he, like Lann, is a serious rodeo competitor — he’s also won All-Around Cowboy at Zia. All the individual Zia events — timed races such as barrel racing and calf roping, and “rough stock” events like bull riding — have male and female categories. Team events, such as team roping, are coed. About 30 percent of competitors are women.

Participants include amateurs and those who work in the ranching and horse businesses. A few, like Lann, have competed in professional rodeo.

Though most participants are gay, some heterosexuals participate; they are usually siblings or friends of gay cowboys and cowgirls.

While winners earn cash and other prizes, they usually don’t make up for the riders’ entry costs, Lann said. It’s really about having fun and raising money for charity, said photographer Herbert Lotz of Santa Fe. Gay rodeo began as a fundraising event for the Muscular Dystrophy Association in 1976 in Reno, Nevada. This year’s Zia Regional Rodeo will raise money for Southwest CARE Center, New Mexico AIDS Services, the YWCA Middle Rio Grande women’s program, and Horses for Heroes, a program that matches war veterans who have post-traumatic stress disorder with horses.

Lotz was the rodeo’s grand marshal last year but retired from competing in 2011 when his horse of 11 years died. He said Horses for Heroes is dear to his heart because horses were crucial to his own healing. A Vietnam veteran, Lotz worked at a horse barn on West Alameda St. for 17 years before his professional photography career took off. He has photographed the Zia Rodeo since its inception.

Cowgirl Teri Hibben agreed that the main draw of gay rodeo is the fun factor. She also noted that in most rodeo competitions, riders participate in only one or two events. “I go to National Barrel Horse Association events, but I only get to run my horse once in a day,” she said. At gay rodeos, she gets to compete all day long. Hibben lives in Albuquerque; her day job is at Honeywell International, where she has worked for 30 years.

She competes in barrel, flag, and pole racing; calf roping; and camp events when asked to join a team. She rides four or five times a week to keep herself and her horse in shape, and she generally travels to two or three Southwestern gay rodeos a year. She’s met people from throughout the country and beyond.

Will the increasing acceptance of gays in mainstream America lead to the demise of gay rodeo? “I think it’s more likely we’ll have more straight people involved,” she said. “And the social part is such a big deal. I’ve never found that to be the case with regular horse showing. With this, a lot of people come out not to compete but just to hang out.” ◀

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PASATIEMPO I August 9 -15, 2013

details ▼ 22nd Annual Zia Regional Rodeo 9 a.m.-5 p.m. Saturday & Sunday, Aug. 10 & 11 Rodeo de Santa Fe Fairgrounds, 3237 Rodeo Road $15 daily, $25 weekend pass, children under 12 free; at the gate or www.nmgra.com, call 505-263-3592 ▼ Zia Regional Rodeo benefit dance (music by Connie Long and Fast Patsy) Santa Fe Sol Stage & Grill, 37 Fire Place 8 p.m.-midnight Saturday, Aug. 10 $10 at the door or from www.solofsantafe.com; 21-and-over show e

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Santa Fe Institute Community Lecture

LAURA SHEPPHERD ATELIER

On Moral Progress: Is the Human Conscience Led by the Head or the Heart?

James A. Little Theater 1060 Cerrillos Rd. Santa Fe Lectures are free and open to the public.

Seating is limited.

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www.santafe.edu

Steven Pinker is a Harvard College Professor and Johnstone Family Professor in the Department of Psychology at Harvard University. He is the author of seven books, most recently The Stuff of Thought: Language as a Window into Human Nature.

Rebecca Newberger Goldstein is a novelist and professor of philosophy. She has written five novels, a number of short stories and essays, and biographical studies of mathematician Kurt Gödel and philosopher Baruch Spinoza. Goldstein was a 2011 Santa Fe Institute Miller Scholar.

Support for SFI’s 2013 lecture series is provided by Los Alamos National Bank.

Come celebrate with us! photosantagto.com

Wednesday, August 14, 7:30 p.m.

Is the moral progress we have enjoyed – religious freedom, the abolition of slavery, civil, women’s, and gay rights – a gift of empathy and emotion, or of reason and logic? Psychologist and author Steven Pinker and philosopher and novelist Rebecca Newberger Goldstein survey the history of moral progress in human society, a history, they say, suggesting that reason and logic have had a surprisingly powerful role in shaping the human condition.

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Left, Linda Haukaas, Chase the Art Patron, 2006, color pencil and ink on 1880s ledger paper; bottom, from left, Dolores Purdy Corcoran: Indian Market Masterpieces, 2008, Prismacolor and ink on 1890 ledger paper; Dolores Purdy Corcoran: Warrior, 2011, Prismacolor pencils and ink on 1891 clerk’s register of warrants, Vernon County, Missouri; opposite page, Sharron Ahtone Harjo: Last Will and Testament (detail), 2005

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PASATIEMPO I August 9 -15, 2013

Jennifer Levin I For The New Mexican

NATIVE ACCOUNTS W O M E N

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L E D G E R

ative American ledger art — drawings made on old financial ledgers or deeds — traces its roots to the mid-1870s, when a group of Southern Plains warriors were held at Fort Marion in Florida. In an effort to improve the captive men’s morale, Capt. Richard Henry Pratt passed out drawing materials and encouraged the prisoners to document their lives. Visitors to the fort purchased the drawings, and the proceeds went to the artists.

Pratt, who founded Carlisle Indian School in 1879, “was sympathetic to native people and very liberal for his time in wanting to educate Indians and make them self-sufficient,” Richard Pearce writes in the introduction to Women and Ledger Art: Four Contemporary Native American Artists (University of Arizona Press). Pearce is a feminist and cross-cultural scholar who retired from Wheaton College in 2001 to pursue a project on Toni Morrison as well as one on writer Sherman Alexie. When visiting the Spokane Indian Reservation in Wellpinit, Washington, where Alexie grew up, Pearce learned about ledger art from artist George Flett and subsequently curated an exhibit of his work at Wheaton.

“After learning and writing more about ledger art I asked myself what I was doing as a feminist scholar writing about male warrior art,” Pearce said. “I started working with the four women ledger artists [featured in the book], who taught me a great deal about their tribal history as well as their art.”

Historically, ledger art has been a distinctly male art form depicting warfare, stealing horses, and hunting. After the reservation period began and warriors were stripped of their identity, their pictures might have shown courtship. Female artists, Pearce explained, did not draw representational art. “They made clothing and did quill [decorative work using porcupine quills] and beadwork. While Westerners might not consider that as significant as representational art, in their world both men’s and women’s art was equally respected and equally important to the life of the tribe. Unfortunately, this was not the case for the Western conquerors. As a result, ledger art, a record of male history, was passed on through the years, and women’s achievements — preserving the life of the tribe by passing traditions down through

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the children, supporting and sometimes fighting alongside their husbands, and creating their quilling and beading — were left out.”

In the 1920s, Lois Smoky attended the University of Oklahoma and was selected by her teacher, Susan Peters, to be part of a small group of art students that included Spencer Asah, James Auchiah, Jack Hokeah, Stephen Mopope, and Monroe Tsatoke.

But her work was defaced and she was harassed, and she left the university after one semester. “It would take another generation before women [ledger artists] would find a supportive environment,” Pearce writes.

Women and Ledger Art traces the careers of contemporary artists Sharron Ahtone Harjo (Kiowa), Linda Haukaas (Sicangu Lakota), Dolores Purdy Corcoran (Caddo), and Colleen Cutschall (Oglala Lakota). Their contributions to the medium expanded ledger art’s typical range of subject matter to include women’s roles in the tribes — preparing for or participating in ceremonial dances, their artistic endeavors, and their daily life. Ahtone Harjo uses text and elements of graphic design in her narrative paintings about her family history, such as in Last Will and Testament, which is about her great-grandmother Millie, who was kidnapped by a Kiowa warrior in the Elm Creek Raid in Texas in 1864. She was raised within the tribe and became an accomplished beader.

In At the Museum, one of her most well-known works, Haukaas “drove her stake into the ground of the art world with a complex drawing that brings a Lakota tiospaye, or clan, into a museum to repatriate an historical pictographic muslin,” Pearce writes. “The clan’s visit to the museum ... is a sacred ceremonial act, which recovers parts of their historic memory and extends its meaning for living in the present.” Haukaas uses social observation and satire to great effect in works such as Chase the Art Patron, in which patrons at Indian Market show off their clothes and purchases while being chased by a well-dressed Indian artist eager to sell his work.

The imagery and tone are sometimes humorous, albeit biting, as in Pre-market Prep, which juxtaposes the “conflicting cultural values of marketing and modesty.”

Though the definition of ledger art came to include all works on paper, the ledgers themselves are more than just repurposed materials on which to draw: they are a continued on Page 72

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Ledger art, continued from Page 71

Dolores Purdy Corcoran: Cadd-Lacs, 2009, colored pencil on 1890 Reistville, Pennsylvania, ledger paper

record of westward expansion and the colonization of Native Americans.

Men and women ledger artists tend to use the “X-ray” style of drawing, which echoes the flat style of Indian painting while functioning as a window to the actual ledger information beneath the images. In Corcoran’s Indian Market Masterpieces, a pot collector and two artists travel to Indian Market atop an 1890 clerk’s register from Vernon County, Missouri, that tracked warrants paid for wolf scalps and stenographer’s fees. The male artist on horseback carries a copy of the Mona Lisa in which Mona Lisa’s hair is adorned with a feather. The X-ray style allows numbers from the register to appear in her cleavage. Corcoran, who became a ledger artist in 2005, uses vivid colors and a cartoonlike style. Her figures lack faces, but her horses often stare directly at the viewer, as if they are aware of being looked at and are playfully returning the gaze.

Cutschall is a professor of visual and aboriginal art at Brandon University in Manitoba. She developed a style that extends the ledger-art form into narrative strips that resemble quill and beadwork. She is also a sculptor; her threedimensional art makes use of the flat style to appear two-dimensional against the sky. In Spirit Warriors, a living memorial in Montana commissioned by the Department of the Interior and the National Park Service to recognize the Indians who fought in the Battle of the Little Bighorn in 1876, three warriors on horseback set off for battle and a woman hands the last of the men his shield. Cutschall’s sculpture is based on a design by John R. Collins and Allison J. Towers of Philadelphia that was selected by a panel and was part of the renaming of the Custer Battlefield National Monument in 1991, a legal mandate signed by President George H.W. Bush that was intended to foster peace among all races.

“Besides the dimension formed by the depth of the sculpture, [Cutschall’s] installation added geographic and spiritual dimensions, forming a truly thick history,” Pearce writes. “It was designed for the spectator to look at the sculpture against the very plains where the battle was fought. Moreover, as the centerpiece for the Indian Memorial at Little Bighorn Battlefield National Monument, her sculpture helped change the site from a tribute to General Custer to a memorial where native people could honor the warriors, women, and children who died in the battle.” ◀ Richard Pearce, author of “Women and Ledger Art: Four Contemporary Native American Artists,” gives a free lecture at 3 p.m. Thursday, Aug. 15, at the Museum of Indian Arts & Culture (710 Camino Lejo, 476-1250).

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Why the Future Belongs to Walkable Cities

Tuesday, August 13, 2013 6:00 pm The Armory for the Arts Theater General Admission: $10 / Students $5 Tickets can be purchased at the Lensic Box Office Call 505.988.1234 or visit www.TicketsSantaFe.org It takes 10 minutes or less to walk from the Railyard to the Downtown Plaza.

Why do so few do it?

Come hear Jeff Speck, author of Walkable City: How Downtown Can Save America, One Step at a Time, make the convincing argument that walkability is essential for a sustainable vibrant downtown and key to the life of the entire city. A book signing will immediately follow the lecture hosted by Collected Works Bookstore.

This event is sponsored by: Angela Martin Casas de Santa Fe

PASATIEMPOMAGAZINE.COM

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Adele Oliveira I The New Mexican

OBJECTS OF AFFECTION RalphT.Coe’s art collection

Photos Carrie Haley

alph T. Coe was a curator, a museum director, and an art historian, but perhaps more than anything else, he was a collector. Over the course of his life (he died in Santa Fe at 81 in 2010) Coe, who was known as Ted, collected about 2,000 pieces of Native American and tribal art from around the world. The Ralph T. Coe Legacy: Instruments of Passion, an exhibit opening Friday, Aug. 9, at El Museo Cultural de Santa Fe, is presented by the newly established Ralph T. Coe Foundation for the Arts; 36 pieces of Coe’s collection will be shown for the first time in Santa Fe. The foundation is headed by Rachel Wixom, Coe’s niece. Instruments of Passion was curated by foundation board member Taylor Dale, owner of Tad Tribal Art, and advisory committee member Bruce Bernstein, former director of the Southwestern Association of Indian Arts — both of whom knew Coe — as well as Lisa Hsu Barrera, the foundation’s first fellow.

Coe was raised in Ohio, the son of an Impressionist art dealer. He studied art history at Oberlin College and Yale University and served as the director of the NelsonAtkins Museum of Art in Kansas City from 1977 until 1982. In 1976, Coe curated a show called Sacred Circles: 2,000 Years of North American Art, which opened at the

Clockwise, from upper left, Papuan Gulf gope board, circa 1900; Maori feather box, circa 1830-1840; New Ireland funerary figure, late 19th century; Teri Greeves: beaded tennis shoes, 2001; Yoruba (West Africa) gelede mask, late 20th century; images courtesy the Ralph T. Coe Foundation for the Arts

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Hayward Gallery in London and later traveled to the Nelson-Atkins Museum.

Sacred Circles aimed to present Native American work as art in its own right and not as ethnographic objects suitable only for academic study.

“At the time, many people considered Native art to be of the past, and not of the present,” Bernstein said. “Ted brought Native artists to the show in London to make sure people understood that these artists were living, that the art had evolved.”

Coe curated other notable exhibitions including 1986’s Lost and Found Traditions: Native American Art 1965-1985, which was sponsored by the American Federation of Arts and toured the country. The Responsive Eye: Ralph T. Coe and the Collecting of American Indian Art was shown at New York’s Metropolitan Museum of Art in 2003.

While Coe focused increasingly on Native American art as he got older, his tastes were broad, a sensibility Instruments of Passion reflects. The objects in the show vary widely in period (19th-century pieces are displayed alongside contemporary works), media (woven baskets, wooden masks, beaded clothing, pottery, carved statues, and a pair of canvas sneakers), and origin (the Americas, Africa, and Oceania). “We tried to find a few objects that showed the quality of the things [Coe] liked, and that give an inkling of what got him started collecting, how passionate he was,” Dale said. “Collectors often focus on a narrower range of materials, but [Coe] had a diversity of knowledge of tribal cultures worldwide.”

Wixom described her uncle as lively, inquisitive, and always in motion, often pacing as he spoke. He traveled widely, enjoying long, rambling trips and cultural pleasures beyond visual art, like food. He developed relationships with many of the contemporary artists whose work he collected, including Joyce Growing Thunder Fogarty, whose beaded moccasins and horse mask appear in Instruments of Passion, and often commissioned pieces from the artists he grew to know. Wixom recalled her uncle’s zeal for collecting: he enjoyed tracking down pieces in antique shops on his road trips across the U.S. and on jaunts to other countries, and finding an unexpected good deal.

Wixom told an old family story about Coe’s early forays into collecting tribal art. “The New Ireland chalk figure [from Papua New Guinea] was one of the first pieces he bought. He was in Amsterdam in the ’50s, and walking around, he passed an ethnographic gallery. I think he bought [the figure] for $150. He put it in his rucksack and carried it around Europe for six months.”

The funerary figure dates from the 19th century or earlier and is at once eerie and cheerful. Standing about 20 inches high, the light gray statue is painted with alternating blue and yellow dashes. The figure’s eyes peer out from under a deeply carved brow, his grin is wide and close-lipped, and his hands are folded.

The primary goal of the Ralph T. Coe Foundation is education. Wixom sees this as being accomplished through sharing the collection with Santa Fe and other parts of the country — 27 ash splint baskets from the collection will be part of an exhibition called Plain & Fancy: Native American Splint Baskets at the Fenimore Art Museum in Cooperstown, New York, opening this month.

Though the foundation’s endowment is relatively small, Wixom decided it was essential to fund a fellow, someone to help catalog the collection while contributing to their own research. Barrera is completing a master’s degree in museum studies at California State University in Chico. “I’m learning about areas of art I don’t have much background in. It’s a glimpse inside a collector’s mind,” she said. “[Coe] collected a lot of pieces that weren’t exceptionally expensive, that maybe others wouldn’t have chosen. I think he chose little treasures, things that he thought were beautiful and well made.” ◀

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details ▼ The Ralph T. Coe Legacy: Instruments of Passion ▼ Opening reception 6 p.m. Friday, Aug. 9 (with The Santa Fe Show: Objects of Art); exhibit through Aug. 30

Dr.Burt BurtMelton Melton Dr.

▼ El Museo Cultural de Santa Fe, 555 Camino de la Familia, 992-0591 ▼ $50 opening reception (benefits public-television station KNME); $13 at the door Saturday-Tuesday, Aug.10-13, advance tickets ($10) at www.thesantafeshow.com; thereafter no charge

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 PASATIEMPOMAGAZINE.COM

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Jonathan Richards I For The New Mexican

THE MASSACRES THAT TOOK PLACE IN INDONESIA IN 1965 AND 1966

Joshua Oppenheimer

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PASATIEMPO I August 9 -15, 2013

in the wake of a failed uprising against the Sukarno government were among the bloodiest slaughters in human history. Most estimates range from half a million dead to as many as a million. The uprising was led by the Indonesian Communist Party (PKI), and the killing campaign, carried out by the army, paramilitary groups, and freelance killers recruited by the military, was targeted at communists. But it quickly spread to target artists, farmers, intellectuals, ethnic Chinese, and pretty much anybody somebody else didn’t like.

Most Americans have never heard of these massacres. Joshua Oppenheimer, whose new documentary The Act of Killing shines a brilliant light on the men and methods of this dark time, didn’t know anything about them when he was sent to Indonesia a dozen years ago on an assignment. “I was asked to make a film about a community of plantation workers who were struggling to organize a union in a place where unions were not allowed or were just becoming legal. They desperately needed one because the women workers were spraying an herbicide, and it was killing them. It turned out that the biggest obstacle they had in organizing the union was fear, because their parents, their aunts, their uncles, their grandparents had been in a union — a strong plantation workers union — until 1965 and were arrested, put in concentration camps, and ultimately dispatched by the army to local death squads. They were accused of being communist sympathizers and killed. And people were afraid that this could happen to them again.

“This was my first encounter with the 1965 killings and my first encounter with survivors. I went back in 2003 to make a film about what they had experienced in ’65 — the horrors and also the nature of the whole regime of fear and oppression under which they were still living.”

Oppenheimer soon discovered that many of the killers were still around and occupying positions of power and authority. The survivors and descendants of the massacre victims, afraid to speak openly, would point him to neighbors who had perpetrated the killings. To his astonishment, he found them eager to talk. “When I could not make progress with the survivors, I started filming the perpetrators. I went to these men, asking, with circumspection, what did they do for a living, hoping that I might get to the killings. And within seconds they would tell me about the killings — often in front of their wives, their children, and their grandchildren. I think they were boasting as a way of keeping their neighbors afraid, so they could go and extort money and steal their land, take their livestock.”

His initial impulse was to get as many as he could on the record. “I filmed every perpetrator I could find, across the region, up the chain of command. All of them were boasting, all of them were offering to show me what they did. The method in the film, then, was not a lure to get them to open up; it was in response to their openness.”

But along the way he came across an aging killer named Anwar Congo. “Anwar was the 41st perpetrator I filmed,” Oppenheimer said. “I expected to have a much more kaleidoscopic film and not go so deeply into one man, one death squad, one paramilitary hierarchy. I lingered on Anwar because his pain was closer to the surface. By the time I met him, I was extremely open. I’d say, ‘Look, you participated in one of the biggest killings in human history. Your whole society is based on it.

Your life has been shaped by it. I want to understand what it means to you. You want to show me what you’ve done. So show me what you’ve done, in whatever way you wish.’ ” Congo was eager to demonstrate. He took Oppenheimer up to a roof where he and his friends had conducted wholesale killings and explained that after a while they had to give up beating their victims to death because it was too messy. There was too much blood. Movie fans, the killers came up with other methods learned from gangster films, like using a wire garrote. Sometimes they would come to the roof straight from the movies, still in a euphoric mood from an Elvis Presley musical. “We were killing happily,” Congo tells the director.

Oppenheimer saw something beneath Congo’s surface bravado. “I think his conscience is there from the beginning. He’s dancing on the roof — that’s the first day I filmed him. He says he’s a good dancer because he was drinking and taking drugs in order to forget what he did. And then when I screened that footage back to him, Anwar looks very disturbed. And he can’t express why he’s disturbed because to do so would be to admit that what he did was wrong. And he’s never been forced to do that. Instead, what he says is, ‘I look like I’m dressed for a picnic. I should change my clothes, change my acting.’ So the motor of his embellishment is his conscience. It’s him trying to run away from what he already knows: that this was wrong.”

And so, in one of the more bizarre and original twists in the annals of documentary filmmaking, Oppenheimer encouraged his subjects to stage reenactments of their killings. “I’ll film the process,” he told them. “I’ll film the reenactments as you wish me to film them, and I’ll combine this material into a new kind of film.

I don’t know if it’ll work, but possibly it will answer these questions: What does this mean to you, what does it mean to society, how do you want to be seen, and ultimately how do you see yourself?”

It was a chance to make movies! Congo and some of his old comrades-in-arms produced reenactments of their murders on location and in the studios of Indonesian state television. They even agreed to participate in a broadcast chat show discussing their killing sprees with a perky television hostess. But after watching the footage of a reenactment in which he plays a victim, Congo has a bit of an epiphany. He admits he was scared in the scene and now understands how his real-life victims must have felt.

From off camera, Oppenheimer points out that Congo knew it was just a reenactment. “I said to him, ‘No, you don’t feel what your victims felt.’ And I think it’s in that moment that the bottom drops out. It’s a terrifying moment for him, staring into this abyss, the unbridgeable gap that lies between himself and all the lies he’s told and all the lies that the regime has told itself so that it could live with what it’s done and the unimaginable horror that he’s put people through. I think that the celebration of genocide, which appears to be a sign of their lack of remorse, is in fact the opposite. It’s a sign that they know what they did was wrong, and they’re desperately trying to convince themselves of the opposite. And of course that’s the paradox in the film.”

After the reenactments, the killers wanted to stage a fantasy musical number as a cleansing experience.

“Anwar wanted to shoot a musical number based on his favorite song, which is Peggy Lee’s ‘Is That All There Is?’ It’s a song about disappointment. We drove along the banks of Lake Toba, in the mountains, and we came around a bend, and there was this four-story concrete goldfish perched on a mountainside.”

It turned out to be a former seafood restaurant, abandoned after an economic crash in the late ’90s. “We shot the musical number there,” Oppenheimer said. “There were these moments of pure poetry, moments and images of pure truth, that seem to embody how human beings get lost in our stories, the stories we tell, the way we get lost in our fantasies.”

Oppenheimer points out that Lake Toba, the location of that musical fantasy, is where a massive supervolcanic eruption occurred between 69,000 and 75,000 years ago. According to the Toba catastrophe theory, it caused a volcanic winter that killed off most of the earth’s population at that time.

“It’s called the Toba bottleneck in the sense that our species went through an evolutionary bottleneck there. There had been millions of people on Earth at that point; we’d been around as a species for about a million years already. The way we

The survivors and descendants of the massacre victims, afraid to speak openly,would point [Oppenheimer] to neighbors who had perpetrated the killings.To his astonishment, he found them eager to talk.

Congo was eager to demonstrate.He took Oppenheimer up to a roof where he and his friends had conducted wholesale kil ings.“We were killing happily,” Congo tells the director.

continued on Page 78

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The Act of Killing, continued from Page 77

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know this is that geneticists can look at all the DNA of all the people on Earth, and we only have 50,000 years of evolutionary divergence between us, and when geologists look at what could have caused that extinction, that mass die-off of humanity, it actually was the eruption of that supervolcano. So at the end of the film, they are dancing this danse macabre at the very edge of the abyss.”

“Surrealism in film has never worked well before,” observes co-producer Werner Herzog, who came on board after seeing a partial rough cut of The Act of Killing. “But in Joshua’s film, it works. You won’t see a film of that power and that surrealism in the next one or two or three decades. Period. It’s great, great moviemaking.”

With this film, Oppenheimer may well have closed the door on his chances of returning to Indonesia, a country he loves. “I think I could get in,” he says ruefully, “but I don’t think I could get out again.” ◀ The Act of Killing, documentary, not rated, in English and Indonesian with subtitles, Center for Contemporary Arts, 4 chiles

Photo by Peter Ogilvie

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A song for Tilikum Laurel Gladden I For The New Mexican Blackfish, documentary, rated PG-13, The Screen, 3.5 chiles During one brief moment in this haunting film, CNN anchor Jane Velez-Mitchell can be heard tersely asking, “If you were in a bathtub for 25 years, don’t you think you’d get ... a little psychotic?”

Forget The Conjuring. Blackfish, the eye-opening documentary from Gabriela Cowperthwaite, may be the spookiest, most disturbing, bad-dream-inducing film of the summer. If not, it might at least make you rethink those plans for a family summer-vacation visit to SeaWorld.

The film opens with underwater shots of a so-called killer whale approaching a swimmer from below. While we watch, a recording plays — it’s a 911 call following the gruesome 2010 death of Dawn Brancheau, a senior trainer at SeaWorld in Orlando, Florida. “A whale has eaten one of the trainers,” a man coldly reports. From this point, Cowperthwaite loops back to give us the long, sad back story — arguably the most upsetting part of the film — before returning to the details of Brancheau’s death (none of which, mercifully, is shown on screen).

“The situation with Dawn Brancheau — it didn’t just happen,” says whale researcher Dave Duffus.

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“It’s not a singular event. You have to go back over 20 years,” he says. He’s referring specifically to the 1970s, when SeaWorld and other marine parks hired fishermen to capture orcas off the coast of Washington State and Iceland. Between clips of footage from some of these expeditions, John Crowe, one of the fishermen, talks about rounding up the whales. Due to shipping costs, SeaWorld was apparently only interested in baby orcas. “It’s just like kidnapping a little kid away from its mother,” he says. Crowe, who claims to have participated in revolutions in Central and South America, confesses, “I’ve ... seen some things that’s hard to believe. But this is the worst thing that I’ve ever done.”

Through extensive interviews with former SeaWorld trainers (many of whom knew Brancheau), researchers, biologists, and other scientists, Cowperthwaite reveals orcas to be intelligent animals with complex emotional and social lives. One researcher describes them as friendly, well behaved, and eager to please, while a trainer insists, “When you look into their eyes, you know that somebody is home.” Orcas stay with their mothers for life, and when a mother’s baby is taken from her, she makes a horrible, heart-wrenching sound (it’s unlike anything you’ve ever heard, and it’s something you’ll probably never forget).

According to one researcher, “There is no record of an orca doing any harm to any human in the wild.” Experts argue that Tilikum, the 12,000-pound bull orca who killed Brancheau and was at least partially responsible for two other deaths, acted out of frustration, not aggression. In 1983, when he was still an infant, he was captured and taken from his family pod in the North Atlantic. At his first “home” in captivity, a park called Sealand of the Pacific, his

training involved food deprivation, and he was held every night in an unlit 20-foot-square, 30-foot-deep tank. In performance clips shown throughout the film, his dorsal fin, typically erect, is pathetically curled over and limp — a condition rarely, if ever, seen in wild orcas.

Blackfish doesn’t blame the trainers, and it isn’t preachy, but it does point out that any dog that had bitten several people would have been euthanized and not kept around to breed, as Tilikum has been (dozens of captive orcas now carry his genes). Still as documentaries go, it’s not exactly balanced.

SeaWorld officials declined to be interviewed for the film; in advance of its official release in January, however, they did launch a preemptive PR campaign refuting many of the film’s assertions and positions.

Cowperthwaite is clearly more interested in getting her message across than she is in making any stylistic statements or strides. She assembles interviews, archival footage, explanatory slides, and some simplistic animation in a businesslike fashion, and much of it is quite rough looking. Blackfish is captivating nonetheless, thanks to its thrillerlike structure and pacing and skillful editing by Cowperthwaite and Eli Despres.

Like 2009’s Oscar-winning doc The Cove, Blackfish is one of those films that everyone ought to see, despite its being terribly difficult to watch. It will surely also be one of the year’s most talked-about movies. If you’ve never given a second thought to animals in captivity — whether they’re in a zoo, a circus tent, or a theme park like SeaWorld — the information and stories Blackfish presents are disturbing enough to make you start thinking. Can we really justify capturing and containing wild animals for our own financial gain and entertainment? ◀

J O I N U S AU G U S T 9 t h FO R O U R

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ELYSIUM Director Neill Blomkamp turned heads with 2009’s District 9, and he returns with a bigger budget and a wider scope for this science-fiction film. The year is 2159, and the wealthy live in a utopian spaces station called Elysium, while everyone else lives on the devastated Earth, in what could be called “District 99%”. Matt Damon plays a ordinary Joe in an L.A. shantytown who is mad as hell and not going to take it anymore. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

Mad Matt: Matt Damon in Elysium, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week THE ACT OF KILLING How many Americans were aware of the mass killings carried out in Indonesia after the military coup there in 1965? At the direction of the country’s new leaders, and with the complicity of Western governments, thugs and paramilitary groups slaughtered “communists,” which included intellectuals, labor leaders, and pretty much anybody the killers didn’t like. Joshua Oppenheimer has made an extraordinary documentary that expands the form.

He interviews some of the killers, men who still hold positions of power. Their absence of guilt is stunning and chilling. They preen for the cameras and jump at the chance to make a film-within-a-film reenacting their bloody deeds. It’s surreal, phantasmagorical, and utterly devastating. Not rated. 159 minutes. In English and Indonesian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See story, Page 76.

BLACKFISH Forget The Conjuring.

Blackfish, Gabriela Cowperthwaite’s eye-opening documentary, may be the spookiest, most disturbing, bad-dream-inducing film of the summer. It opens with the gruesome 2010 killing (which is not shown) of Dawn Brancheau, a senior SeaWorld trainer, by Tilikum, a 12,000-pound 82

PASATIEMPO I August 9 - 15, 2013

bull orca. Through interviews with former trainers, researchers, and scientists, the film reveals orcas to be intelligent animals with complex emotional and social lives. Experts argue that Tilikum acted out of frustration, not aggression, having been held in captivity since he was taken from his family at the age of 2. Despite his involvement in three deaths, Tilikum remains at SeaWorld. This is a film that everyone ought to see, despite its being terribly difficult to watch.

Rated PG-13. 83 minutes. The Screen, Santa Fe. (Laurel Gladden) See review, Page 80.

THE CHEROKEE WORD FOR WATER This movie tells the story of Wilma Mankiller, the Cherokee woman who, along with community organizer Charlie Soap (who co-produced the film), helped bring clean water to her small town in Oklahoma.

Mankiller went on to become the first female chief of the Cherokee Nation. Soap and co-producer Kristina Kiehl attend the screenings. Rated PG. 92 minutes.

The Screen, Santa Fe. (Not reviewed) DARK STAR The 1974 first feature from director John Carpenter is a stoned-age sci-fi comedy about “21st-century planet smashers” bored out of their minds on a decades-long interstellar voyage. The cast of mostly unknown actors includes Dan O’Bannon (co-writer of Alien). “They’re not lost in space, they’re loose,” goes the tag line to this low-budget cult fave.

11 p.m. Friday and Saturday, Aug. 9 and 10, only.

Rated G. 83 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)

FORBIDDEN PLANET In the distant future, a spacecraft lands on an isolated planet to find out what happened to an earlier expedition. All they discover is a seemingly benign ruler and his sultry but innocent daughter — as well as a robot, an invisible monster, some killings, and a lot of unexplained occurrences. Though it seems like a film better suited for Universal or Allied Artists, MGM made this cult picture, which likely inspired Star Trek and the Alien films. The characters are more interesting than the type you generally find in such fare, but the picture still conveys a somberness that can leave you a bit cold. The cast is full of actors who later became — or almost became — stars.

Not rated. 98 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) See story, Page 41.

LOVELACE Some stars are so famous that you only need to see their last names; think of Eastwood, De Niro, or Schwarzenegger. Linda Lovelace is certainly one of them, thanks to her role in the 1972 film Deep Throat. This movie tells the story of her life, from her strict religious upbringing to her time on-screen and beyond. Amanda Seyfried stars.

Rated R. 93 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) ORPHEUS Jean Cocteau was a multifaceted artist who turned late to filmmaking. Orpheus, the second film in his Orphic trilogy — with The Blood of a Poet (1932) and The Testament of Orpheus (1960) — transports the ancient Greek myth to modern times. Orpheus ( Jean Marais) is visited by a beautiful and mysterious woman, the Princess (María Casares), an emissary from the regions of death. Although he has fallen in love with the Princess, Orpheus makes his way to the Underworld when his wife is taken there, and strikes a deal to bring her out. Cocteau’s vision is intoxicatingly poetic, and his effects are ingenious. The pace is sometimes slow, but for a viewer willing to surrender to it, the film is magic. Not rated. 95 minutes. In French with subtitles. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) See story, Page 28.

PERFORMANCE AT THE SCREEN The most recent series of high-definition screenings continues with “An Evening With the Nederlands Dance Theater,”

a program of dance performances that includes old favorites from the company and two world premieres.

11 a.m. Sunday, Aug. 11, only. Not rated. 136 minutes (including intermission). The Screen, Santa Fe. (Not reviewed)

(Michael B. Jordan), a 22-year-old African American 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)

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. Dane Cook is the top-billed voice artist. Rated PG. 92 minutes.

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

GROWN UPS 2 Nobody can say Adam Sandler doesn’t look after his friends. Here, he helps old buddies like Chris Rock, Kevin James, David Spade, and many, many more earn a sweet payday for this indulgent, misogynistic, possibly scriptless string of poop, pee, and penis jokes. The sheer audacity of its awfulness is almost something that you have to see to believe, but that would involve seeing it. Don’t.

Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

now in theaters BEFORE MIDNIGHT The third round of the collaboration between director Richard Linklater and stars Julie Delpy and Ethan Hawke that began with Before Sunrise (1995) is set at the end of a family vacation in southern Greece. Céline (Delpy) and Jesse (Hawke) have been together for the decade since Before Sunset (2004). Here they drive and talk and walk and talk and make love and talk. Both actors are as good as or better than they have ever been. Rated R. 108 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) 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 Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) 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; DreamCatcher, Española. (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

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 Stadium 14, Santa Fe. (Robert Ker) I’M SO EXCITED The premise of Pedro Almodóvar’s latest film reads like the set-up for a joke: a hit man, a dominatrix, a famous actor, a swindler, a psychic, a newlywed couple, and three gay stewards are on an airplane — and the landing gear is broken. Long-time fans of Almodóvar are sure to appreciate the Spanish director’s return to comic absurdity. This new feature celebrates the clichés of melodrama, but with slightly less freshness than his early hits like Tie Me Up! Tie Me Down!. The passengers are entertaining companions during the pleasant and bizarre journey the film takes us on, but more turbulence might create the extra excitement we’ve come to expect from the director’s work. Rated R. 90 minutes. In Spanish with subtitles. Center for Contemporary Arts, Santa Fe. (Loren Bienvenu) 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 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)

Planes

LOVE IS ALL YOU NEED Danish director Susanne Bier, who normally deals in bleaker material, has gone all soft and cuddly in this romantic comedy about two lost souls who unite, and in lesser hands the result would probably be insufferably cute. But Bier manages to keep this valentine on a very enjoyable track, helped by a fine cast led by Pierce Brosnan and Trine Dyrholm.

It’s a grown-up film, beautifully photographed on the Amalfi coast. Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. ( Jonathan Richards) NOW YOU SEE ME Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, and Mark Ruffalo star in this fable about four illusionists who perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, every scene is interesting. The movie is wildly entertaining, despite having to cheat to connect all the dots. Rated PG-13. 116 minutes.

Regal DeVargas, Santa Fe. (Robert Ker) PACIFIC RIM Guillermo del Toro’s latest film plays like a movie by 12year-olds, which is both a bad and a good thing. It’s bad because of the underdeveloped characters and cartoon-level dialogue, and it’s good continued on Page 84

PASATIEMPOMAGAZINE.COM

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MOVING IMAGES pasa pics

continued from Page 83

because of everything else. The plot centers on gigantic Voltron-esque robots that are built to stave off massive Godzilla-esque monsters, and not much else. It will scratch an itch for a certain kind of geek.

Other people may scratch their heads instead. Rated PG-13. 131 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) PERCY JACKSON: SEA OF MONSTERS Now that Harry Potter has hung up his broomstick, there is a dearth of youth-oriented fantasy. Percy Jackson (Logan Lerman), basically Potter in a world full of Greek gods instead of wizards, flies in on Pegasus to fill that void in this sequel to his 2010 movie. This time, Percy and pals search for the Golden Fleece.

Rated PG. 107 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; screens in 2-D only at DreamCatcher, Española;. (Not reviewed) RED 2 Bruce Willis, John Malkovich, and Helen Mirren again play ex-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, devoid of personality, or weak but rather cheerful, charming, and often in control. The film’s plot is a bunch of gobbledygook, but the humor often connects, and the action sequences excite. Rated PG-13. 116 minutes. Regal Stadium 14 and 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, here comes a sequel to the smurfing 2011 stinkfest, complete with an obnoxious mix of CGI animation and real actors, Hank Azaria chewing up scenes as Gargamel, and a two-minute trailer that is itself an endurance test. Rated PG. 105 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) STILL MINE Michael McGowan delivers an inspiring, not overly sentimental tale based on the true story of an octogenarian

spicy

medium

bland

heartburn

mild

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84

PASATIEMPO I August 9 - 15, 2013

Canadian rancher and builder named Craig Morrison ( James Cromwell), who undertakes to build — with his own hands, on his own property, with his own materials — a new house for his wife, Elise (Geneviève Bujold), who is slipping into Alzheimer’s. The problem is, you can’t do that in a world in which regulation is as pervasive as polluted air. Still Mine pits a rugged individual against a by-the-book bureaucracy.

Cromwell and Bujold are outstanding, and they even get to strike a blow for geriatric sex. Rated PG-13.

103 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) TURBO A snail (voiced by Ryan Reynolds) has big dreams: to win the Indianapolis 500. It sounds impossible, until a freak accident gives him extraordinary speed. Like many animated films to come off the Hollywood conveyor belt of late, Turbo is cute and colorful but feels slight, panders to both adults and children, and is ultimately trite. In the spirit of the script’s formulaic laziness, I feel obligated to joke that the film’s second half moves at a snail’s pace. Rated PG. 96 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) 2 GUNS Mark Wahlberg and Denzel Washington play two men who pull off a lucrative 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 undercover as well. 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) 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) THE WALL This movie is an existential treatment of the loneliness and isolation of the human condition. A city woman (Martina Gedeck, The Lives of Others) comes to a remote Alpine 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.

But before long she comes up against an invisible wall. Alone within an invisible enclosure, the woman

must learn to be self sufficient and to turn her city hands to survival skills. Her evolution is brought magnificently to life by Gedeck, who seems to toughen and discover inner resources before our eyes. 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. Aside from a cool set piece on top of a bullet train, director James Mangold doesn’t give us much to work with here.

That Wolverine is dull as dirt and Jackman could now play him in his sleep doesn’t help; this flick’s adamantium claws only scratch the surface of what could have been a compelling adventure. Rated PG-13. 129 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker)

other screenings Center for Contemporary Arts 11 a.m. Saturday, Aug. 10: Family Film Fiesta.

With tenor William Burden.

7:30 p.m. Wednesday, Aug. 14: Of Two Minds.

With director Doug Blush.

Regal Stadium 14 8 p.m. Thursday, Aug. 15: Kick-Ass 2.

9 p.m. Thursday, Aug. 15: Jobs.

10 p.m. Thursday, Aug. 15: Paranoia. ◀

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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. to Sun. 2:45 p.m., 4:45 p.m., 6:45 p.m. Tue. 2:45 p.m.

Wed. and Thurs. 12:45 p.m., 2:45 p.m.

The Act of Killing (NR) Fri. to Sun. 7:45 p.m.

Tue. 7:30 p.m. Wed. 8 p.m. Thurs. 7:30 p.m.

Family Film Fiesta (NR) Sat. 11 a.m.

I’m So Excited (R) Fri. to Sun. 11:30 a.m., 1:30 p.m.

Tue. to Thurs. 3:30 p.m., 5:30 p.m.

Lovelace (R) Fri. to Sun. 5:45 p.m., 8:45 p.m.

Tue. 4:45 p.m., 6:45 p.m., 8:45 p.m. Wed. 4:45 p.m.

Thurs. 4:45 p.m., 6:45 p.m., 8:45 p.m.

Of Two Minds (NR) Wed. 7:30 p.m.

Still Mine (PG-13) Fri. to Sun. 12:30 p.m., 3:30 p.m.

Wed. and Thurs. 11 a.m., 1:15 p.m.

JeAn CoCteAu CinemA

418 Montezuma, 505-466-5528, www.jeancocteaucinema.com Dark Star (NR) Fri. and Sat. 11 p.m.

Forbidden Planet (G) Fri. 6:30 p.m. Sat. 2 p.m., 6:30 p.m. Sun. 4:15 p.m., 9 p.m. Mon. 7 p.m.

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

Orpheus (NR) Fri. 8:45 p.m. Sat. 4:15 p.m., 8:45 p.m. Sun. 2 p.m., 7 p.m. Mon. 9 p.m.

Tue. 7 p.m. Wed. 9 p.m. Thurs. 2 p.m., 7 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, www.fandango.com Before Midnight (R) Fri. and Sat. 1:30 p.m., 9:45 p.m.

Sun. to Thurs. 1:30 p.m.

Fruitvale Station (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m.

The Lone Ranger (PG-13) Fri. to Thurs. 12:45 p.m., 3:50 p.m., 7 p.m.

Love Is All You Need (R) Fri. to Thurs. 4 p.m., 7:20 p.m.

Now You See Me (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs.

1:20 p.m., 4:10 p.m., 7:10 p.m.

Red 2 (PG-13) Fri. and Sat. 1 p.m., 4:20 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 4:20 p.m., 6:50 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 Thurs.

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 Sun. 11:20 a.m., 2:30 p.m., 5:15 p.m., 8 p.m., 10:40 p.m.

The Conjuring (R) Fri. to Sun. 11:50 a.m., 2:40 p.m., 5:20 p.m., 8:05 p.m., 10:45 p.m.

Despicable Me 2 (PG) Fri. to Sun. 12 p.m., 2:35 p.m., 5:10 p.m., 7:35 p.m., 10:10 p.m.

Elysium (R) Fri. to Sun. 11:15 a.m., 11:45 a.m., 2:25 p.m., 4:25 p.m., 5 p.m., 7:05 p.m., 7:50 p.m., 9:50 p.m., 10:30 p.m.

Grown Ups 2 (PG-13) Fri. to Sun. 11:55 a.m., 2:35 p.m., 5:15 p.m., 7:55 p.m., 10:40 p.m.

The Heat (R) Fri. to Sun. 7:10 p.m., 10:15 p.m.

Jobs (PG-13) Thurs. 9 p.m.

Kick-Ass 2 (R) Thurs. 8 p.m.

Pacific Rim (PG-13) Fri. to Sun. 7:25 p.m., 10:25 p.m.

Paranoia (PG-13) Thurs. 10 p.m.

Percy Jackson: Sea of Monsters 3D (PG)

Fri. to Sun. 11 a.m., 1:40 p.m., 4:20 p.m.

Percy Jackson: Sea of Monsters (PG) Fri. to Sun. 11:30 a.m., 2:10 p.m., 4:50 p.m., 7:20 p.m., 10:05 p.m.

Planes 3D (PG) Fri. to Sun. 11 a.m., 1:30 p.m., 4 p.m.

Planes (PG) Fri. to Sun. 11:35 a.m., 2:05 p.m., 4:40 p.m., 7:30 p.m., 10 p.m.

Red 2 (PG-13) Fri. to Sun. 1:45 p.m.

The Smurfs 2 3D (PG) Fri. to Sun. 9:40 p.m.

The Smurfs 2 (PG) Fri. to Sun. 11:05 a.m., 1:50 p.m., 4:15 p.m., 7 p.m.

Turbo (PG) Fri. to Sun. 11:10 a.m.

We’re the Millers (R) Fri. to Sun. 11:40 a.m., 1:50 p.m., 2:20 p.m., 4:30 p.m., 5:05 p.m., 7:15 p.m., 7:40 p.m., 10 p.m., 10:20 p.m.

The Wolverine (PG-13) Fri. to Sun. 11:10 a.m., 2 p.m., 4:55 p.m., 7:45 p.m., 10:35 p.m.

“RIVETING.”

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Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Blackfish (PG-13) Fri. to Mon. 2 p.m., 3:50 p.m., 7:30 p.m. Tue. to Thurs. 1:10 p.m., 5 p.m.

The Cherokee Word for Water (PG) Tue. to Thurs. 7 p.m.

An Evening With Nederlands Dans Theater

Sun. 11 a.m.

The Wall (NR) Fri. and Sat. 12 p.m., 5:20 p.m.

Sun. and Mon. 5:20 p.m. Tue. to Thurs. 3 p.m.

EXCLUSIVE ENGAGEMENT

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mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 2 Guns (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m.

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

Sun. 2:25 p.m., 4:55 p.m., 7:25 p.m. Mon. to Thurs.

4:55 p.m., 7:25 p.m.

The Conjuring (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.

Despicable Me 2 (PG) Fri. 4:25 p.m., 6:55 p.m., 9:25 p.m. Sat. 2:05 p.m., 4:25 p.m., 6:55 p.m., 9:25 p.m. Sun. 2:05 p.m., 4:25 p.m., 6:55 p.m.

Mon. to Thurs. 4:25 p.m., 6:55 p.m.

Elysium (R) Fri. 4:45 p.m., 7:15 p.m., 9:45 p.m.

Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m.

Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs.

4:45 p.m., 7:15 p.m.

Grown Ups 2 (PG-13) Fri. 5 p.m., 7:40 p.m., 10 p.m.

Sat. 2:35 p.m., 5 p.m., 7:40 p.m., 10 p.m.

Sun. 2:35 p.m., 5 p.m., 7:40 p.m.

Mon. to Thurs. 5 p.m., 7:40 p.m.

Percy Jackson: Sea of Monsters (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m.

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., 7:10 p.m., 9:40 p.m.

Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m.

Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs.

4:40 p.m., 7:10 p.m.

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.

The Wolverine (PG-13) Fri. 4:45 p.m., 7:35 p.m.

Sat. and Sun. 1:55 p.m., 4:45 p.m., 7:35 p.m.

Mon. to Thurs. 4:45 p.m., 7:35 p.m.

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85

RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

It’s chile upstairs

Tia’s Cocina

125 Washington Ave. (Hotel Chimayó de Santa Fe), 988-4900 Breakfast 7 a.m.-11:30 a.m.; lunch 11:30 a.m.-2 p.m. daily; dinner 5:30 p.m.-9 p.m. Sundays-Thursdays, 5:30-10 p.m. Fridays-Saturdays Patio dining in season Takeout available Vegetarian options Noise level: gentle Full bar Credit cards, no checks

•

The Short Order Tia’s Cocina serves traditional dishes based on the village of Chimayó’s renowned robust red chile — with a few twists thrown in. The stacked enchiladas, the tacos, and the tamales are all authentic and well done, but the red sauce is a bit tamer than you’d expect.

Smart, fresh salads made of local greens, fruits, and vegetables are a nice contrast to combination plates with beans and rice. The ice-cream-stuffed sopaipilla shows just how skillful the kitchen is. Service is cordial, despite having to make all those trips up and down the stairs. Recommended: chile relleno, beet salad, enchilada de Chimayó, lengua con chile rojo, and buñuelo.

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.

86

PASATIEMPO I August 9- 15, 2013

In terms of chile fame, the village of Chimayó rivals the town of Hatch. The difference in these New Mexico locales is as simple as red and green. Hatch, of course, is known for its green chile. Aficionados recognize that Chimayó-grown red chile — which has a beautiful balance of sweetness and spice — is unique in its robust flavor and heat, a product of the area’s terroir, its specific soil, sun, altitude, and moisture.

Tia’s Cocina employs the red chile of Chimayó often, and the name Chimayó appears on the restaurant’s menu more than a half-dozen times (as well as a couple of times in its preface, which defines the restaurant’s direction and style). The irony is that the chile is used with a gentle hand — the sauce isn’t as strongly flavored and spicy as one might expect.

Tia’s Cocina is located above the Low ’n Slow Lowrider Bar at the Hotel Chimayó de Santa Fe. The steps on the way up are lined with devotional candles, and a wooden sculpture of St. Francis waits at the top of the stairs.

The dining room — with its wood floors, fireplace, and rough-hewn pine-log ceiling — is filled with a variety of Northern New Mexico-style decorations. A small balcony offers a view of Washington Avenue.

The hotel is run by Heritage Hotels & Resorts, the same group that runs the Hotel St. Francis and The Lodge at Santa Fe. Chef Miguel Quintana, formerly of Tabla de los Santos at the St. Francis, now helms Tia’s Cocina. As is the case at Tabla, there’s an emphasis on local meats and produce here. The dishes, right down to the chicos, are intended to offer a taste of Chimayó cuisine, but there’s enough variation that you might not connect the food with Chimayó, despite all those references on the menu.

Call it nouvelle authentic.

A chile relleno served as an appetizer is classic — lightly breaded, gently fried, and oozing warm cheese.

But the sauce it sits in is light, creamy, and orange in color, barely hinting at red chile. A beet salad was like something you might find at a fine vegetarian restaurant, a pile of chunky, firm, but still tender steamed beets next to a heap of mixed greens, all dressed in a very light vinaigrette whose flavor relied on an elegant olive oil.

This dish wouldn’t normally be associated with Northern New Mexico cooking, but it does reflect the increasing abundance of locally grown produce and preparations, evident even in the most traditional of places, that are both sophisticated and simple.

Traditional dishes, including stacked enchiladas that you can get topped with an egg, are consistently decent.

The taco on the Plato de Chimayó is standard issue but constructed of fine ingredients, as is the plate’s rolled cheese enchilada. The tamales are slender cocoons of masa surrounding shredded chile-marinated pork.

Chicos, becoming harder and harder to find, were mixed in with fine pinto beans. Our guacamole was chunky and fresh-flavored, the salsa that we asked for (and for which

we were charged an additional $2) meek. The best dish was a plate of thinly sliced beef tongue served in a rich, dark sauce that went remarkably well with those creamy pintos.

The Carne de Marrano (a grilled pork chop with red chile) was delicious but a bit chewy. We weren’t asked how we wanted our Chile Colorado con Carne (chilemarinated rib eye). It came medium rare, just the way we like it, and it was juicy and complexly flavored, so we had no complaints. The roasted potatoes were perfect, despite their formidable size. The calabacitas, a dish that can so often be soggy, was just right.

The green chile, as it can be ahead of the harvest, lacked personality. One of two other disappointments was the torta de huevo (egg fritters in red chile), which arrived warm and slightly crisp but soon turned soft. The other was the arroz dulce (rice pudding), not much better than something you might make quickly in the microwave.

But the sopaipilla stuffed with vanilla ice cream (called a buñuelo) and swirled with caramel and chocolate was a fried delight, rivaling the best doughnut you’ve ever had.

Drinks are brought up from downstairs, and — for patrons dining at the bar — food is brought down from upstairs. Marvel at the servers’ climbing abilities and balance. They also give you just the right amount of attention. Little things, like that salsa charge and having to pay an extra dollar for a tortilla, seem something of an affront — and not the kind of thing you’d associate with the welcoming village of Chimayó. Otherwise, make the pilgrimage. ◀

Check, please

Dinner for three at Tia’s Cocina: Guacamole appetizer ....................................... $ 9.00 Chile relleno appetizer .................................... $ 9.00 Lengua con chile rojo ...................................... $19.00 Torta de huevo ................................................. $17.00 Carne de Marrano ............................................ $20.00 Arroz dulce ...................................................... $ 6.00 TOTAL ............................................................. $80.00 (before tax and tip) Dinner for two, another visit: Beet salad .........................................................

Plato de Chimayó ............................................

Chile Colorado con Carne................................

Buñuelo ...........................................................

TOTAL ............................................................. (before tax and tip)

$ 8.00 $16.00 $25.00 $ 6.00 $55.00

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MEET THE UNSUNG HEROES BEHIND THE GREATEST MUSIC OF OUR TIME

A.O. SCOTT,

ACADEMY AWARD® NOMINEE

ACADEMY AWARD® NOMINEE

JAMES CROMWELL GENEVIÈVE BUJOLD CAMPBELL SCOTT

“A

and a David-and-Goliath narrative that may make you want to stand up and cheer.”

gift!”

Bill Newcott, AARP.ORG

“CROMWELL

AND BUJOLD ARE REMARKABLE.”

“Perfection!”

PETER TRAvERS,

“A

Michael Sragow, ORANGE COUNTY REGISTER

must-see!

JUST WONDERFUL!”

“

Massively entertaining and heartfelt!”

Jeffrey Lyons, LYONS DEN RADIO/WCBS RADIO

CLAUDIA PUIG,

“Irresistible!”

KENNETH TURAN,

featuring BruCe SPringSteen

Sting MiCK Jagger SteVie WOnDer anD Bette MiDLer

EXECUTIVE RADIUS-TWC GIL FRIESEN AND TREMOLO PRODUCTIONS PRESENT “TWENTY FEET FROM STARDOM” PRODUCERS GEORGE CONRADES ART BILGER ASSOCIATE B. MARSH AND GRAHAM WILLOUGHBY PRODUCER CARYN CAPOTOSTO PETER MORTONEDITEDJOEL S. EHRENKRANZ CINEMATOGRAPHYBY NICOLA SUPERVISING PRODUCED PRODUCED

BY JASON ZELDES AND KEVIN KLAUBER EDITOR DOUGLAS BLUSH

BY CAITRIN ROGERS

BY GIL FRIESEN DIRECTED

BY MORGAN NEVILLE ©2013 PROJECT B.S., LLC

Special screening w/ director Doug Blush in person!

Still Devoted. Still Determined.

Still Mine

Dinner reception at 6:30p, film at 7:30p - $15 A fundraiser for the CCA Cinematheque

In The Muñoz-Waxman Gallery: Santa Fe Opera presents

MAKING PLACES Family Film Fiesta!!!

FREE w/ door prize

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 9 11:30a - I’m So Excited* 12:30p - Still Mine 1:30p - I’m So Excited* 2:45p - 20 Feet 3:30p - Still Mine* 4:45p - 20 Feet 5:45p - Lovelace* 6:45p - 20 Feet 7:45p - Act of Killing* 8:45p - Lovelace

Sat Aug 10

11:00a - Family Film Fiesta 11:30a - I’m So Excited* 12:30p - Still Mine 1:30p - I’m So Excited* 2:45p - 20 Feet 3:30p - Still Mine* 4:45p - 20 Feet 5:45p - Lovelace* 6:45p - 20 Feet 7:45p - Act of Killing* 8:45p - Lovelace

Sun Aug 11 11:30a - I’m So Excited* 12:30p - Still Mine 1:30p - I’m So Excited* 2:45p - 20 Feet 3:30p - Still Mine* 4:45p - 20 Feet 5:45p - Lovelace* 6:45p - 20 Feet 7:45p - Act of Killing* 8:45p - Lovelace

Mon Aug 12 Cinema Closed

Tues Aug 13 2:45p - 20 Feet 3:30p - I’m So Excited* 4:45p - Lovelace 5:30p - I’m So Excited* 6:45p - Lovelace 7:30p - Act of Killing* 8:45p - Lovelace

Wed Aug 14 11:00a - Still Mine* 12:45p - 20 Feet 1:15p - Still Mine* 2:45p - 20 Feet 3:30p - I’m So Excited* 4:45p - Lovelace 5:30p - I’m So Excited* 7:30p - Of Two Minds fundraiser 8:00p - Act of Killing*

Cartoons and fun presented by Bill Burden 11:00am Sat Aug 10!!!

Thurs Aug 15 11:00a - Still Mine* 12:45p - 20 Feet 1:15p - Still Mine* 2:45p - 20 Feet 3:30p - I’m So Excited* 4:45p - Lovelace 5:30p - I’m So Excited* 6:45p - Lovelace 7:30p - Act of Killing* 8:45p - Lovelace

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:

The Hunt More Than Honey Prince Avalanche Ain’t Them Bodies Saints A Teacher...& more!!!

PASATIEMPOMAGAZINE.COM

87

2013 SWAIA OFFICIAL GUIDE ARTIST DIRECTORY | BOOTH LOCATOR MAP

SUNDAY AUGUST 11 ONLY IN THE

88

PASATIEMPO I August 9 - 15, 2013

pasa week Friday, Aug. 9

ClassiCal musiC

TgiF organ recital Larry Palmer performs music of Britten and Bach, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext.16, donations appreciated.

gallery/museum openings

adobe gallery 221 Canyon Rd., 629-4051. Paintings by Pueblo and Navajo artists of the early 20th century, reception 4-6 p.m., through August. axle Contemporary 670-7612 or 670-5854.

The Gesture Rendered, group show, reception 5-7 p.m., look for the mobile gallery’s van outside the Santa Fe Farmers Market Pavilion, visit axleart. com for van locations through Sept. 1.

Casweck galleries 203 W. Water St., 988-2966. Paintings by Robbi Firestone, reception 6-9 p.m., a portion of the proceeds benefits The Food Depot.

Collected Works Bookstore 202 Galisteo St., 988-4226. Works by students of Southwestern Association for Indian Arts’ mentor and education programs, reception 6 p.m. eggman & Walrus art emporium 130 W. Palace Ave., second floor, 660-0048.

Power, Vulnerability, and Gender, paintings

by Amina Re, reception 5-7 p.m., artist talk 6 p.m. a gallery santa Fe 154 W. Marcy St., Suite 104, 603-7744. Drawings and paper sculpture by Tayo Heuser, reception 5-7 p.m. giacobbe-Fritz Fine art 702 Canyon Rd., 986-1156. Arcadian Calm, landscapes by Mark Gould, reception 5-7 p.m., through Aug. 15.

Heidi loewen porcelain gallery 315 Johnson St., 988-2225. Loewen’s smoke-fired sculptures, reception 5-8 p.m., through August.

Jane sauer gallery 652 Canyon Rd., 995-8513.

Abstract Rhythms, ceramic sculpture by Sheryl Zacharia, reception 5-7 p.m., through Sept. 16.

Jean Cocteau Cinema 418 Montezuma Ave., 466-5528. Janet Russek — The Neighborhood, B & W photographic study of barrio de Guadalupe, through early October (see story, Page 44). mark sublette medicine man gallery 602-A Canyon Rd., 820-7451. 15th annual Maria Martinez (1887-1980) and family show and sale, including pottery by Popovi Da (1922-1971), through Aug. 23. meyer gallery 225 Canyon Rd., 983-1434.

Distant Lands Close Up, landscapes by William Hook, reception 5-7 p.m., through Thursday. new Concept gallery 610-A Canyon Rd., 795-7570. Aaron Karp: Paintings, Then and Now, reception 5-7 p.m., through Sept. 2.

The owings gallery 1 20 E. Marcy St., 982-6244. New work by painter Ed Mell, reception 5-7 p.m., through Sept. 14. pW Contemporary 129 W. San Francisco St., second floor, 983-7658. Shide-Gom: Memory of Lhasa, paintings by Tserang Dhandrup, reception 6-8 p.m.

Pasa’s Little Black Book......... 90 Exhibitionism...................... 92 At the Galleries.................... 93 Museums & Art Spaces........ 93 In the Wings....................... 94

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

in ConCerT

David yard and Daniel Weston Classical guitar recital, 6 p.m. Casa Chimayó, 409 W. Water St., $25, performance and meal $60, 575-770-5094. sylvia nakkach Vocalist, 6 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $25, 983-5022. santa Fe Bandstand Little Bird & The Big Boy Band, country tunes, 6 p.m.; country band The Derailers, 7:15 p.m.; on the Plaza, series continues through Aug. 23.

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. yjastros: The american Flamenco repertory Company at el Farol 8 p.m. final weekend, $25, 983-9912.

Books/Talks

Jason Salazar’s paintings are on exhibit at the School for Advanced Research, 660 Garcia St.

santa Fe show: objects of art openingnight gala More than 65 galleries and exhibitors represented, featuring The Ralph T. Coe Legacy: Instruments of Passion, an exhibit of the collector’s Native American and ethnographic objects (see story, Page 74), 6-9 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, $50, tickets available online at thesantafeshow.com, proceeds benefit KNME. santa Fe Time Bank 1119 Luisa St., Suite 1, 490-2119. Mixed-media work by Nina Ross, reception 5-7 p.m. sculpture 619 619 Canyon Rd., 660-6983.

Watercolorist Taman VanScoy’s landscapes; new work by sculptor Gino Miles, reception 5-7 p.m. steve elmore indian art 839 Paseo de Peralta, 995-9677. Nampeyo/ Fannie: The Artistic Legacy of Five Generations of Hopi Women Potters, reception 5-7 p.m.

Elsewhere............................ 97 People Who Need People..... 98 Under 21............................. 98 Pasa Kids............................ 98

Waxlander gallery 622 Canyon Rd., 984-2202. Weaving Sunshine, woven-copper paintings by Suzanne Donazetti, reception 5-7 p.m., through Aug. 12.

Worrell gallery 103 Washington Ave., 989-4900. New work by painter Jay Hester, reception 5-7 p.m.

opera

Oscar A new opera by Theodore Morrison focusing on Oscar Wilde’s trial for indecency and his ensuing imprisonment in Reading Gaol.

Countertenor David Daniels portrays the title character, here less a study in flamboyant wit than in shattered defeat. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

Decoding the art and imagery of Virgil ortiz The Cochiti Pueblo ceramist discusses his work, 4 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, 476-1250.

Harouna ouedraogo The artist discusses and demonstrates his painting techniques, 6 p.m., Studio Vaillancourt, 821 Canyon Rd., 231-8961.

Turquoise, Water, sky Maxine McBrinn, MIAC curator of archaeology, previews her exhibit, 8:30-10 a.m., Museum of Indian Arts & Culture Breakfast With the Curators series, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $35 advance tickets include breakfast and museum admission, 982-5057.

ouTDoors

santa Fe Botanical garden at museum Hill Open 9 a.m.-5 p.m. daily April-October, 10 a.m.-4 p.m. Tuesday-Sunday November-March, 715 Camino Lejo, $5, santafebotanicalgarden.org.

eVenTs

30th annual antique ethnographic art show 10 a.m.-6 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $10, whitehawkshows.com, 992-8929, continues Saturday.

Jean Cocteau Cinema grand re-opening Screenings of the 1956 sci-fi film Forbidden Planet and Jean Cocteau’s Orpheus, free admission with tickets, 418 Montezuma Ave., 466-5528, jeancocteaucinema.com (see stories, Pages 28-39). ▶▶▶▶▶▶▶▶

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.

PASATIEMPOMAGAZINE.COM

89

Santa Fe Opera Backstage Tours Production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, through Tuesday.

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 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 addresses below) agora Shopping Center dinner courtyard Chana and Paid My Dues, R & B, 5:30-7:30 p.m., no cover.

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 Lewis on drums, 7:30 p.m.-close, no cover.

Cowgirl BBQ Acoustic guitarist Daniel Isle Sky, 5-7:30 p.m.; Jay Boy Adams with Zenobia and Mister Sister, R & B, 8:30 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la 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, 8-11 p.m., no cover.

d Wine Bar 315 restaurant an 986-9190 il, 315 Old Santa Fe Tra tec St., 820-0150 Az 7 31 c te az 7 31 the inn agoyo lounge at E. Alameda St., 3 30 a ed am al on the 984-2121 nter dinner agora Shopping Ce Vista Grande, 466-1270 ida courtyard 7 Aven Betterday Coffee 5-1234 55 905 W. Alameda St., nch resort & Spa ra e dg lo ’s op sh Bi Rd., 983-6377 1297 Bishops Lodge Café Café 6-1391 500 Sandoval St., 46 ó ay Casa Chim 8-0391 409 W. Water St., 42 ón es M ¡Chispa! at el 983-6756 e., Av ton ing ash W 213 hside ut So Cleopatra Café 644 4-5 47 ., Dr o an far 3482 Za 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

90

PASATIEMPO I August 9- 15, 2013

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, local jazz trio with Loren Bienvenu on drums and Robin Holloway on piano, with special guest saxophonist Brian Wingard, 9:30 p.m.close, no cover.

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

Second Street Brewery Bill Hearne Trio, classic country, 6-9 p.m., no cover.

Second Street Brewery at the railyard Caitlin Cannon & The Artillery, Americana, 7 p.m.-close, no cover.

Tiny’s Rock band Never the Same, 8:30 p.m.-close; no cover.

The Underground at evangelo’s Rock cover band Chango, 9:30 p.m., call for cover.

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

10 Saturday gallery/MUSeUM OPeNiNgS

las Campanas Clubhouse 123 Clubhouse Dr., 995-3500. Sculpture by Pojoque Pueblo artist George Rivera, reception 5:30 p.m., $40.

Santa Fe Public library Main Branch, 145 Washington Ave. Recent Landscapes and Botanicals, photo-based archival pigment prints by Key Sanders, reception 2-4 p.m., through August.

Pasa’s little black book ill el Paseo Bar & gr 848 2-2 99 , St. teo 208 Galis Rd., 983-9912 el Farol 808 Canyon evangelo’s o St., 982-9014 200 W. San Francisc hotel Santa Fe ta, 982-1200 1501 Paseo de Peral asters ikonik Coffee ro 6 99 8-0 42 , St. na Le 00 16 St., 982-3433 rcy Ma la Boca 72 W. ina la Casa Sena Cant 8-9232 98 e., Av e lac Pa E. 5 12 at la Fonda la Fiesta lounge , 982-5511 St. o isc nc Fra n Sa 100 E. a Fe resort nt Sa de da sa la Po e Ave., 986-0000 lac Pa E. 0 and Spa 33 at the The legal Tender eum us M d lamy railroa 466-1650 151 Old Lamy Trail, g arts Center lensic Performin St., 988-1234 o isc nc Fra n Sa 211 W. e lodge Th at ge un lo e lodg Francis Dr., St. N. 0 75 at Santa Fe 992-5800 l rider Bar at hote low ’n’ Slow low Fe 125 Washington a Chimayó de Sant Ave., 988-4900

Corsets and Crows Studio open house; works by Nacha Mendez and Pablo Adriano, noon-7 p.m., reception 5 p.m., 725½ Canyon Rd., 670-5594.

OPera

La Traviata Verdi’s indelible classic about a Parisian courtesan in a moral quandary returns in a revival of a 2009 staging by Laurent Pelly but with a new cast, now centering on soprano Brenda Rae, tenor Michael Fabiano, and baritone Roland Wood. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

Noah’s Flood Special family performance of Britten’s children’s opera presented by the Santa Fe Opera, 4 and 6 p.m., fully staged with costumes, sets, and orchestra, featuring baritone Alan Dunbar and mezzo-soprano Ellie Jarrett Shattles, O’Shaughnessy Hall, 301 Opera Dr., $5, 986-5900, Sunday encores (see story, Page 62).

ClaSSiCal MUSiC

Santa Fe Chamber Music Festival Bach selections from The Art of Fugue, including flutist Tara Helen O’Connor, oboist Robert Ingliss, and Orion String Quartet, 5 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.

Santa Fe Desert Chorale 2013 Summer Festival Romance to Requiem, featuring guest artist mezzo-soprano Susan Graham, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $15-$100, 988-2282, desertchorale.org.

TheaTer/DaNCe

Juan Siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234.

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

Twelfth Night Santa Fe Shakespeare Society presents its third annual outdoor performance series held at SFUA&D; 6 p.m., the Bandshell, 1600 St. Michael’s Dr., $5-$20 sliding donation, sfshakespeare.org, 490-6271, final weekend. yjastros: The american Flamenco repertory Company at el Farol 8 p.m. final weekend, $25, 983-9912.

BOOkS/TalkS

Deborah Madison The local cookbook author signs copies of Vegetable Literacy, 3 p.m., Garcia Street Books, 376 Garcia St., 986-0151. exhibit talk Lecturer Joseph Marshall III discusses the art of Lakota quilt making, 4 p.m., Works D ECollected C E LSt.,l988-4226, exhibit Bookstore, 202 A NGalisteo C of quilts hang through mid-September. romance of Travel Slide presentation

by Barbara Jacobs, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.

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.

OUTDOOrS

guided nature walks 10 a.m. every Saturday at Leonora Curtin Wetland Preserve, 27283 W. Frontage Rd., adjacent to El Rancho de las Golondrinas, call Santa Fe Botanical Garden for details, 471-9103.

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

Power Yoga in the Park 9:15 a.m. Saturdays through Aug. 25, Chavez Community Center Park, 3221 Rodeo Rd., $6, discounts available, 955-4000, all ages.

events

22nd Annual Zia Regional Rodeo Charity event presented by the New Mexico Gay Rodeo Association; 9 a.m.-5 p.m. today and Sunday, Rodeo de Santa Fe Fairgrounds, 3237 Rodeo Rd., $15 per day at the gate; $25 weekend pass; children 12 and under no charge, nmgra.com; benefit dance with music by Connie Long and Fast Patsy, 8 p.m.midnight, Santa Fe Sol Stage & Grill, 37 Fire Pl., $10, 505-263-3592 (see story, Page 66).

30th Annual Antique ethnographic Art show 10 a.m.-5 p.m.; Zuni Jewelry — Real or Fake?, a talk by Zuni silversmith Tony Eriacho (bring your jewelry), 9 a.m.; Santa Fe Community Convention Center, 201 W. Marcy St., $10, whitehawkshows.com, 992-8929.

Beats Out of Water Dance party with local DJs Feathericci, Melanie Moore, Phi, and Sattva Ananda, 1-7 p.m., Railyard Park across from the Farmers Market, no charge, all ages, poolside attire encouraged. english country dance Traditional dance with live music by Mad Robin, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $8, students, $4, 820-3535.

Kindred spirits Animal sanctuary art show Annual fundraiser, 10 a.m.-4 p.m., 3749-A NM 14, south of Santa Fe, 471-5366, kindredspiritsnm.org.

Rag Rug Festival & Gift show Handmade textiles, jewelry, and wearable art, 10 a.m.-4 p.m. today and Sunday, Museum of International Folk Art, 706 Camino Lejo, Museum Hill, no charge, 983-6155. 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 Days 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., Saturdays through Aug. 24, meet at the box office, 986-5900, visit santafeopera.org for complete schedule of community events. santa Fe show: Objects of Art More than 65 galleries and exhibitors; featuring The Ralph T. Coe Legacy: Instruments of Passion, an exhibit of the late Santa Fe collector’s Native American and ethnographic objects (see story, Page 74), noon-7 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, $10 in advance, thesantafeshow.com, $13 at the door, proceeds benefit KNME, through Tuesday. 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.

nIGhtlIFe

(See Page 90 for addresses) ¡Chispa! at el Mesón Singer Faith Amour with Luminous Jazz Experience, 7 p.m.-close, call for cover.

Cowgirl BBQ Railyard Reunion Bluegrass Band, 2-5 p.m.; local singer/songwriter Jono Manson, 8:30 p.m.-close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

Into the Light, by Rande Cook, shown in a group show titled Octopus Dreams, 516 Arts, 516 Central Ave. S.W., Albuquerque

la Fiesta lounge at la Fonda Los Wise Guys, oldies/country/rock, 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. low ’n’ slow lowrider Bar at hotel Chimayó de santa Fe Pollo Frito, New Orleansstyle funk, 9:30 p.m.-close, no cover. the Mine shaft tavern Psychedelic country licks with Joe West & Friends, 3-7 p.m. on the deck; Honky Tonk Deluxe, with Susan Holmes and special guest Earl Poole Ball, 7-11 p.m.; no cover.

Molly’s Kitchen & lounge Mesa recording artists Public Address, Brian Mayhall, and DJ Feathericci, 9 p.m., call for cover, 21+ (see Sound Waves, Page 26). the Palace Restaurant & saloon Bold-school rockabilly band Rob-A-Lou, 10 p.m., call for cover.

Rouge Cat DJs Oona, Samma Lone, and King George, underground house and disco classics, 9 p.m., call for cover. second street Brewery Caitlin Cannon & The Artillerya, Americana, 6-9 p.m., no cover. second street Brewery at the Railyard Hot Club of Santa Fe, Gypsy jazz, 7-10 p.m., no cover. sweetwater harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover.

the Underground at evangelo’s DJ Dynamite Sol’s video jukebox, 9 p.m. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; jazz vocalist Lori Michaels, 8 p.m.-close; call for cover.

11 Sunday GAlleRY/MUseUM OPenInGs

Georgia O’Keeffe Museum education Annex 123 Grant Ave., 946-1039. Works by students of the museum’s 2013 Art & Leadership Programs for Girls and Boys, reception 3-5 p.m., through Sept. 6.

OPeRA

santa Fe Opera Apprentice showcase scenes Including Mozart’s Don Giovanni, Bizet’s Carmen, and Britten’s Billy Budd, 8 p.m., 301 Opera Dr., $7 and $21, 986-5900 (see story, Page 64).

Noah’s Flood Special family performance of Britten’s children’s opera presented by the Santa Fe Opera, 10:30 a.m. and 1 p.m., fully staged with costumes, sets, and orchestra, featuring baritone Alan Dunbar and mezzosoprano Ellie Jarrett Shattles, O’Shaughnessy Hall, 301 Opera Dr., $5, 986-5900 (see story, Page 62).

ClAssICAl MUsIC

santa Fe Chamber Music Festival Music of Schumann, Chausson, and Thierry Lancino, including Orion String Quartet, violinist William Preucil, and pianist Garrick Ohlsson, 6 p.m. (pre-concert talk: Lancino with Marc Neikrug, 5 p.m.), the Lensic, tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.

schola Cantorum of santa Fe Songs of a Summer Evening, Gregorian chants, 7 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20, discounts available, schola-sf.org, 474-2815.

In COnCeRt

David Yard and Daniel Weston Classical guitar recital, 11 a.m., La Tienda Performance Space in Eldorado, $25, show and brunch $60, 575-770-5094.

Paul Appleby The Santa Fe Opera tenor performs serenades of Schubert, Brahms, and Tchaikovsky accompanied by pianist Joe Illick, 4 p.m., Scottish Rite Center, $40 includes post-performance reception, tickets available at the Santa Fe Concert Association box office, 984-8759, or through the Lensic, 988-1234, ticketssantafe.org.

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.

Twelfth Night Santa Fe Shakespeare Society winds up its third annual outdoor performance series held at SFUA&D; 6 p.m., the Bandshell, 1600 St. Michael’s Dr., $5-$20 sliding donations requested, 490-6271, sfshakespeare.org.

Yjastros: the American Flamenco Repertory Company at el Farol 8 p.m. $25, 983-9912, season finale.

BOOKs/tAlKs

Artist talk Fiber artist Kakuko Ishii discusses her work on exhibit, 2 p.m., Santa Fe Weaving Gallery, 124 ½ Galisteo St., 982-1737.

pasa week

continued on Page 95

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exhibitionism

A peek at what’s showing around town

Dylan miner: Anishnaabensag Biimskowebshkigewag (native Kids Ride bikes), installation view, michigan state University, 2011. Artist, historian, and curator Dylan Miner collaborates with Indigenous, Latino, and non-Native youth to construct lowrider bicycles included in the exhibition Anishnaabensag Biimskowebshkigewag at the Santa Fe Art Institute (1600 St. Michael’s Drive) and other venues throughout the city beginning Aug. 19. Miner’s project educates children about Indigenous cultures and sustainable transportation. The show opens Monday, Aug. 12, with a 6 p.m. lecture by Miner at SFAI entitled “Art, History, Memory: Artistic Practice in an Age of Ongoing Colonialisms.” The lecture is $10. Discounts are available.

Call SFAI at 424-5050.

nacha mendez: Corny, 2013, acrylic on canvas. Musician Nacha Mendez and artist Pablo Adriano present an open-studio exhibition of original paintings titled Corsets and Crows.

The exhibit takes place at 725½ Canyon Road from noon to 7 p.m. on Saturday, Aug. 10, only. There is a 5 p.m. reception.

Call 670-5594.

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PASATIEMPO I August 9- 15, 2013

mark Gould: Quick Light; Arcadian #941, 2013, acrylic on panel. Mark Gould layers paint in quick applications using a variety of tools such as brushes, chisels, and palette knives to create vibrant, light-filled images of meadows and forests. Arcadian Calm, an exhibition of his acrylic paintings at Giacobbe-Fritz Fine Art, opens Friday, Aug. 9, with a 5 p.m. reception. The gallery is at 702 Canyon Road.

Call 986-1156.

Aaron Karp, Newton’s Shotgun, 2013, acrylic on canvas. New Concept Gallery (610-A Canyon Road) presents Aaron Karp: Paintings, Then and Now. The artist layers patterns over patterns to create intricate compositions. “Layering itself makes up the central metaphor of my work,” he writes. “The work is about concealing and revealing, about the fracturing of color and space.” The show opens Friday, Aug. 9, with a 5 p.m. reception. Call 795-7570.

Kakuko ishii: Japanese Strings, 2012, knotted string. Santa Fe Weaving Gallery (124½ Galisteo St.) presents the exhibit Contemporary Art From Japan: Works in Textiles, Ceramics, and Mixed Media.

The show includes work by textile artists Rieko Yashiro and Yasuko Iyanaga as well as by ceramist Ichiro Mitsuo, mixed-media artist Mitsuru Kuroki, and fiber artist Kakuko Ishii. The exhibit continues through Aug. 14 and includes a talk by Ishii on Sunday, Aug. 11, at 2 p.m. Space is limited.

Call 982-1737.

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

GF Contemporary 707 Canyon Rd., 983-3707. New paintings

by Michael Hudock and Marcelo Suaznabar, through Friday, Aug. 9.

GVG Contemporary 202 Canyon Rd., 982-1494. Dimensionality, new paintings by Oliver Polzin and Blair VaughnGruler, through Aug.16.

James Kelley Contemporary 550 S. Guadalupe St., 989-1601. Concepts and Studies for The Pearl, interdisciplinary work by Enrique Martínez Celaya, through Aug. 17.

Matthews Gallery 669 Canyon Rd., 992-2882. Breaking Through With Light, watercolors and paintings by Eric G. Thompson, through Thursday, Aug. 15.

Meyer East Gallery 225 Canyon Rd., 983-1657. Head Trip, works by painter Melinda K. Hall, through Thursday, Aug. 15.

Nüart Gallery 670 Canyon Rd., 988-3888. Beautiful Disaster, new work by Hyunmee Lee, through Aug. 18.

Patina Gallery 131 W. Palace Ave., 986-3432. Furniture, models, and sketches by metalworker Gary Griffin, through Sunday, Aug.11. Peter Schmid and Atelier Zobel Return, jewelry, through Aug. 25.

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.

Selby Fleetwood Gallery 600 Canyon Rd., 992-8877. Paper Proof, new work by origami artist Kevin Box, through Tuesday, Aug. 13.

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

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

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

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 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, reception 3-5 p.m. Sunday, Aug. 11, 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; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. 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; reception featuring a performance by Iroquois singer/composer Joanne Shenandoah 5-7 p.m. Thursday, Aug.15.

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, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions.

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, international 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: Video Works 1994-2011, installations, through Aug.18 • 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, through September.

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

Poeh Museum Work by fashion and textile designer Patricia Michaels, reception 5-8 p.m. Thursday, Aug. 15. 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.

Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16.

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

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.

Shiprock and Mont St. Michel, William clift’s landscape studies on exhibit at New Mexico Museum of Art

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In the wings MUSIC

Music From Angel Fire The 30th season features Chick Corea as the 2013 composer-in-residence; artists include Ida Kavafian, Anne-Marie McDermott, the Harlem Quartet, and Imani Winds, Aug. 16Sept. 1, Angel Fire, Taos, Raton, and Las Vegas, $20-$35, 888-377-3300, musicfromangelfire.org.

Tiempo Libre Miami-based timba-music band, 8 p.m.

Friday, Aug. 16, the Lensic, $12-$42, 988-1234, ticketssantafe.org.

Santa Fe Music Collective Café The jazz series continues with the Dmitri Matheny Group, flugelhornist Matheny with pianist Bert Dalton, bassist Milo Jaramillo, and percussionist John Trentacosta, 7 p.m.

Thursday, Aug. 22, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 983-6820.

39th Annual Santa Fe Bluegrass and Old Time Music Festival Headliners, Claire Lynch Band and Foghorn Stringband, New Mexico bands include Hard Road Trio, Lost Howlin’ Coyotes, and the Bill Hearne Trio, Friday-Sunday, Aug. 23-25, Santa Fe County Fairgrounds, $15-$40, three-day pass $50, southwestpickers.org.

Dmitri matheny and his ensemble perform in the santa Fe music collective café jazz series Aug. 22.

Sylvia McNair The singer headlines Santa Fe Desert Chorale’s gala benefit; al fresco cocktail reception, dinner, live auction, and performance, 6 p.m. Thursday, Aug. 29, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., call 988-2282 for information.

Music and Myth Robert Mirabal’s theatrical concert, 7 p.m.

Friday and Saturday, Aug. 30-31, Santa Fe Opera, 301 Opera Dr., $25-$65, 986-5900.

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.

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PASATIEMPO I August 9- 15, 2013

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.

Melissa Etheridge Rock singer/songwriter, 7:30 p.m. Friday, Sept. 6, Santa Fe Opera, 301 Opera Dr., $44-$81, 986-5900.

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.

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.

Los Lonely Boys Texican rock ’n’ rollers, Los Plateros and Sol Fire open, 6:45 p.m. Friday, Sept.13, Santa Fe Community Convention Center, $25, VIP tickets $75, 988-1234, ticketssantafe.org.

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. ¡Globalquerque! Albuquerque’s National Hispanic Cultural Center hosts the annual music and culture celebration; featuring veteran rocker Leon Russell, Latin-jazz percussionist Poncho Sánchez, and a host of international acts, Friday and Saturday, Sept. 20-21, 1701 Fourth St. S.W., $12-$60, discounts available, NHCC box office, 505-724-4771 or at the door.

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.

Blondie: No Principals Tour Rock band, X opens, 7 p.m. Monday, Sept. 23, Santa Fe Opera, 301 Opera Dr., $38-$86, 986-5900, proceeds benefit the Española Valley Humane Society.

Red Elvises Theatrical-rock band, 7:30 p.m. Friday, Sept. 23, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, solofsantafe.com.

Natalie Maines Singer/songwriter, 7 p.m.

Friday, Sept. 27, Santa Fe Opera, 301 Opera Dr., $42-$94, 986-5900, santafeopera.org.

The Canadian Brass Classic to contemporary arrangements, 4 p.m.

Sunday, Sept. 29, Duane Smith Auditorium, Los Alamos, $30, 988-1234, ticketssantafe.org.

Upcoming events Todd Snider Alt-country singer/songwriter, 7:30 p.m.

Tuesday, Oct. 22, Santa Fe Sol Stage & Grill, 37 Fire Pl., $25 in advance, $30 at the door, 988-1234, ticketssantafe.org.

Michael Franti & Spearhead Funk/reggae/jazz fusion band, 7:30 p.m.

Wednesday, Oct. 23, Santa Fe Community Convention Center, $30, ticketssantafe.org, 988-1234, $35 at the door, 21+.

Steve Vai Rock guitarist, 7:30 p.m. Thursday, Oct. 24, the Lensic, $29-$51, ticketssantafe.org, 988-1234.

THEATER/DANCE

All for Your Delight Scenes and songs from Shakespeare’s comedies, 7:30 p.m. Friday-Sunday, Aug. 16-18, outdoors at St. John’s College, 1160 Camino de Cruz Blanca, $20 in advance, student discounts available, 988-1234, ticketssantafe.org.

Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico Crypto-Jews, Friday-Sunday, Aug. 16-25, Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 424-1601.

Daniel Ulbricht Dance Company Contemporary and modern ballet programs, Friday and Saturday, Aug. 23-24, the Lensic, $20-$75, Santa Fe Concert Association box office, 984-8759, or ticketssantafe.org, 988-1234.

Starting Here, Starting Now Greer Garson Theatre’s student production of Richard Maltby Jr. and David Shire’s musical revue, Friday-Sunday, Aug. 23-Sept.1, $10, 988-1234, ticketssantafe.org.

A Veritable Verisimilitude of Vegas Voluptuousness or A Fracking Good Time or Challenging Chicken Choices in the Chintzy Chaparral 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; opening Wednesday, Aug. 28, with a street party honoring the Fiesta Court, continuing through Sept. 8, Santa Fe Playhouse, 142 E. DeVargas St., street party $30, all other performances $20, 988-4262.

Stepology: Tap into the Now! Tap dancers’ showcase, 7:30 p.m. Thursday, Aug. 29, the Lensic, $15-$35, 988-1234, ticketssantafe.org.

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, 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.

HAPPENINGS

Palace Portal Artisans’ Celebration Native specialties food booth, music, handcrafted work, and traditional dances, 10 a.m.-5 p.m.

Saturday and Sunday, Aug. 17-18, Palace of the Governors on the Plaza, 476-5200.

Jim Hightower talk and reception The national radio commentator is the guest speaker at an event presented by KSFR Radio, 5:30 p.m. Saturday, Aug. 24, Museum Hill Café, $35, 428-1527.

Santa Fe Opera Ranch Tour Extended tour of the grounds with a meet-the-artist component, 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 1721) running Aug. 31, through Sept. 8; arts & crafts market; Mariachi Extravaganza de Santa Fe; historic processions and reenactments; burning of Zozobra Thursday, Sept. 5; visit santafefiesta.org for schedule and details.

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.

Paul Hawken Environmental lecturer, 7 p.m. Tuesday, Oct. 8, the Lensic, $15-$30, ticketssantafe.org, 988-1234.

Notes on Music: Verdi An illustrated presentation by Joseph Illick, Tuesday, Oct. 22, United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, 988-1234, ticketssantafe.org.

cape verde coladeira singer maria de Barros on stage at the Lensic, sept. 12

pasa week

from Page 91

11 Sunday (continued) How to Preserve Our Water and Wetland Resources in Santa Fe County A conversation with landscape planner Jan Willem-Jansens, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

OUtdOORS

Wildflower walk Join Hyde Memorial State Park volunteer Ken Collins on a 2-mile round trip, 10 a.m., Hyde Park Rd., $5 per vehicle, 983-7175, nmparks.com.

eventS

22nd Annual Zia Regional Rodeo Charity event presented by the New Mexico Gay Rodeo Association; 9 a.m.-5 p.m., Rodeo de Santa Fe Fairgrounds, 3237 Rodeo Rd., $15 per day at the gate; $25 weekend pass; children 12 and under no charge, nmgra.com (see story, Page 66).

35th Annual Invitational Antique Indian Art Show gala preview 6-9 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $75, 992-8929, whitehawkshows.com, continues Monday and Tuesday.

Rag Rug Festival & Gift Show Handmade textiles, jewelry, and wearable art, 10 a.m.-4 p.m., Museum of International Folk Art, 706 Camino Lejo, Museum Hill, no charge, 983-6155.

Railyard Artisans Market 10 a.m.-4 p.m.; live music: 10 a.m.-1 p.m.

Gerry Carthy; 1-4 p.m., Richard LaFrate, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta.

Santa Fe Show: Objects of Art More than 65 galleries and exhibitors; featuring The Ralph T. Coe Legacy: Instruments of Passion, an exhibit of the late Santa Fe collector’s Native American and ethnographic objects (see story, Page 74), noon-7 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, $10 in advance, thesantafeshow.com, $13 at the door, proceeds benefit KNME, through Tuesday.

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.

Santa Fe Woman’s Club Sunday Social BBQ dinner, live music with Swing Soleil, and a silent auction, 6 p.m., 1616 Old Pecos Trail, $25 in advance, 473-2163.

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 90 for addresses) Agoyo lounge at the Inn on the Alameda Jazz guitarist Pat Malone, 5-7 p.m., no cover.

Cowgirl BBQ Joe West and Friends, strange country/eclectic folk, noon-3 p.m.; Sage and Jared’s Happy Gland Band, 8 p.m.; no cover. the den at Coyote Café Jazz singer Faith Amour & Friends, 6:30 p.m., no cover.

Pop Gallery shows paintings by Joel Nakamura, 142 Lincoln Ave.

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 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. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

12 Monday GAlleRy/MUSeUM OPenInGS

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, artist lecture Art, History, Memory: Artistic Practice in an Age of Ongoing Colonialisms, 6 p.m., $10, discounts available.

School for Advanced Research 660 Garcia St., administration hallway, 954-7200. Thread, paintings by Jason Salazar, through Jan. 1, 2014.

OPeRA

Oscar A new opera by Theodore Morrison focusing on Oscar Wilde’s trial for indecency and his ensuing imprisonment in Reading Gaol. Countertenor David Daniels portrays the title character, here less a study in flamboyant wit than in shattered defeat. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

ClASSICAl MUSIC

Santa Fe Chamber Music Festival Music of Schumann, Mozart, and Gesualdo, including Santa Fe Desert Chorale, violinist Ida Kavafian, and pianist Anne-Marie McDermott, 6 p.m., the Lensic, tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org, Wednesday and Thursday encores.

In COnCeRt

Santa Fe Bandstand Traditional Brazilian maracatu group Nação Estrela Brilhante and Brooklyn-based music collective Nation Beat, 6 p.m., on the Plaza.

BOOkS/tAlkS

In Search of the First Americans A Southwest Seminars lecture with Michael Waters, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. new Mexico Museum of Art gallery talk The summer series continues with Mary Anne Redding, SFUA&D photography department chair, 12:15-1 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

eventS

35th Annual Invitational Antique Indian Art Show 10 a.m.-5 p.m. today and Tuesday, the public is invited to bring two items for evaluation at 8 a.m., Santa Fe Community Convention Center, 201 W. Marcy St., $10, whitehawkshows.com, 992-8929.

Santa Fe Opera Backstage tours Production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, concludes Tuesday.

Santa Fe Show: Objects of Art More than 65 galleries and exhibitors; featuring The Ralph T. Coe Legacy: Instruments of Passion, an exhibit of the late Santa Fe collector’s Native American and ethnographic objects (see story, Page 74), noon-7 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, $10 in advance, thesantafeshow.com, $13 at the door, proceeds benefit KNME, concludes Tuesday.

nIGHtlIFe

(See Page 90 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Fiesta lounge at la Fonda Cuba Pancha Trio, 7:30 p.m.-close, no cover. the Underground at evangelo’s Grindcore and stoner-punk bands Burning Monk, Laughing Dog, and Torn Between Worlds, 9 p.m., call for 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.

13 Tuesday ClASSICAl MUSIC

Santa Fe Chamber Music Festival Music of Mozart and Schumann, including cellist Peter Wiley, violinist Ida Kavafian, and Orion String Quartet, noon, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org.

Santa Fe desert Chorale 2013 Summer Festival Touched With Fire, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282, desertchorale.org.

In COnCeRt

Santa Fe Bandstand New Mexico salsa band Nosotros, 6 p.m.; timba dance party with DJ P.A. Trix, 7:15 p.m.; on the Plaza, series continues through Aug. 23, santafebandstand.org.

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.

BOOkS/tAlkS

Georgia O’keeffe Museum Readers’ Club Discussion of Catherine Colby’s book Kate Chapman: Adobe Builder in 1930s Santa Fe, 10-11:30 a.m., Education Annex, 123 Grant Ave., 946-1007, no charge.

Jeff Speck The author discusses Walkable City: How Downtown Can Save America, One Step at a Time, 6 p.m., Q & A and signing follow, Armory for the Arts, 1050 Old Pecos Trail, $10, students $5, ticketssantafe.org, 988-1234. natalie Goldberg The author reads from her works, 6 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 428-0321. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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Ceramist Thaddeus Erdahl discusses his work Wednesday, Aug. 14, concluding Santa Fe Clay’s summer slide lecture series.

NextGen SWAIA : Approaching the Next Century A talk by John Torres-Nez, Southwestern Association for Indian Arts’ Santa Fe Indian Market chief operating officer, 8:30-10 a.m., Museum of Indian Arts & Culture Breakfast With the Curators series, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $35 advance tickets include breakfast and museum admission, 982-5057.

eveNtS

35th Annual Invitational Antique Indian Art Show 10 a.m.-5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $10, whitehawkshows.com, 992-8929.

At the Artist’s table Fundraiser with artist Emmi Whitehorse and chef Tracy Ritter for the Partners in Education Foundation and Santa Fe Arts Commission’s Artist Exhibit and Education Program; dinner and reception 6 p.m., Santa Fe School of Cooking, 125 N. Guadalupe St., visit attheartiststable.org or call 955-6707 or 474-0240 for more information.

Santa Fe Council on International Relations event Buffet dinner and screening of Iranian filmmaker Asghar Farhadi’s drama A Separation, 5-9 p.m., Cowgirl BBQ, 319 S. Guadalupe St., dinner and film $35, film only $15, 982-4931.

Santa Fe Farmers Market 7 a.m.-noon, 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.

Santa Fe Opera Backstage tours Production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900.

Santa Fe Show: Objects of Art More than 65 galleries and exhibitors; featuring The Ralph T. Coe Legacy: Instruments of Passion, an exhibit of the late Santa Fe collector’s Native 96

PASATIEMPO I August 9- 15, 2013

American and ethnographic objects (see story, Page 74), noon-5 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, $10 in advance, thesantafeshow.com, $13 at the door, proceeds benefit KNME.

NIGhtlIFe

(See Page 90 for addresses) el Farol Canyon Road Blues Jam with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. la Fiesta lounge at la Fonda Cuba Pancha Trio, 7:30 p.m.-close, 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 Austin, Texas, rock band Megafauna, 9 p.m., call for cover. vanessie Pianists: Doug Montgomery, 6 p.m.; David Geist, 8 p.m.

14 Wednesday GAlleRy/MUSeUM OpeNINGS

Blue Rain Gallery 130-C Lincoln Ave., 954-9902. Annual Celebration of Contemporary Native American Art, works by Jeff Slim, Thomas “Breeze” Marcus, and Cannupa Hanska Lugar, reception 5-8 p.m., through Aug. 18. legends Santa Fe 125 Lincoln Ave., 983-5639. New paintings by Ben Wright, reception 5-7 p.m., through Sept. 18.

OpeRA

La Donna del Lago This rarely encountered melodramma by Rossini, based on Sir Walter Scott’s The Lady of the Lake, receives an underwhelming, kilt-crammed

production that is redeemed by marvelous bel canto singing from mezzo-sopranos Joyce DiDonato and Marianna Pizzolato, as well as tenor Lawrence Brownlee. 8 p.m., Santa Fe Opera, 301 Opera Dr., call for ticket information at the box office, 986-5900.

ClASSICAl MUSIC

Michael Fabiano The Santa Fe Opera tenor sings Duparc, Tosti, and Puccini selections accompanied by pianist Joseph Illick, 4 p.m., Scottish Rite Center, $40 includes post-performance reception, tickets available at the Santa Fe Concert Association box office, 984-8759, or ticketssantafe.org, 988-1234.

Santa Fe Chamber Music Festival Music of Schumann, Mozart, and Gesualdo, including Santa Fe Desert Chorale, violinist Ida Kavafian, and pianist Anne-Marie McDermott, 6 p.m., the Lensic, tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org, encore Thursday.

Culture War or One Country After All? The HaMakom Continuing Education lecture series continues with Bette Evans, 7 p.m., St. Bede’s Episcopal Church, 1601 St. Francis Dr., $10 suggested donation, 992-1905. dharma talk With Cheri Maples, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., no charge, 986-8518. de Anza Motor lodge and Its Zuni Connection Film screening and discussion with producer Elizabeth Chestnut, 3-4 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 476-1250.

Masters of Contemporary Film Panel discussion with Norman Patrick Brown, Frank Buffalo Hyde, and Jill Scott Momaday, 3-5 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., 982-8111.

On Moral progress: Reason and logic or empathy and emotion? A talk by Steven Pinker, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, Santa Fe Institute’s Community Lecture Series, 984-8800.

Santa Fe Clay Summer Slide lecture The series concludes with ceramist Thaddeus Erdahl, 7 p.m., Santa Fe Clay, 545 Camino de la Familia, no charge, 984-1122.

Walter echo-hawk The Pawnee author discusses and signs copies of In the Light of Justice: The Rise of Human Rights in Native America & the UN Declaration on the Rights of Indigenous Peoples, noon, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, 476-1250.

NIGhtlIFe

(See Page 90 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Joaquin Gallegos, 7:30 p.m.close, no cover.

Cowgirl BBQ Americana and funkgrass band Turbine Toolshed, 8 p.m., no cover.

Talking Heads

IN CONCeRt

Santa Fe Bandstand Local duo Indigie Femme, 6 p.m.; flutist Robert Mirabal, 7:30 p.m.; on the Plaza, santafebandstand.org, series continues through Aug. 23.

theAteR/dANCe

Juan Siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org.

BOOkS/tAlkS

Breaking through the Buckskin Ceiling Panel discussion with artists Lara Evans, Anita Fields, and Roxanne Swentzell, moderated

by Patsy Phillips, Museum of Contemporary Native Arts director, 1-3 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., 982-8111.

Jeff Speck: Why the Future Belongs to Walkable Cities The city planner and author discusses his new book, Walkable City: How Downtown Can Save America, One Step at a Time, at 6 p.m. Tuesday, Aug. 13. The public lecture, Q & A, and book signing is held at Armory for the Arts. Tickets are $10 in advance at the Lensic box office, ticketssantafe.org, 988-1234; student discounts available.

El Farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover.

La Fiesta Lounge at La Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

The Underground at Evangelo’s Rock band The Spyrals, 9 p.m., call for cover.

15 Thursday gaLLEry/mUsEUm opEnings

adobe gallery 221 Canyon Rd., 629-4051. Ceramic figures by the late Cochiti Pueblo artist Helen Cordero, reception 4-6 p.m., through August.

Blue rain gallery 130-C Lincoln Ave., 954-9902. Annual Celebration of Contemporary Native American Art, group show, including works by David Bradley, Al Qoyawayma, Maria Samora, and Mateo Romero, reception 5-8 p.m., through Aug. 18.

Canyon road Contemporary art 403 Canyon Rd., 983-0433. Native and Natural, kachinas and totems by ceramist Molly Heizer, reception 5-7 p.m., through Aug. 28.

Little Bird at Loretto 211 Old Santa Fe Trail, 820-7413. New paintings and jewelry by Michael Horse; work by painter Amado Peña, reception 4-7 p.m. 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; reception featuring a performance by Iroquois singer/composer Joanne Shenandoah 5-7 p.m. new mexico room — La Fonda 100 E. San Francisco St.. Evolution in Clay: San Felipe Artists, including works by Ray Garcia, Joseph Latoma, and Geraldine Lovato, reception and sale 5-8 p.m., call the School for Advanced Research for information, 954-7205. poeh museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334.

Work by fashion and textile designer Patricia Michaels, reception 5-8 p.m. signature gallery 102 E. Water St., 983-1050.

Daylong painting and sculpting demonstrations by gallery artists, in conjunction with Indian Market, through Aug. 18.

Wade Wilson art 217 W. Water St., 660-4393. Active Sight and the Landscape, work by Jim Woodson; Conflicting Scales: Musicality and Dissonance, encaustic paintings by Winston Lee Mascarenhas; reception 5-7 p.m., through Sept. 25.

Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Native Vanguard: Contemporary Masters, including works by N. Scott Momaday, Bunky Echo-Hawk, Edgar Heap of Birds, and George Morrison, reception 5-7 p.m., through Aug. 23.

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.

CLassiCaL mUsiC

santa Fe Chamber music Festival Garrick Ohlsson: piano recital, music of Chopin, Griffes, and Hersch, noon, St. Francis Auditorium,

New Mexico Museum of Art, 107 W. Palace Ave., tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org santa Fe Chamber music Festival Music of Schumann, Mozart, and Gesualdo, including Santa Fe Desert Chorale, violinist Ida Kavafian, and pianist Anne-Marie McDermott, 6 p.m., the Lensic, tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org. santa Fe Desert Chorale 2013 summer Festival The Triumphs of Oriana: The Birth of the English Madrigal, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282, desertchorale.org.

in ConCErT

makana Hawaiian slack-key guitarist, 8 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

ThEaTEr/DanCE

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.

Books/TaLks

artists talks Conversation, performance, poetry reading, and demonstrations with Native artists in the exhibit My Land, 1-4 p.m., Winterowd Fine Art, 701 Canyon Rd., 992-8878. suna senman The author discusses and signs copies of Author of Peace: Discovering Life’s Harmony Through Relationships, 4:30 p.m., Ark Bookstore, 133 Romero St., 988-3709.

Women and Ledger art Author Richard Pearce in conversation with artists Linda Haukass, Dolores Purdy Corcoran, and Sharron Ahtone Harjo, 3-4 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 476-1250 (see story, Page 70).

EvEnTs

38th annual Wheelwright museum of the american indian benefit auction Silent auction and live auction preview 4-6 p.m., 704 Camino Lejo, Museum Hill, free off-site parking and shuttle, call 982-4636 for details, auctions continue through Aug. 16. indian arts research Center collection tour 2 p.m., School for Advanced Research, 660 Garcia St., $20, 954-7205, second tour Aug. 16. indian market Classification X award winners film screening Southwestern Association for Indian Arts’ moving images category, 6 p.m., New Mexico History Museum, 113 Lincoln Ave., no charge. indian market launch party Hip-hop/reggae beats by Cempoalli 20, Quese IMC, and DJ Schock B, 8:30 p.m., Ortiz Room, Hilton of Santa Fe, 100 Sandoval St., no charge.

nighTLiFE

(See Page 90 for addresses) ¡Chispa! at El mesón Jazz pianist Bert Dalton with Milo Jaramillo on bass, 7:30 p.m., no cover.

Cowgirl BBQ Alt-country singer/songwriter René Reyes, with Susan Holmes on bass, Brett Davis on guitar, and Mark Clark on cajon, 8 p.m., no cover.

El Farol Bold-school rockabilly band Rob-A-Lou, 8 p.m.

Evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover.

Tony Tiger’s work is shown in the Museum of Contemporary Native Arts group show Changing Hands: Art Without Reservations 3/Contemporary Native North American Art From the Northeast and Southwest.

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.

La posada de santa Fe resort and spa Pat Malone Jazz Trio, with Kanoa Kaluhwa on saxophone, Jon Gagan on bass, and Malone on archtop guitar, 6-9 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. rouge Cat DJ Feathericci spinnin’ deep house and tech house, 9:30 p.m.-close, call for cover, 21+. second street Brewery Singer/songwriter Jono Manson, 6-9 p.m., no cover. second street Brewery at the railyard Acadian Drifters, acoustic bluegrass duo Gregg Daigle and Chris Plourde, 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 Leonhardt, 9 p.m., call for cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no 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.

Events/performance

Leslie Lewis Jazz vocalist, accompanied by Gerard Hagen on piano, Jon Gagan on bass, and Cal Haines on drums, 7 p.m. Friday, Aug. 9, Outpost Performance Space, 210 Yale Blvd. S.W., $25 in advance at brownpapertickets.com and at the door, for information call Victoria Rogers, 989-1088. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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Filmmakers/Performers

Seventh Annual Ballet Pro Musica Festival Santa Fe-based pianist Jacquelyn Helin, National Ballet of Mexico, and La Catrina Quartet perform in The Spirits of Romance, 8 p.m. Friday and Saturday, 2 p.m. Sunday, Aug. 9-11, National Hispanic Cultural Center, 1701 Fourth St. S.W., $35-$78, 505-724-4771, balletpromusica.org.

Chatter Sunday Schumann‘s song cycle: electronics and clarinet, 10:30 a.m. Sunday, Aug. 11; poetry reading by Albuquerque Poet Laureate Hakim Bellamy follows; The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.

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.

Volunteers

Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 316-3596, alanna@railyardpark.org.

St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 982-6611, Ext. 108, volunteer@steshelter.org.

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; the hours are 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.

española

Bond House Museum 706 Bond St., 505-747-8535. Preserve the Old, but Know the New: Traditional and Contemporary Native American Art, through Sept. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945).

Open noon-3:30 p.m. Monday-Wednesday, noon-4 p.m. Thursday and Friday, no charge.

las vegas

Meadow City Music Festival 5 p.m. Friday, all day Saturday, Aug. 9-10, including Chicago band The Dead Superheroes, local Americana band Boris & The Salt Licks, and New Mexico singer Tobias Rene, Plaza Park and El Rialto patio, $20-$25 in advance, two-day pass $35, discounts available, visit meadowcityarts. org for tickets and complete lineup.

Las Vegas Arts Council Gallery 140 Bridge St., 505-425-1085. The Land as Legacy, group show including Santa Fe photographers Joan Biordi and Nancy Kushigian, reception 2-4 p.m. Saturday, Aug. 10, through Aug. 30.

los alamos

Gordon’s Summer Concerts James Hyland & The Joint Chiefs, 7 p.m.

Friday, Aug. 9, Ashley Pond, 2132 Central Ave., gordonssummerconcerts.com.

Pajarito Environmental Education Center Butterfly talk with Steve Cary, 7 p.m. Thursday, Aug. 15. 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, visitpajaritoeec.org for weekly programs and events schedule, no charge.

RibeRa

Pavilion Gallery Interstate 25 east to Exit 323, south on NM 3 to El Ancon Rd., follow the signs, 575-421-7057. 4 @ 47, group show, reception noon-4 p.m. Saturday, Aug. 10, through Sept. 8.

taos Museums/Art Spaces

203 Fine Art 203 Ledoux St., 575-751-1262. Taos Moderns: Postwar Modern Art, 1940s-1970s, including works by Emil Bisttram, Janet Lippincott, Beatrice Mandelman, and Louis Ribak, through August.

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.

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PASATIEMPO I August 9- 15, 2013

Peyton Wright Gallery shows work by the late Charles Green Shaw, 237 E. Palace Ave.

Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. In the Groove, paintings

by Mimi Chen Ting, through Sept. 1.

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.

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.

▶ people who need people Artists

Cleveland Millfest Outdoor spaces available for artists, craftspeople, and food vendors during Labor Day weekend, Aug. 31-Sept. 1, at Cleveland Roller Mill Museum; 575-387-2645 or 575-387-6763; or dancas@nnmt.net.

Fiesta de Cerrillos Artists and craftspersons interested in a booth at the Sept. 21, event can contact Sandy Young, 438-2885, sandy@dirtdauberstoneware.com; no booth fees; participants provide their own setups.

La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 699-6788, lensandpens@comcast.net.

Ninth Annual Santa Fe Pow Wow Artists’ booths available for event held Saturday, Aug. 17, at Genoveva Chavez Community Center; booth fee $40, special event license $10; call Melissa Bustos for details, 955-4005.

Pojoaque River Art Tour Area artists are invited to join the annual studio tour Sept. 21-22; pojoaqueriverarttour.com, 455-3496.

▶ Under 21 Warehouse 21 metal concert On Believer and Bullet, 6:30 p.m., 1614 Paseo de Peralta, $2 at the door, 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.

Art workshop Especially for Kids, noon4 p.m. Saturday, Aug. 10, in conjunction with the exhibit Viva Flora!: Treasured Plants of New Mexico, Santa Fe Arts Commission Santa Fe Community Gallery, Community Convention Center, 201 W. Marcy St., 955-6705.

Santa Fe County Fair pet show Free and open to local youth and their pets, registration 10:30 a.m. Saturday, Aug. 11, show 11 a.m., small animal barn, Santa Fe County Fairgrounds, 3229 Rodeo Rd., 660-0157.

Noah’s Flood Special family performances of Britten’s children’s opera presented by the Santa Fe Opera, 4 and 6 p.m. Saturday, Aug. 10; 10:30 a.m. and 1 p.m. Sunday, Aug. 11, fully staged with costumes, sets, and orchestra, featuring mezzo-soprano Ellie Jarrett Shattles and baritone Alan Dunbar, O’Shaughnessy Hall, 301 Opera Dr., $5, 986-5900 (see story, Page 62). ◀

NAMPEYO

Indiana Limestone

15” X 12” X 4” Arlo Namingha © 2013

Dan, Arlo, and Michael Namingha New Works Opening Reception August 16, 2013 5-7:30pm 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Mon–Sat, 10am–5pm 505-988-5091 • fax 505-988-1650 • nimanfineart@namingha.com • namingha.com