The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
January 24, 2014
spirited cuisine
3 COURSE PRIX FIXE MENU
$28 • PER PERSON NEW BAR AND ThURSDAy COCKTAIL MENU SUNDAy ThRU ONLy Begins Sunday, January 26, 2014
982-8608 | 548 Agua Fria (behind Sanbusco Center)
welcome legislators! ON THE PLAZA
Super Bowl Specials!
happy hour special at the bar after session / after work / apres ski 50% off our ‘classic’ appetizers calamari, dumplings & spring rolls selected wines by the glass, ‘well’ cocktails & our house margarita! $5.00 each
$ 3 Domestic $ 4 Craft 50 cents Wings, $2 Slider $3 Chili cheese fries and Chix nacho. Watch the game on 4 HD TVs Open daily 11:30am till close Heated Balcony Happy Hour twice daily
monday thru friday from 4:00 - 6:00pm full bar with free wi-fi & hdtv
restaurant bar 231 washington avenue - reservations 505 984 1788 gift certificates, menus & special events online www.santacafé.com 2
PASATIEMPO I January 24 - 30, 2014
505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza
winteRSaLe
COntinueS 50% OFF
ORIGINS® IS A REGISTERED TRADEMARK USED UNDER LICENSE. © 2014 MAROLIS, INC.
OR MORe On:
Citron Velvets Large Size Vegan Leathers • Kial Aldo Martin Knits Boo Radley Chan Luu • Staples Faux Furs 75% Off
MagiC CLOSet 50%-75% OFF
SaLe ROOM
$20, $40, $60 RACKS winter Hours: Sunday-thursday 11-6 Friday & Saturday 10:30-6:30
505-988-2323
originssantafe.com
135 W San Francisco • Santa Fe • info@originssantafe.com
The Tradition Continues
NOAH PFeFFeR
&
b o t w i n
e y e s
e y e
g r o u p
o p t i c s s a n t a
f e
optoMetric phySicianS
Dr. Mark botwin Dr. Jonathan botwin Dr. Jeremy botwin
505.954.4442
101 W. SAN FRANCISCO ST. SANTA Fe
505-988-1866 OPeN 7 DAYS
we are a unique enterprise melding medical eye care and fashion. we defy the norm in eyeglass boutiques and optometrist offices by combining the best of both; state-of-the-art eye care and the coolest, hippest eyewear. Mon-Fri 8:00-6:00, Sat 8:30-12:00 444 St Michaels Drive | botwineyegroup.com
PASATIEMPOMAGAZINE.COM
3
sitting in the dark?
we can fix that.
YOUR LIGHT SOURCE
unique lighting solutions for your everyday needs. free one hour lighting consultation in your home. 1512 pacheco st. unit c202, santa fe
505-820-7872 w w w. f o r m p lu s f u n c t i o n . c o m
St. John’s College presents
Music on the Hill
™
ELEVATED Jazz Concert Series
Saturday, January 25, 7:30 p.m.
Kathy Kosins Great Hall, Peterson Student Center 1160 Camino Cruz Blanca (Doors open at 7:00 p.m.)
$25 admission at the door; wine, beer, and small plates available for purchase, $7 each. Concerts continue February 22, March 15, and March 29. For advance tickets, call 505-984-6118. Proceeds of the event support financial aid for New Mexico students attending St. John’s College.
1160 Camino Cruz Blanca| Santa Fe| New Mexico 87505 | www.stjohnscollege.edu
4
PASATIEMPO I January 24 - 30, 2014
After School Support • School • Summer Program
Lensic Presents
BROADCAST IN HD
Tom Hiddleston ((The Avengers) and Mark Gatiss (BBC’s Sherlock) star in Shakespeare’s tale of political manipulation and revenge.
January 31 7 pm $22/$15 students Discounts for Lensic members
Imagine a new beginning at The May Center.
www.maycenter.org 505.983.7407
Admissions Open House Saturday, February 1 10:00–11:30am 2019 Galisteo, Building B
For students who learn differently
Up Next from National Theatre Live
February 27 National Theatre’s War Horse
SPONSORED BY
Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE
t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n
LANB
Creating a better way.
Join us for the Best Soup in Santa Fe!
Saturday February 1 2014
Noon to 2:30 PM Santa Fe Community Convention Center
EUROPEAN CONTEMPORARY STYLING
More Choice.
Comfortable and smart, not massive. Omnia® Furniture... personalizing comfort: 100 styles. 120 leather colors and fabrics. Sectionals to sleepers, all made in America.
Buy your tickets now!
Adult Tickets – $30 in advance, $35 at-the-door; Children’s Tickets (6-12) –$10
www.thefooddepot.org/SouperBowl 1222 A Siler Road, Santa Fe, NM (505) 471•1633 x 12 Proceeds Benefit THE FOOD DEPOT JOHN R. ADAMS with
PASATIEMPOMAGAZINE.COM
5
THE SANTA FE NEW MEXICAN
January 24 - 30, 2014
www.pasatiempomagazine.com
On The cOver 28 news prints The New York Times is the subject of All the News That’s Fit to Print, an exhibition that is named after the newspaper’s motto and opens on Friday, Jan. 24, at the Center for Contemporary Arts. Ten artists use the paper in unusual, provocative ways: a ladder bears draped copies of front pages with all the text and photographs cut out; a series of sketches is based on heads that have appeared in front-page photos; and a critique on the Saudi/U.S. protection-for-oil “bargain” is told in colorful headlines. On the cover is Guy Richards Smit’s watercolor on paper New York Times October 23, 2011 from 2011-2012; image courtesy CCA.
BOOKS and TalKS
MOvIng IMageS
10 In Other Words The Inconvenient Indian 12 Toward the family of man Armistead Maupin
36 38 42 43 44
MUSIc and PerFOrMance 14 16 18 20 23 24 26
Terrell’s Tune-Up Let’s not forget Pasa Tempos CD reviews listen Up A happy day for Amadè Pasa reviews Santa Fe Symphony Onstage Kathy Kosins Sound Waves Cellist Joshua Roman Stanley style Ralph Stanley
The Last Unicorn Pasa Pics The Best Offer God Loves Uganda The Invisible Woman
calendar 49 Pasa Week
and 9 Star codes 46 restaurant review: Osteria d’assisi
arT 32 Multiples choice Contemporary indigenous prints
Correction In Pasatiempo’s Jan. 17 issue we misidentified an artwork in Pasa Week as being by Hung Liu; Rex Ray is the artist.
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. e-mail: pasa@sfnewmexican.com PaSaTIeMPO edITOr — KrISTIna Melcher 505-986-3044, kmelcher@sfnewmexican.com
detail of Tsídii Na’alk’ai’í (Penguin)by daivd Sloan; image courtesy the artist
■
art director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
■
assistant editor — Madeleine nicklin 505-986-3096, mnicklin@sfnewmexican.com
■
chief copy editor/Website editor — Jeff acker 505-986-3014, jcacker@sfnewmexican.com
■
associate art director — lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
■
calendar editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
■
STaFF WrITerS Michael abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
■
cOnTrIBUTOrS loren Bienvenu, Taura costidis, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, Jonathan richards, heather roan-robbins, casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan d. villela
■
PrOdUcTIOn dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
■
Robin Martin Owner
www.pasatiempomagazine.com
■
Ginny Sohn Publisher
■
■
adverTISIng dIrecTOr Tamara Hand 505-986-3007
■
MarKeTIng dIrecTOr Monica Taylor 505-995-3824
■
graPhIc deSIgnerS Rick Artiaga, Jeana Francis, Elspeth Hilbert
■
adverTISIng SaleS - PaSaTIeMPO art Trujillo 505-995-3852 Julee Clear 505-995-3825 Matthew Ellis 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
Ray Rivera editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
Happy Valentine’s Day to All!
Lift! Live. Love.
Live. Love.
One Day Only $10 a Unit Feb. 1st Just one FDA-cleared Limited TimeUltherapy and Space! treatment helps to lift and tighten skin not Us justAbout on theUltherapy neck, but under the chin Ask andone on the brow as well. Just FDA-cleared Ultherapy treatment helps to lift and tighten skin not just on It’s natural, non-invasive, and with no the neck. it’s the gift everyone will love! downtime,
Give us a call
505-428-0402 Lily Love, MD - Facial Plastic and Reconstructive Surgery and Injectables. Marian Urban - Medical Aesthetics Specialist - Laser, Medical Grade Chemical Peels, and Ultherapy. Genie Valen, Aesthetician Ultherapy, Oxygen Treatments, Microdermabrasion and more.
RESIDE
Sterling Aesthetics Lily Love, MD
1651 Galisteo St. Suite 6
123 Address Lane Any City, State, 85123 800.123.1234 www.website.com
For All You Medical Aesthetics Services Call Lily Love, MD & Sterling Aesthetics
HOME
presents
PASATIEMPOMAGAZINE.COM
7
18th Annual
SHABBAT ACROSS AMERICA On Friday night, March 7, Kol BeRamah will join hundreds of synagogues across the continent in a national Jewish event to celebrate Shabbat! Everyone’s invited -singles, couples, families -- all ages. Bring a friend and let’s celebrate together!
Services & Delicious Kosher Community Dinner begin at 5:30pm, Friday, March 7
Reservations required • Save your free seats at KolBeRamah.org/Shabbat
the
BIG questions
"Who is God?" - February 1 "What is Judaism?" - March 29 "What is Evil?" - April 26 Buffet lunch & open discussion of Jewish perspectives on big-picture questions. Following Shabbat Morning Services (8:30am)
More information at KolBeRamah.org 551 W Cordova Road, Suite F 505-216-6136
Sam Richard ‘15
The PoweR of cRiTicAl Thinking
at four seasons resort rancho encantado Experience a twist on contemporary American cuisine inspired by northern New Mexico at Terra. Join us for lunch or dinner.
COMPLIMENTARY TRANSPORTATION to and from DOWNTOWN
Complimentary transportation to and from select downtown locations, based on availability. Lunch 11:30 am – 2:30 pm, dinner 5:30 pm – 10:00 pm; please call (505) 946-5700 to place your order from Terra or arrange transportation.
“The function of education is to teach one to think intensively and to think critically. Intelligence plus character - that is the goal of true education.” Martin Luther King, Jr.
Prep means Prepared. Ready for Anything. Mike Multari Director of Admissions mmultari@sfprep.org 505 795 7512 Tuition Assistance Available 8
PASATIEMPO I January 24 - 30, 2014
TREAT YOURSELF at Four Seasons Resort Rancho Encantado
For reservations or information, please call (505) 946-5700 or visit fourseasons.com/santafe
STAR CODES
Heather Roan Robbins
It might be nice if the world just slowed down, but as far as the stars are concerned, it won’t be this week. We have decisions to make, problems to solve, plans to organize, and communication to improve, all triggered by Mercury as it makes a series of tricky aspects that demand our attention and ask us to follow through. None of this will improve by waiting. Next week the rhythm slows as Mercury appears to slow down, preparing to turn retrograde from Feb. 6 to Feb. 28. Let’s clear the decks so we can rest and look inward during February. Underneath this week’s productive business and nervous mental buzz, old emotional patterns raise their head. Venus, now retrograde in Capricorn, appears to back up next to investigative Pluto. Old bones surface, and skeletons rattle our closets and political campaigns. Relationship issues can seem at a standstill. Default relationship habits may show up under stress and remind us to continually choose a healthier, more productive way. The next few weeks are a great time to check in with therapists or journal the night away. Old art projects need completion. We can use art therapy to help us express what we feel, and we can use loving affection for others as a way to energize our hearts. Or we can use Capricornian work therapy and just stay busy until the patterns begin to unwind. Friday, Jan. 24: There’s no need to be mean under this brooding Scorpio moon — we just need to speak clearly, hold our ground, and know when to be silent. Be proactive, not reactive, as Mercury trines Mars. Tonight, people may need time alone or focused venting about their difficult week before they soften affectionately over dinner.
THE WOODCARE SPECIALIST Antique Restoration
Refinishing
Repair & Touch-up
2014 New Year’s Resolution:
CALL BARRY METZGER
505-670-9019
www.thewoodcarespecialist.com
1273-B Calle De Comercio, Santa Fe, NM 87507
Saturday, Jan. 25: Tackle a real conundrum, clear out the closet, and talk about the real issues; don’t take a running negative mental commentary too seriously as Mercury squares Saturn. The mood lightens tonight as the moon enters Sagittarius and our sense of humor returns. A change of scenery helps. Sunday, Jan. 26: Our minds wander, our feet want to wander, and our attention certainly wanders. We need a break from recent heaviness but still have work to do. Electronics can give us problems. Later on, people’s nervousness may come out in inappropriate comments. Don’t latch on to difficulties — notice the warmth underneath as Mercury challenges Uranus. Monday, Jan. 27: Stir the pot this morning. Even though the energy is a little disjointed, it’s a good time to seed plans for the next few weeks. Find out what people really think while the moon is in honest Sagittarius. Tuesday, Jan. 28: If seriousness weighs on us, it’s relieved by accomplishment under a determined Capricorn moon. Mysteries are investigated. Discipline, practice, exercise, and rigorous thinking help prevent our emotions from running down the rabbit hole as Mercury semisquares Pluto. Sculpt a problem into a new form and make it beautiful. Wednesday, Jan. 29: Although we may feel uncertain about the future, good changes are possible as the sun sextiles Uranus. People are open to progressive or scientific innovation and practical suggestions, as long as they’re expressed with real curiosity and not pointed willfulness. Thursday, Jan. 30: The mood is friendly but not intimate; pleasantries are an important social lubricant. Many people are having a hard time and need to feel the supporting social web under the new moon in Aquarius. Broadcast information and get the word out to the larger community under the new moon in Aquarius at 2:38 p.m. ◀ www.roanrobbins.com
SAR School for Advanced Research
Mormonism: Demystified, Globalized, Decolonized? A lecture by Joanna Brooks (San Diego State University)
Thursday, January 30, 6:30 pm
NM History Museum Auditorium (Washington Ave. entrance)
FREE for SAR members • $10 for nonmembers • 954-7203 • sarweb.org (no reservations or advanced tickets)
Sponsored by Garcia Street Books and Daniels Insurance. Lecture series sponsored by SAR President’s Council, Betty and Luke Vortman, and Thornburg Investment Management. Image: Navajo-language Book of Mormon, photo by/courtesy of Joanna Brooks.
PASATIEMPOMAGAZINE.COM
9
In Other wOrds book reviews The Inconvenient Indian: A Curious Account of Native People in North America by Thomas King, University of Minnesota Press, 288 pages A runaway bestseller in Canada, The Inconvenient Indian: A Curious Account of Native People in North America has yet to catch on in the United States. Author Thomas King, widely known up north for his writings on First Nations and for his provocative political humor as host of the CBC Radio series The Dead Dog Café Hour, has packed in all the polemics of Dee Brown’s Bury My Heart at Wounded Knee and delivered it with the nonstop rollicking black humor that would be the envy of Sherman Alexie or the late Vine Deloria. A novelist and screenwriter by trade, King may have skipped the footnotes, but he crams a whole 500 years of contact between Indians and whites inside a uniquely personal approach to history. He mixes discussions of law and policy with a history of forgotten massacres, acts of resistance, and an ambidextrous narrative of how Native peoples fared under North American colonialism. Nothing about this volume is straightforward. The book eschews the Columbus-tocasinos chronology for a more circular approach to history. With his trademark humor, King is out to prove that in 2014, whites and Indians still play out the same dynamics that have crippled relations since first contact. We still operate under policies that separate Indians from their land and “liberate” them from their own culture and families. Some of King’s most trenchant observations take the form of stand-up-comedy anthropology. He claims that in contemporary times, we actually have three types of Indians: dead, live, and legal. Dead Indians are the stuff of mental mythologies. Dead Indians are what North Americans want. How else to explain the proliferation of Indian clubs in the U.S and Europe, where thousands of hobbyists seriously pursue a weekend fantasy taking up pipe ceremonies, sweats, and traditional garb, pretending to be Indians out of an Edward Curtis photograph. “If you ask them what in the hell they’re doing,” King writes, “they will tell you with a straight face that they are trying to preserve the culture of North American Indians so it won’t be lost.” King is not unforgiving. He realizes that some of this fascination with Indians comes from the fact that — unlike Europeans with Greece and Rome, the Chinese 10
PASATIEMPO I January 24 -30, 2014
and their dynasties, Latin Americans and the Aztecs and Incas — Indians are North Americans’ only portal to a classical antiquity. Nonetheless, it’s a historical fascination that can corrupt real-life interactions. According to King, live Indians are those frustrating types who pursue jobs as accountants and construction managers, live in the suburbs, and forge social identities on the internet, just like so many others in the middle class. But, the author argues, the most frustrating Indian to U.S. policy, culture, and government has been the legal Indian. “The Legal Indian was one of those errors in judgment that North America made and has been trying to correct for the past 150 years,” writes King with more than a trace of sarcasm. Legal Indians are frustrating to Americans, King says, because they have treaties — claims to land, harvests, and hunts guaranteed since the 19th century, if only recently upheld. Called “status Indians” in Canada and “federally recognized tribal members” in the U.S., these officially acknowledged Native Americans represent only a fraction of the actual Indians in either country. These designations reflect a divide-and-conquer strategy based on 19th-century legal fictions of what constitutes an “authentic” Indian. For instance, until 1968 in Canada, status Indians could lose their legal Indian status and become “enfranchised” by voting in a federal election, obtaining a university degree, serving in the military, or working as a clergyperson or lawyer. In the U.S., where tribal blood quantum reigns supreme, marriages between members of different tribes can quickly produce children who are no longer considered Indians by the government. King’s historical asides are as fascinating as his main points. Who knew that Black Elk missed a boat home from London and “wound up stranded in Europe for two years, working for Mexican Joe’s Wild West Show”? And while many are aware that Indian boarding schools were dreadful centers where children were separated from their families, King reveals that as many as one in two students lost their lives to forced labor, malnutrition, or physical abuse. “If residential schools had been a virulent disease, they would have been in the same category as smallpox and Ebola,” King writes. All the major policy decisions affecting Indians in Canada and the U.S. are here. From the Dawes Act to the Canadian Indian relocations of the 1940s, King covers federal Indian laws with nuance and depth. But far from a history lecture, these policy discussions are wedged in amid personal anecdotes, learned pop culture references, and an activist’s insistence that history could have been very different had cooler voices prevailed and had Native input been sought out. Above all, King makes clear that the historical tension between whites and Natives is not one based in race but in disputes over land, identity vis-à-vis blood, and an understanding of history based far more on myth than on actual events. As King puts it, “In other words, we don’t need the truth. We have the legend.” — Casey Sanchez
SubtextS In search of Mimbres culture The Mimbres people, who lived in hundreds of hamlets in southwestern New Mexico nine centuries ago, are renowned today for their pottery decorated with animals and geometric designs. “Mimbres means pottery to most people,” said Steve Lekson. “We think it’s so cute and artistic and we want to own it, but at the time it was made others didn’t share the sentiment. The early stuff with images and fancy geometric patterns didn’t really travel outside the Mimbres area.” Lekson, curator of anthropology at the University of Colorado Museum of Natural History, gives a talk titled “Mimbres: From Whence It Came and Whither It Went” on Monday, Jan. 27, at Hotel Santa Fe, 1501 Paseo de Peralta. The common belief is that the Mimbres society ended in about 1130. “There’s a fair amount of evidence that links them with the rise of Casas Grandes; that site today is right across the border in Mexico. I think the people kind of change clothes and reinvent themselves and move a little further out in the desert and by 1250 or so I think a lot of them are involved in whatever’s going on at Casas Grandes.” Lekson, who has a Ph.D. from the University of New Mexico, began his research into the Mimbres people a few decades ago. “I started down there in the early 1970s on the Gila, which is the west side of Mimbres; then I was back in the 1980s working on the Rio Grande, on the east side of Mimbres.” Now semiretired, the archaeologist is involved in research for the National Park Service at Chaco Canyon, but his real interests are in the prehistory of southern New Mexico and northern Chihuahua state. “We know far less about Mimbres than we do about Chaco.” The Jan. 27 lecture, presented by Southwest Seminars, begins at 6 p.m. Admission is $12 at the door and seating is limited. Call 505-466-2775. — Paul Weideman Steve Lekson
Miles of
WIN! Smiles We believe a smile is forever.
More than 25 years of comprehensive orthodontics for families and individuals of all ages.
JANUARY 11, 18 & 25
FORD ESCAPE
schackelorthodontics.com
Schackel Santa Fe • Los Alamos • Taos
What are the beneets of an all-girls’ middle school?
Girls in single-sex schools perform better than girls in co-ed schools, regardless of socio-economic and for National Foundation ability levels.Research Educational
We’ll be giving aWay three ford escapes in january
National Foundation for Educational Research
hourly drawings on saturday, january 11, 18 & 25 from 6 to 10pm.
Open House
Earn 10x EntriEs on MonDaYs!
Tuesday February 4 6 to 8 PM
310 West Zia Road SantaFeGirlsSchool.org sfgirlsschool@outlook.com 505.820.3188
Grades 6-8
Player receives one entry for every 30 points earned on their Lightning Rewards card, January 1 through January 25, 2014. Drawings will be simulcast at Cities of Gold. See Lightning Rewards Club desk for complete contest rules and details. Management reserves all rights.
PASATIEMPOMAGAZINE.COM
Grades 6-8
11
Wayne Lee I For The New Mexican
T O W A R D
T H E
FAMILY O F
MAN A R M I S T E A D M A U P I N
12
PASATIEMPO I January 24 -30, 2014
ith The Days of Anna Madrigal, Armistead Maupin closes the nearly 40-year saga of “family” life revolving around the title character’s boarding house at 28 Barbary Lane in San Francisco. The ninth novel in his Tales of the City series has just been published by HarperCollins. Since it started as a serial in the San Francisco Chronicle in 1976, Tales of the City has been adapted into three television series and several staged musical shows. There are audio editions of the books and Tales of the City walking tours. Olympia Dukakis, who portrayed Anna in all three of the TV series, is interested in a film version of the new book. In the latest novel, Anna, the transgender landlady, sets out at age 92 on a road trip to “unburden herself” and “leave like a lady.” Meanwhile, other members of her “logical family” are having their own adventures at Burning Man, the temporary desert art community that the author calls “a Fellini carnival on Mars.” Maupin, who relocated from San Francisco to New Mexico in 2012 with his husband, photographer Christopher Turner, gives a reading on Friday, Jan. 24, at the Lensic Performing Arts Center as part of a two-month book tour that will take him across the country and overseas to England, Ireland, and Scotland. He spoke with Pasatiempo at their home in Tesuque.
Pasatiempo:Howdoesitfeeltohavecompletedwhatyou have said is the last book in the Tales of the City series? Armistead Maupin: I’m very happy with what I’ve done. I think I’ve created something that has a shape to it, that I’ve somehow kept all those characters going for almost 40 years. And I think it’s the right moment. I want to enjoy my funeral before I die. It is the end of something, and I couldn’t be more grateful for my career. I’m rewarded with incredible remarks from people who tell me what it’s meant to them over the years. It partly has to do with people who were finally able to find themselves, in terms of being gay. They found strength in the stories. But it’s broader than that. It let everyone come out about one thing or another. And it broadened the notion of exactly what a family is. I’ve always made a little joke over the “biological family” versus the “logical family.” Pasa: It’s about going beyond, into the wider family of man, isn’t it? Maupin: Exactly. The very structure of the stories, with gay and straight and stray characters, demands that everyone’s story be paid attention to. I took great glee in tangling all those storylines up inextricably. Which is like life — you need to know what is going on in someone else’s mind before you can defend your own existence. Pasa: Was there ever a point where all of this felt like Frankenstein’s monster? Maupin: No. I’ve been grateful for it every inch of the way. I haven’t felt restricted by the characters, because they pretty much cover the waterfront. Pasa: It seems like you would feel expanded by the characters. Maupin: Yes, I was. It kept me from digging down into my little gay niche, not knowing anything about
lesbians or transpeople. And it made me honor the emotional growth of my straight friends, who after all, were having to go through all this at exactly the same time. It’s been a way of showing my appreciation for those who strove for a larger humanity, no matter who they are. Pasa: In creating characters, there are external models and internal models. Can you talk about that? Maupin: I try to create an emotional resonance for all of my characters. That often means tapping into my own feelings. What my characters do is not necessarily what I have done. I borrow from myself and from my friends, but all of this is fiction. I like the shelter of fiction. I’ve considered writing a memoir next time around, and I’ve thought about doing a one-man show, but I’m making that decision very slowly, because I don’t want to betray my private life, which is the most precious thing to me. It’s what you have to do. People always say, how do you write about women or a trans character? Well, the answer to that is, your whole job as a writer is empathy. You climb into everyone’s skin. Pasa: An article in the UK Observer noted that “however outlandish his characters and their adventures, Maupin’s world always feels curiously wholesome.” Maupin: I’ve always thought of it as a sweet village comedy. Those of us who live in places like San Francisco and Santa Fe regard this as quite normal, this conglomeration of people. Some people have called them “lovable misfits,” but they’re not misfits. They’re working out just fine. Pasa: When did you know there would be only one more book? Maupin: I needed to honor all the characters, and I certainly couldn’t leave without paying attention to Anna. So it just felt right to make it end here. It makes the third trilogy. The first trilogy is pre-AIDS, the second trilogy is post-, and the third is modern times. Pasa: Toward the end of Days, Anna says, “You mustn’t try to tidy things up.” That sounds like you giving yourself permission to end things on your terms. Maupin: Anna’s voice just came out and said, “Everything that you neatly need to say has been said.” It totally came out of the blue. I wasn’t planning it. I was still fretting about getting the characters into place for the ending. When you’ve got a cast of more than a dozen characters, there’s no way to “end” a story short of having a bomb drop on them. Life goes on. That’s always been my thesis with all of the books — that tidying up doesn’t happen. Therefore we have to live in the moment, have to be sure we’re saying what we think, how we feel, to the people we love at every moment. That’s precisely what matters to me. That’s why my marriage is number one in life, and, if I have a religion, it’s the knowledge that sometimes miraculous things happen. ◀
details ▼ An Evening With Armistead Maupin ▼ 7 p.m. Friday, Jan. 24 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $10 & $15; 505-988-1234, www.ticketssantafe.org
Photo by Christopher Turner
After 28 years serving the Santa Fe area we have one thing to say
Thank You Santa Fe!
FINAL DAYS!
announcing
ONLY 7 DAYS LEFT!
Santa Fe Store Liquidation Sale
SANTA FE STORE
EVERYTHING
MUST
Inventory
Liquidation Event
LAST DAY ED CLOS
26
Since 1985
GO
After 28 years of providing electronics, appliances and mattresses from our Santa Fe location, the Baillio family has one thing to say…THANK YOU Santa Fe! Your loyalty and support has meant a lot to our many years of success. However, due to current economic conditions we regretfully announce that the time has come to close Baillio’s of Santa Fe and liquidate our entire Santa Fe inventory. All remaing assets will be consolidated into one Albuquerque store where we will continue to focus on providing New Mexico customers with the very best selection, prices and customer service anywhere! Hurry in today for the best selection on the quality brands that you have come to expect from Baillio’s. ONLY 7 DAYS LEFT! Attention: We will be closed on Sunday January 26 (See Calendar).
3294 Cerrillos Rd Ph. 505-438-3039
Behind Walgreen’s at Cerrillos Rd. & Richards PASATIEMPOMAGAZINE.COM
13
TERRELL’S TUNE-UP Steve Terrell
The ones that got away — almost Every year about this time I like to look back at some of the albums that I meant to review in this column over the past year but somehow never got around to it. There’s some good stuff here that doesn’t deserve to get left behind. ▼ The Big Dream by David Lynch. Back when I was becoming a fanatic for David Lynch films like Blue Velvet and Wild at Heart, not to mention his pioneering TV series Twin Peaks, I never imagined that one day I’d be listening to his music. But there were hints even then that he would be responsible for some intense, crazy sounds. Julee Cruise’s mysterious and hauntingly beautiful 1989 debut, Floating Into the Night, is made up of songs composed by Angelo Badalamenti, Lynch’s soundtrack meister at the time, and lyrics by Lynch. But Lynch didn’t do a solo album until Crazy Clown Time in 2011. Though not quite as striking as that album, The Big Dream is a continuation of the shadowy, surreal electro/clunky techno of Crazy Clown Time. If anything, the new work shows more of a country influence. No, you won’t mistake it for Willie or Waylon, but Lynch’s Montana drawl makes him sound like some lost cowboy in the Black Lodge. You have to give him credit. He is one of the few performers I know who can make a lyric like “I went down to the ice-cream store” (in “We Rolled Together”) sound sinister. And, hey, Dylan completists, Lynch does a cover of “The Ballad of Hollis Brown.” It’s not hard to see how this song, based on a real murder/suicide on a South Dakota farm, would appeal to Lynch. ▼ All Our Forts Are With You by Wild Billy Chyldish & The CTMF. Billy Chyldish, formerly
14
PASATIEMPO I January 24 -30, 2014
Billy Childish, formerly Steven John Hamper, proves that there’s a thin line between angry young man and grumpy old coot. The songs on this album, according to the Damaged Goods label’s website, have lyrics that go back to 1977, when Billy, then working as an apprentice stonemason in England’s Chatham dockyards, first decided that he wanted to be in a punk band. Many of the songs here seem to be dealing with the death of punk as opposed to its birth. “Three punk rockers, but the punks are dead,” Chyldish snarls in the opening song, “The Headless Flowerpot Girl.” There are songs blasting “The Second Generation Punks” as well as “The Musical Rogues,” which include Nick Cave and The Pogues. (Hey, lighten up, Billy, I like those guys!) And in the title song, Chyldish sings, “I knew you, baby, when you didn’t know punk. … I knew you baby, before the lies of coke.” In addition to the punk-history songs, Chyldish pays tribute to some spiritual mentors. “On Moonlit Heath” has lyrics by British poet A.E. Housman. Even better is a garage-rock attack on Willie Dixon’s “I Just Want to Make Love to You.” Visit http://damagedgoods.greedbag.com/buy/all-ourforts-are-with-you-4. ▼ All That Glitters by Pietra Wexstun & Hecate’s Angels. The third album by Hecate’s Angels is the most down-to-earth CD Pietra Wexstun has ever done — it’s not as otherworldly as Saints and Scoundrels (2004) and especially Hidden Persuader (2001). The emphasis here is on Wexstun’s warm vocals. (Unlike those previous albums, none of the 11 songs on Glitters are instrumentals.) When I say “down-to earth,” I’m speaking relatively. There are plenty of spooky atmospherics, mysterioso lyrics, and outright weirdness here. It’s easy to imagine strange little movies in your mind when listening to her songs. “When The Boys Come Out to Play,” with its ghostly background choruses, ominous melody, and what sounds like a sample of some radio preacher ranting in the background, could almost be the girl cousin of Brian Eno and David Byrne’s My Life in the Bush of Ghosts. Wexstun goes from bossa nova (“Dragging Me Down”) to white funk in “She Done Him Right (Mae West Sutra).” On “Lonesome Stranger” she makes a hammer dulcimer sound like a Martian lyre. My favorite is the opening song, “Take It Away,” which might be described as “rock noir.” I bet Wexstun’s husband, Stan Ridgway (who plays guitar on the album), wishes he’d written this tune. Check out www. cdbaby.com/cd/pietrawexstunandhecatesa. ▼ Rock Them Back to Hell by Left Lane Cruiser. This is a two-man trash/blues/stomp band from
Indiana. Like the Black Keys before them, singer/ guitarist Frederick Joe Evans IV and drummer/ harmonica honker Brenn Beck have worshipped at the altar of Mississippi hill-country bluesmen like T. Model Ford and R.L. Burnside. Unlike The Black Keys, Cruiser has retained its primitive raunch. Yet the band is not afraid to play it pretty every so often, such as on the sweet and soulful “Coley.” Visit http://tinyurl.com/ LEFTLANECRUISER. ▼ Stiff Upper Lip and Trousers to Match by The Mobbs. “Blast Off!!!” — the raucous first track on this album — immediately reminded me of The Hives at the height of their glory. That is, if The Hives had thick Northampton accents. Yes, the guitar/bass/drums garage/punk attack is nothing new. But these guys play it with enthusiasm and humor. They’ve got some fine songs, “The Devil Writhed In,” “Crule Britannia” (is this a nod to the Bonzo Dog Band?), and “A Damned Good Thrashing!” among them. Check out www.themobbs.co.uk. ▼ The Beautiful Old: Turn of the Century Songs by various artists. This collection, with musical production by Gabriel Rhodes, consists of covers of great old parlor songs from America and the British Isles. The best of these are “The Band Played On” sung by Richard Thompson and Christine Collister. (How could anyone not love this tale of Casey and his strawberry blonde?); “The Man on the Flying Trapeze” by Graham Parker (I still like the version in the Popeye cartoon best, but Parker does a decent job. I never knew this song had so many verses.); and “After the Ball” by Dave Davies (the ex-Kink captures the heartache at the center of this song). By the way, Garth Hudson, former keyboardist of The Band, plays on all three of these plus several more on the album. Check out www.thebeautifulold.com. ▼ Reverse Shark Attack by Ty Segall & Mikal Cronin. If last year’s Segall album, Sleeper, was a little too soft and introspective for fans of his usual hopped-up lo-fi garage squall, this might be the perfect antidote. Originally released in 2009, the album was rereleased by the In the Red label early last year. With bassist/vocalist Cronin, Segall rips through eight songs with joyful fury. About half are less than two minutes long, but the final track, the title song, is a 10-minute adventure that alternates between quiet, loud, and louder. Here’s some good news for local Segall fans. He’s playing at High Mayhem in Santa Fe on March 18 and at Albuquerque’s Launchpad the following night. Segall’s website is www.petegrimm.com/ty/index.html. ◀
Open 12 - 5 Sunday
Open 10 - 6 Mon - Sat
Bodhi Bazaar • Cost Plus World Market • Dell Fox Jewelry
Pandora’s • Pranzo Italian Grill/Alto • Raaga Restaurant
Eidos Contemporary Jewelry • El Tesoro Café • Get It Together
Ristra Restaurant • Rock Paper Scissor SalonSpa
Kioti • Mercedes Isabel Velarde Fine Jewelry And Art • On Your
Santa Fe Pens • Teca Tu – A Paws-Worthy Emporium
Feet • On Your Little Feet • Op. cit. Bookstore
The Reel Life • Wink Salon
F R E E PAR K I N G
500 Montezuma Avenue • www.sanbusco.com
NEW LOCATION! SALE 50% 505 CERRILLOS RD @ LUNA COURtyARD
OFF ALL CLOtHING ENDS JAN. 31
505.820.3338 playmodernkids.com
next door to Talin Market & Ohori’s at the corner of Manhattan & Cerrillos PASATIEMPOMAGAZINE.COM
15
PASA TEMPOS
album reviews
CATE LE BON THE BOOMROOTS Mug Museum (Wichita) COLLECTIVE Ceremony Welsh musician Cate Le Bon sings Sessions (self-released) Combining with the odd phrasing of an Englishthe boom of hip-hop with the roots of regas-second-language artist and a husky, gae, Santa Fe’s Boomroots Collective features slightly off-key tenor that mix together a cast of six accomplished vocalists and to remind listeners of Nico, Jane Birkin, instrumentalists. Its latest studio effort is or Yoko Ono. That these are all singers characterized by depth and diversity, conwho came up in the 1960s is relevant to Le Bon’s album, joining thick rhythms with a variety of lyrical styles. The which is as effective as any European psychedelic-’60s album first two-thirds of the EP establish a largely celebratory spirit you’ll hear. The bass is bulbous and just a bit fuzzy, the drums (including a solid reggae rendition of the Buffalo Springfield clasoften slink along with a simple snare, and the guitars and organs sic “For What It’s Worth”). Then the music descends into a darker add splashes of Technicolor. “Are You With Me Now,” with its merryterritory, with the hip-hop oriented “No One.” Here a repeated refrain go-round rhythm and sinewy, sexy guitar line, may remind you of Serge evokes A Tribe Called Quest (“Can I kick it? Yes you can!”). Perhaps less Gainsbourg, while “I Can’t Help You” will recall the throwback grooves intentionally, the moody beat and rapping bring to mind Insane Clown of 1990s band Stereolab. It takes the ear a few passes to get used to Le Posse. This is modified in feel by the anthemic closing track, “Soldier.” Bon’s voice — and you may never get used to wildly off-key moments such Opening with military drum cadences, the chanting of a drill sergeant, as the screeching climax of “Duke” — but once you’re accustomed and bugle calls, the song delves into a web of messages, starting to it, the results begin to sound lovely. This is particularly the with an invocation: “We’re going to send this one out to all case with “I Think I Knew,” a duet with Mike Hadreas (aka the soldiers who have fallen and died to make this country Perfume Genius) that projects the innocence and wonder free for you and me”; and then transitioning to a message of Jonathan Richman. “Mirror Me” seems to turn Nico’s of pacifism: “One soldier, two soldier, put down your Velvet Underground tune “I’ll Be Your Mirror” around. guns for me”; followed by a rallying cry for the Rastafari The album heavily reflects its influences until it all sort movement: “You got to speak up when you’re spreading La Petite Bande’s fresh of melts into one singular, peculiar, voice. — Robert Ker Jah’s word”; and finally engaging in a bit of unity-themed wordplay: “Like a bird, one feather won’t let you fly, but take on Bach’s four LA PETITE BANDE Bach’s Orchestral Suites (Accent) all of us together we can get real high.” — Loren Bienvenu The violinist and conductor Sigiswald Kuijken formed Orchestral Suites is the period-instrument ensemble La Petite Bande in 1972 EVAN PARKER AND MATTHEW SHIPP Rex, Wrecks for what was to be a one-off recording project. The group & XXX (Rogue Art) Here is the second duo CD by polished and delightful. coalesced so impressively that it seemed unthinkable Delaware-raised pianist Matthew Shipp and English to allow it to disperse, and it has continued ever since saxophonist Evan Parker, whose deep recording career as a remarkable chamber orchestra. The group has served in avant-garde jazz began more than 40 years ago in since 1997 as ensemble-in-residence for the city of Leuven, collaborations with Peter Brötzmann, Derek Bailey, Alexander Belgium, and in 2009 Kuijken received a lifetime achievement von Schlippenbach, and Kenny Wheeler. The new studio album award from the Flemish government. Nonetheless, La Petite Bande features six “Rex” pieces, jointly rendered, and a pair of “Wrecks,” mysteriously lost its state funding at the outset of 2013 and has spent one solo Shipp and one solo Parker. At the top are “Rex 1” and “Rex 2,” the past year shoring up its support from an international base of admirers. in which we witness fleet improvisations, Parker testing the limits of his horn Many of these supporters encounter the group exclusively through its (with only a modicum of gentle honks and squeaks) and his creativity, while recordings, which include a recent freshet of Bach releases on the Accent Shipp pounds thundering chords and engages in sprightly walking trips up, label. The ensemble’s fresh take on Bach’s four Orchestral Suites is down, and around the board of keys. Between the two “Wrecks” is the polished and delightful. Tempos are generally upbeat, and rhythms are brief “Rex 3,” repetitive but involving, especially with attention to the everywhere buoyant. The musicians adhere to historically informed musicians’ interplay. The two exhibit great variety in the ingenuity of principles so assiduously that the magnificent trumpet players their phrasings and melodic gestures — however, in “Rex 5” this is refuse even to employ such practical compromises as modern less about in-time communication; they take turns soloing, but vent holes (which most performers on “Baroque trumpets” in response to one another, jumping into music fueled by what quietly do as a crutch). Nonetheless, the the other just did, then inventing splendid orchestra abjures the “period-instrument things that diverge from it. Included is a whine” that renders some historically second CD, recorded live at the Vortex informed interpretations tedious, and the Jazz Club in London. “XXX,” the sole splendid sonics of the church in which piece thereon, is nearly 42 minutes long the recording was captured enrich the and rather astonishing, again because group’s sound without impinging of the players’ musical range and on its inherent transparency. instrumental virtuosities. — James M. Keller — Paul Weideman
16
PASATIEMPO I January 24 -30, 2014
Collected Works Bookstore & The Lensic present
An Evening with
Armistead Maupin reads from his brand-new book, The Days of Anna Madrigal— the ninth and final novel in his classic Tales of the City series. Book signing to follow.
January 24, 7 pm $10–$15
“Wonderful . . . as compulsively readable and endearing as all the previous [Tales of the City] novels have been.”—Booklist (starred review)
Open everyday
Sale!
clothing jewelry accessories
PHOTO BY CHRISTOPHER TURNER
505.982.5948
Tickets: 505-988-1234 www.TicketsSantaFe.org S ERVICE CHA RGES A PPLY AT ALL POINTS OF PURCHASE
th e lensic is a non profit, member-supported organ ization
PASATIEMPOMAGAZINE.COM
17
LISTEN UP
James M. Keller
A happy day for Amadè t’s all well and good that Lewis Carroll, Donna Reed, and Mikhail Baryshnikov were born on January 27, but for music lovers the day basically belongs to Wolfgang Amadè Mozart, who let out his first squawk at eight o’clock in the evening on that date in 1756. His mother very nearly died in what would be her last delivery, but both she and newborn Wolfgang survived. He and his sister Maria Anna (nicknamed Nannerl), four and a half years his elder, were the only two of seven Mozart babies to survive infancy. A few months after he died, Nannerl jotted notes for a never-realized biography of her brother, to which an anonymous hand appended: “The two Mozart parents were in their day the handsomest couple in Salzburg; and in her younger years the daughter too was considered a regular beauty, but the son Wolfgang was small, thin, pale in color, and entirely lacking in any pretensions as to physiognomy and bodily appearance.” Although Nannerl would live a long if not particularly happy life of 78 years, Wolfgang would be granted less than half that span. Nonetheless, his 35 years enriched humankind immeasurably. I referred to him at the outset as Wolfgang Amadè Mozart, as I normally do. People often ask about that since he is so widely identified as Wolfgang Amadeus Mozart. When he was baptized, at 10:30 on the morning following his birth, his name was inscribed in the registry of the Cathedral Parish in Salzburg as Joannes Chrysost Wolfgangus
I
Theophilus. Twelve days later, his father, Leopold Mozart, shared the news with the gentleman who was just then publishing the treatise on violin-playing Leopold had authored: “The boy is called Joannes Chrisostomos, Wolfgang, Gottlieb.” The commas reveal that Leopold was thinking of “Joannes Chrisostomos” as a compound, bipartite name. It was an unsurprising choice in Catholic Austria since January 27 was the feast day of the medieval church father St. John Chrysostom. That was a bow to good fortune and pious respect. The practical, everyday names followed: Wolfgang Gottlieb. We notice that, in his letter, Leopold shifted from the Greek-based name Theophilus to its German equivalent, Gottlieb; both signified “God’s Love” in their respective languages. Translated into Latin, the name would become Amadeus. Mozart liked the idea of turning his Gottlieb into Romanized form, which he probably considered a classy adjustment that was fitting for the cosmopolitan circles in which he operated. When he traveled in Italy, as he did for extended periods in his youth, he typically used the Italian form Wolfgango Amadeo. From about 1777, when he set out on a trip that was targeted on an extended residency in Paris, he switched to something more French: Wolfgang Amadè. He stuck with that Frenchified form more or less consistently for the rest of his life. Orthography being less rigorous in the 18th century than it is today, he was loose about the accent mark, sometimes writing Amadé, although Amadè was more common. He did use the Latin form Amadeus on a few occasions, but almost always in a comical context. To him, it seems to have suggested pomposity, but to 19th-century historians and appreciators, its Latin euphony conveyed classical grandeur, which they found entirely appropriate for a Great Man. Amadeus stuck. I’m sure Mozart would have found it hilarious, but apart from the sanctity of tradition I can’t think of any good reason to use it in place of the form he so clearly favored, which was Wolfgang Amadè Mozart.
M
ost music lovers are familiar with the general contours of his life: the precocious talent he displayed as a child, the acclaim he (and, for a while, Nannerl) collected as prodigies making the rounds of Europe’s musical capitals, his mounting frustration at the limitations of his native Salzburg, his rebelling against aristocratic authority to seek success as a freelance musician in Vienna, the roller-coaster of his financial situation, his quite sudden death of what was termed “miliary fever,” an infection so named because it caused pustules that looked like grains of millet. Those early Mozart admirers who so adamantly referred to him as Amadeus belonged to the emerging Romantic generation, and, true to their times, they sometimes gave free rein to their imaginations when deciding how to tell the story of Mozart’s life. This led to what we recognize today as exaggeration and misrepresentation. The early Mozart biographers — and those who repeated them in later generations — told awfully good stories, and it took at least a century and a half to eradicate some of the more ghoulish Mozart legends. No, he was not an “idiot savant” whose own ill-socialized tendencies were exacerbated by his wife’s dissipation. No, he was not poisoned by Salieri. No, his corpse was not hastily buried in what we would consider a pauper’s grave — or, if his burial resembled
18
PASATIEMPO I January 24 -30, 2014
that in any way, it wasn’t because he was a pauper. A good summary of these biographical excesses can be found in William Stafford’s The Mozart Myths: A Critical Assessment, published by Stanford University Press in 1991, the bicentenary of Mozart’s death. You might think that, after more than two centuries, we would have things right. But the telling of history is an ongoing process that involves constant discovery and reassessment, both of which figure in Christoph Wolff’s recent book Mozart at the Gateway to his Fortune: Serving the Emperor, 1788-1791, published in 2012 by W.W. Norton and Company. Wolff, who has long served as a professor at Harvard, has focused his research over the years on two of music’s highest pinnacles, Bach
The early Mozart biographers — and those who repeated them in later generations — told awfully good stories, and it took at least a century and a half to eradicate some of the more ghoulish Mozart legends. and Mozart, and has published notable books on both, including a myth-dispelling monograph on Mozart’s Requiem. In this new volume (a slender one, its body text running less than 200 pages), Wolff incorporates quite a lot of recently uncovered material that would have escaped the notice of enthusiasts who somehow fell behind on reading arcane German-language musicological journals. For example, the history surrounding Mozart’s final triptych of symphonies, written in the space of nine weeks in the summer of 1788, remains mysterious, and received opinion has maintained that none of them were played during his lifetime. Wolff can’t solve all the mysteries about them, although he proposes some knowledgeable suggestions. Still he does incorporate the information (recently uncovered by the Czech musicologist Milada Jonášová) that at least one of them — the Symphony No. 40 in G Minor — was performed when its ink was still fresh on the page, at a concert organized by Mozart’s friend Baron van Swieten, who pops up all over the place in the annals of Mozart, Haydn, and Beethoven. It’s a detail that is nice to know, and it obliterates our sense of sorrow that Mozart would never have heard this magisterial achievement played. But Wolff’s greater achievement in this book is that he takes a fresh look at information that has been there all along and interprets it in a novel, convincing way, unbiased by how that information has been contextualized in the past. Every Mozart biography must mention that in December 1787 he was named “chamber musician” (Kammer Musicus) to the Austrian Emperor Joseph II, and that in May 1791 he was engaged as assistant to the music director (Kapellmeister) of St. Stephen’s Cathedral, the principal church of Vienna. For some reason, scholars have passed lightly over these appointments. Since the jobs seemed to entail little actual work and since they gave rise to few compositions, they were typically brushed off as nothing more than ceremonial
distinctions. Not so, says Wolff. These appointments were summits of Mozart’s career, and they had much to do with how he organized his life and his work.
T
raditionally, discussions of Mozart’s later years in Vienna focused inordinately on a series of letters he wrote to one of his Masonic brothers begging for loans, and that led to the assumption that he was living constantly on the verge of bankruptcy. Scholars of recent decades have worn away at that perception, and Wolff brings together all the threads to square Mozart’s admittedly questionable money management with the reality of his economic situation, which these official positions made rosy indeed. He shows how the appointment as chamber musician was not some idle bon-bon tossed off by an inadvertent monarch, but rather a well-remunerated post that resulted from a careful restructuring of the court’s music department and the emperor’s desire to provide for his two most valued musicians, Salieri and Mozart. “His salary essentially embodied a generous annual stipend supporting his activities as a composer and performer without restriction and with the added distinction of being a composer serving the emperor,” writes Wolff. It’s not as if everything worked out ideally. “Mozart had the great misfortune of experiencing a period in Austrian history that was marked by considerable economic depression combined with great political instability and uncertainty.” Wolff feels that the 1787 appointment actually did much to direct Mozart’s efforts as a composer, and that the flowering of chamber music masterpieces near the end of his catalog — his last three string quartets, his very novel string quintets and piano trios, his Clarinet Quintet, his unusual Adagio and Rondo with glass harmonica — reflects the seriousness he brought to his post. He explores Mozart’s involvement with the “Bach circles” who were captivated by the repertoire of Bach and other early composers, gatherings that Mozart sought out in Berlin and Leipzig as well as at home in Vienna. He considers how Mozart’s appointment at St. Stephen’s led to his resurgent interest in sacred composition, most spectacularly evidenced in his towering Requiem, left incomplete at his death. This, much like his gemlike motet “Ave Verum Corpus,” pointed to the future Mozart saw extending before him. Being named unpaid assistant to the Kapellmeister was not just an honorific. It set him up to take over the post when it opened up; and since the current occupant was enduring poor health, everyone assumed that would happen sooner rather than later. A newspaper stated it plainly: “The court composer Mozart has received from the local magistrate the assurance of the Kapellmeister position at St. Stephen’s at a salary of 2,000 florins.” Fate had other plans, and within seven months Mozart was dead.
The most unanticipated aspect of Wolff’s discussion involves not the pieces Mozart wrote but rather those he didn’t — or, to put it properly, the ones he never finished. Mozart’s oeuvre is littered with compositional fragments, and although most biographers skip over these with scarcely a glance, Wolff looks at some of them through a microscope. A Mozart sketch, he believes, does not just capture a passing idea. Although there are exceptions to the rule, Mozart usually worked out the details of a new work in his head before committing any of it to paper. Mozart implied as much when he spoke of music he had “composed, just not yet written.” Wolff amplifies on that point: “Mozart’s own phrase ‘componirt, nur noch nicht niedergeschreiben’ (composed, just not yet written) does not insinuate the normal mental process of thinking before doing. It rather implies that not only the basic idea for a musical composition but a whole piece or movement was more or less prefigured and essentially shaped in the composer’s head before he set his pen down to paper.” The only Mozart fragment most people pay much attention to is the famous Requiem, which is always heard today in a version completed by someone else. But Mozart’s other fragments represent some 140 pieces ranging in length from a few bars to more than a hundred measures. Most of them could be brought to only the most presumptive completion, but even investigating them as Mozart left them, Wolff finds that “these works represent a point of departure for genuinely new horizons.” ◀
PASATIEMPOMAGAZINE.COM
19
BRIDGE Lessons
BEGINNING BRIDGE
PASA REVIEWS
Tuesdays, 9:30-11:30 • February 4-March 11 Contact the Santa Fe Community College 505-428-1270
Back to BRIDGE
Mondays 5:00-7:00 • March 10-April 28 Contact Dennis Dawson dennis@bridgevacations.com
Santa Fe Symphony Lensic Performing Arts Center, Jan. 19
Both classes held at the Leonard Helman Bridge Center
Great aspirations
T
Dr. Glenda King
*Board Certified
Foot and Ankle Care & Surgery Call now for an appointment! Office Hours: Monday–Friday 9–5 *Certified by the American Board of Podiatric Surgery
2019 Galisteo Street, Unit A4 • 505.988.3338
it’s our birthday! 33 years in hot water since 198 1
三 十 三 年
33 dollars 33 percent for details about january / february specials, visit:
www.tenthousandwaves.com 20
PASATIEMPO I January 24 -30, 2014
his season and next, the Santa Fe Symphony is hosting a succession of guest conductors as it considers who will occupy its open position of principal conductor. On Sunday, all eyes were on James Feddeck, whose primary affiliations have been as assistant conductor of the Cleveland Orchestra (2009 to 2013) and, for the two years before that, of the Memphis Symphony. He audaciously chose to program the Symphony No. 4 of Anton Bruckner, a massive work that makes considerable demands on the players and their conductor. This was the first time the Santa Fe Symphony had ever performed a Bruckner symphony, and in remarks preceding the performance, Feddeck relayed that nobody hereabouts could recall any Bruckner symphony ever having been played in town by any group, which had the ring of truth about it. It was a canny choice in that it pushed the orchestra and the audience in an unaccustomed direction, and it will have especially titillated the brass section, which Bruckner typically favors to an unusual degree among symphony composers. I suspect that Feddeck might not have chosen this piece if he already had a working relationship with the Santa Fe Symphony, as Bruckner here stresses capabilities that do not in every case coincide with this ensemble’s strengths. The orchestra was game for the challenge, though, and turned in a creditable performance even if it lacked a sumptuous string sound and persevered through rough entrances here and there. Nonetheless, the viola section particularly distinguished itself in its spotlighted passages in the slow movement; and the horns and trombones fully earned their applause. Feddeck achieved good timbral balance among the sections, not allowing the brasses to overpower, which is often a danger in Bruckner. His conducting appeared to be clear, incisive, and easy to follow. He is unusually expansive in tracing the beat, seeming intent on telegraphing his baton’s motions far beyond the back of the stage. Bruckner usually put his symphonies through multiple revisions, and his devotees argue over alternative editions that offer competing states of the scores. We need not enter that fray here except to note that Feddeck employed an edition published by musicologist Benjamin Korstvedt in 2004, which purportedly follows the composer’s very last alterations, made in 1888. Predictably, that edition has become a flashpoint for disagreement, but Feddeck is within his rights to use it. My own familiarity with the score derives from other editions. Those all call for a broader range of dynamics than what we heard on Sunday, and I’ll bet Korstvedt’s edition doesn’t depart from the others in that regard. So it was that Bruckner’s potentially magical opening, with springs whispering a sustained pianississimo in tremolando, was here a relatively characterless mezzo piano: nothing remarkable. On the loud end of the spectrum, Bruckner’s fortississimo markings did not raise the roof. The composer’s incessant repetition of material might have benefited from more point in rhythm and phrasing, rather than just being allowed to rumble along. Still it was an honorable realization of an ambitious challenge. The concert began with Mozart’s charming, oft-encountered motet “Exsultate, jubilate.” Soprano Rachel Hall was the tremulous soloist in this rendition. Although she possesses an attractive voice, her technique seemed not yet developed to the point of dependability. Feddeck wisely stuck to the rather broad tempos he had chosen rather than try to adapt to her imprecise rhythms. — James M. Keller
$20
OkeeffeMuSeuM.Org
food and Drink for Only
SATURDAY
10
$
FEBruary 1
9:30–11:30 AM
Opera Makes Sense Journey to China with Le Rossignol. Children ages 3–5 can enjoy an adventure around the world while being introduced to opera. Free
breakfast only
THURSDAY
FEBruary 6
6:30 PM
Exhibition Opening Lecture
Georgia O’Keeffe and ansel adams: Displacement and Place in the Hawai‘i Pictures. Led by Theresa Papanikolas, Curator. $5. Members and Business Partners, Free fRiDAY
FEBruary 7
10–7 PM
Exhibition Opening
Georgia O’Keeffe and Ansel Adams: The Hawai‘i Pictures. Explore the bond between these two artists who shared a passion for the natural world. TUESDAY
FEBruary 18
6–7:30 PM
To r ec e iv e th is o f fer , visit Sp lur geTa os .com b efor e mid n ight We dn e s da y , J a n ua ry 2 9, an d p ur c ha se the S p lur g e cer tifica te, wh ich can b e r edeem e d fo r the a bov e o ff e r. T h i s ad vert is e ment is no t a Splurge cer t if ic a te .
LAS GOLONDRINAS AND THE NEW MEXICO MUSEUM OF ART PRESENT:
I N D I A N R E M O VA L and the VIOLENT ORIGINS O F S PA N I S H A N D M E X I C A N S ET T L E M E N T I N N E W M E X I C O
by David Correia, Ph.D.
Thursday January 30, 2014, 6 pm - St. Francis Auditorium at the New Mexico Museum of Art (New Location!)
Look at the
readers’ Club
Georgia O’Keeffe and ansel adams in Hawai‘i. We will discuss two books: Georgia O’Keeffe’s Hawai‘i and Georgia O’Keeffe and Ansel Adams: The Hawai‘i Pictures. Free. fRiDAY
FEBruary 2
10 AM–1 PM
Workshop
Georgia O’Keeffe and the art of Eating Well. Explore some of Georgia O’Keeffe’s ideas about food and cooking with Santa Fe School of Cooking. $80 plus tax SATURDAY
FEBruary 22
9:30–11:30 AM
Family Program
Shells. Join us to make different shell projects. Free TUESDAY
FEBruary 25
6–8 PM
Workshop Installation: The art of Placement. Led by Jennifer Joseph. $8. Members and Business Partners $5 fOr lOcatiONS aNd MOre iNfOrMatiON: 505.946.1039 Or OkeeffeMuSeuM.Org
Well into the 21st century, land issues have continued to be a major and contentious concern for both Native and Hispano communities in northern New Mexico. FREE! Arrive early for a good seat (505) 471-2261/golondrinas.org Support provided by New Mexico Arts
2 1 7 J O H N S O N S t r e e t, S a N ta f e N M 8 7 5 O 1 5O5.946.1OOO PASATIEMPOMAGAZINE.COM
21
UNDER 35 PART II 01 / 24 - 02 / 15 / 2014
RECEPTION 01 / 24 / 2014
5 - 7 PM
FeATuRIng woRks by HeIdI bRAndow / bRAndee CAobA MoIRA gARCIA / sonyA kellIHeR-CoMbs
zane bennett contemporary art 435 S GuadaluPE ST, SaNTa FE, NM 87501 T: 505-982-8111 F: 505-982-8160 zaNEbENNETTGallERy.COM
22
PASATIEMPO I January 24 - 30, 2014
ON STAGE String thing: Trio Bijou
THIS WEEK
Gemma DeRagon formed Trio Bijou to play more of the jazz standards she grew up loving on her 1935 Oskar C. Meinel violin. A veteran of the local music scene, DeRagon currently performs classical music with Duo Elegante, bluegrass with Railyard Reunion, and Gypsy jazz with Swing Soleil. Now, thanks to Trio Bijou, she said, “It’s a thrill to be playing these beautiful old jazz standards again.” The recently formed all-string trio plays tunes by Duke Ellington, Cole Porter, and others. Rounding out the lineup are Andy Gabrys on guitar (like DeRagon, a Berklee College of Music alum) and Andy Zadrozny on upright bass (an accomplished player and Seattle transplant). It follows its standing-room-only January debut at Zia Diner with a second engagement at the same venue (326 S. Guadalupe St., 505-988-7008) on Thursday, Jan. 30, at 6:30 p.m. There is no cover. — L.B.
Looking forward and back: Santa Fe Pro Musica Orchestra
The Santa Fe Pro Musica Orchestra, conducted by Thomas O’Connor, offers two 20th-century works that looked defiantly backward plus an 18th-century one that reached toward the future. The retrospective ones are Vaughan Williams’ much-loved Fantasia on a Theme by Thomas Tallis (from 1910), a reflection on a 16th-century psalm tune, and Barber’s Violin Concerto (1939-1940), an elegant work that exulted in tonality and lyricism when neither enjoyed much prestige in modern-music circles. (The soloist in the Barber will be Cármelo de los Santos, who for the past decade has taught violin at the University of New Mexico.) More radical in its day was Beethoven’s First Symphony, composed Vaughan Williams Barber Beethoven in 1799-1800. Here Beethoven confirmed his expertise in the symphonic style of Mozart and Haydn, but he was also bold enough to strut his own stuff, inspiring a contemporary critic to write that the symphony displayed “considerable art, novelty, and a wealth of ideas.” (A century later, Gustav Mahler would describe this work as “Haydn raised to the highest degree of perfection.”) Performances take place at 6 p.m. on Saturday, Jan. 25, and 3 p.m. on Sunday, Jan. 26, at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets ($20 to $65, discounts available) can be purchased by calling 505-988-1234 and from www.ticketssantafe.com. — J.M.K.
Hell’s angel: Ray Wylie Hubbard
Todd Wolfson
In just one verse of his song “New Year’s Eve at the Gates of Hell,” Ray Wylie Hubbard works in a Ouija board, a double-headed snake tattoo, the Tao Te Ching, a roulette wheel, and a pair of high heels. “Why am I here when I wasn’t that bad?” he asks about being at the gates of hell. “I just didn’t like churches, but I never wore plaid.” The progressivecountry magician, an Oklahoma native who sowed a lot of musical oats in a Red River coffeehouse in the ’70s, brings his nasty, funny irreverence to St. Francis Auditorium at the New Mexico Museum of Art (107 W. Palace Ave., 505-476-5072) at 7:30 p.m. on Sunday, Jan. 26. Tickets are $25 and $39 from www. brownpapertickets.com and $29 at the door. — P.W.
The art of cool: Kathy Kosins
You might hear a few strains of Motown in jazz vocalist Kathy Kosins, which makes sense because she’s Detroit-born, but the central context in her music is jazz — all the swinging, sizzling, bluesy, steaming, and balladic varieties. After working with drummer J.C. Heard and the Nelson Riddle Orchestra, Kosins released her debut album All in a Dream’s Work (1995), featuring mostly original songs. Her most recent discs are To the Ladies of Cool (2012) and The Space Between (2013). The singer plays the Harwood Museum of Art, 238 Ledoux St., Taos ($25, 575-758-9826) at 7 p.m. Friday, Jan. 24; then at St. John’s College, 1160 Camino de Cruz Blanca ($25 at the door; 505-984-6199), at 7:30 p.m. Saturday, Jan. 25 (doors open at 7 p.m.). Her accompanists are John Rangel, piano; Andy Zadrozny, bass; and John Trentacosta, drums. — P.W. PASATIEMPOMAGAZINE.COM
23
SOUND WAVES Loren Bienvenu
On grace and entanglement
Jeremy Sawatzky
It would be an oversimplification to call Joshua Roman a leading young classical cellist — because of the word classical. Just a year after receiving his master’s degree in performance from the Cleveland Institute of Music, Roman landed a professional symphony chair that many serious young cellists would consider the apogee of a career: principal cellist for the Seattle Symphony. He capitalized on the opportunity, taking advantage of the city’s greater musical community (his collaboration with rock band We Are Golden being just one example), before announcing in 2008 that he was embarking on a solo career. Growing up in Oklahoma, in a household full of music and musicians, Roman was exposed to a wide variety of genres. “I’ve always listened to a lot of stuff. I played in the high school band and had bands with my friends and played in the youth church bands and for a while was in a jazz band.” Now 31, Roman said, “I’m trying as hard as possible to get in touch with that diversity and embrace it to find my own voice.” He spoke with Pasatiempo from Chicago in advance of his Friday, Jan. 24, recital at Duane W. Smith Auditorium in Los Alamos. At the time, Roman was in the midst of an immersive three-week residency at the University of Chicago with actor Anna Deavere Smith (whose accolades include a MacArthur Fellowship and the 2012 National Humanities Medal), during which they hosted discussions and workshops for university faculty and students. For the last two years, the two have been performing and reworking a stage piece called
On Grace, in which Smith acts out interviews she conducted with various academics and theologians on the meaning of grace. These segments are interspersed with Roman’s sometimes improvised and sometimes fully composed works on cello.
It’s about the same size as a human, so when playing it, you’re not really wrestling, but you’re definitely entangled in the cello itself. “The thing about this project that’s so interesting to me is that it’s about creating the right feeling. That’s so different from how I was trained as a classical musician, where you’re more worried about being correct — the right intonation, the right rhythm. Here, the priorities are reversed.” Roman connected with Smith through a shared musician friend. When they first started working together there was no need for him to even bring his cello to rehearsals. “At the beginning it was just me and Anna sitting in a room and talking about what grace meant to us. I was first thinking: Bach.” The German Baroque composer has always been of particular importance to Roman. “I feel incredibly moved by his sensibility. It’s the kind of music that can change and grow with you and be very different from
Joshua Roman
24
PASATIEMPO I January 24 -30, 2014
day to day. People I’m playing something for twice might even say, Wow, is that a different piece?” He added that Bach was finely attuned to “the nature of the cello, its various voices and capabilities, so his compositions are expressive and not just pedantic or technical.” The cello is particularly expressive by nature — its range has long been noted as similar to that of the human voice (which is partly why Smith looked for a cellist collaborator for On Grace). Furthermore, it’s physical form has corporeal parallels. As Roman put it, “It’s about the same size as a human, so when playing it, you’re not really wrestling, but you’re definitely entangled in the cello itself. It takes a lot of momentum, not necessarily strength, but a certain kind of power to get a big sound. There is something incredibly satisfying about being able to feel that emotion physically.” When his schedule permits, Roman practices around five hours a day, in addition to attending rehearsals. Asked if such extended stretches of entanglement with his instrument are physically trying, he said, “It absolutely can be. A lot of people who practice long hours without breaks find themselves injured. It sounds silly, that you could get injured playing the cello, but you’re using big muscles, and using a lot of small muscles repeatedly.” The cellist said the best safeguards against injury are frequent exercise, breaks during practice, “and knowing how to listen to your body.” Maintaining these habits is especially important (and difficult) given the frenetic nature of Roman’s schedule. Take the month of January — within days of completing his University of Chicago residency, Roman arrives in Los Alamos to perform with pianist and friend Andrius Zlabys. Their collaboration is much more traditional than On Grace, and includes works by Stravinsky, Prokofiev, Schumann, and Beethoven. Roman said he feels completely prepared for the shift because these compositions are “kind of in my DNA. The music will never be different. We may be different, but the notes will be the same. We won’t be showing up and saying we have to create something from scratch. There’s opportunity for growth, but the pieces are like old friends that we’re coming back to.” Despite zigzagging across the country while concurrently navigating a breadth of musical genres, Roman finds time to contextualize music along with some of the other interests that make up his life: “I’ve studied a lot of languages and not mastered any of them. I’m really into food; when I have time, I love to cook. I spend a lot of time doing yoga, and I love hanging out with people. You can’t just do the cello, because you need to have something to say. You need a life to share.” ◀ Cellist Joshua Roman and pianist Andrius Zlabys perform at Duane W. Smith Auditorium (on the Los Alamos High School campus, 1300 Diamond Drive) 7 p.m. Friday, Jan. 24. Advance tickets, $30, are available from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org); it’s $35 at the door.
Father John Dear, nominated for the Nobel Peace Prize by Archbishop Desmond Tutu, and Roshi Joan Halifax, a founder of the Zen Peacemaker Order present:
Lotus in a Sea of Fire:
Peacemaking, Christ, and the Path of the Bodhisattva. f e b rua ry 2 8 - m a rc h 2
Explore with these two peacemakers, through experiential work and teachings, the profound relevance of fostering nonviolence in the world today. 11 CEUs for Counselors, Therapists and Social Workers.
santa fe, new mexico 505-986-8518 www.upaya.org registrar@upaya.org
The Travelers Drop their Clothes A clothing show & Sale from the Closets of the Dealers & Friends All January Now Open 7 days a week
Traveler’s Market
45 Dealers of Tribal and Folk Art, Fine Books, Antiques, Textiles & Jewelry DeVargas Center, 153B Paseo de Peralta, Santa Fe. NM 87501 www.travelersmarket.net 505-989-7667
Lensic Presents
Saturday Night Live and MTV alum
February 7, 7 pm $15–$35
Legendary comedian Colin Quinn returns to the stage, tackling 226 years of American Constitutional history in 70 minutes.
“Fast, furious and funny! In Quinn we trust.” —New York Daily News
“Hilarious! Wonderfully riotous!” —Hollywood Reporter
Tickets: 505-988-1234 www.TicketsSantaFe.org S ERVICE CHARG E S A P P LY AT ALL POINTS OF PURCHASE
th e lensic is a non profit, member-supported organ ization
PASATIEMPOMAGAZINE.COM
25
Bill Kohlhaase I The New Mexican
ord went out last year that Ralph Stanley — the icon of Appalachian mountain music, known far and wide for his stirring a cappella rendition of “O Death” in the Coen brothers’ film O Brother, Where Art Thou? — would retire at the end of his current tour, a tour that brings him to Santa Fe on Thursday, Jan. 30. Stanley is 86 years old — he turns 87 in February — and has been actively touring since 1946, when he joined his brother Carter to form the Stanley Brothers and the Clinch Mountain Boys. Though he’s mostly given up banjo playing because of arthritis in his fingers, people still turn out to hear his often mournful high tenor sing songs of loss, hard times, and faith. More than any other voice, his seems to capture life’s sorrowful, difficult state. His music, as it has been for generations, is a comfort in cold times. 26
PASATIEMPO I January 24 -30, 2014
After the farewell tour was announced, Stanley went on television station WCYB in Bristol, Virginia, to say he’d been hasty. (It was radio station WCYB that gave Carter and Ralph an ongoing appearance on its Farm and Fun Time program beginning in 1946.) He told the interviewer, “I thought maybe in another year I might be ready, but who knows. I’m sorta leaving it up to the good Lord. When he tells me to quit I’ll quit, and when he tells me to sing, I’m going to sing.” Asked about his postponed retirement in a late-night phone call to his home in Coeburn, Virginia, Stanley told Pasatiempo, “I’m keeping on my way. I may play for 10 more years. When I decided [against retirement] I didn’t know when I’d eventually quit. That’s up to the good Lord.” Stanley is a man of few words. Carter, who died in 1966 at the age of 41, was the talker of the two. Ralph answers questions politely and in gravelly tones that
mirror his singing voice. He leaves the analysis of his music to others. “Whatever everybody’s opinion is, that must be what it is,” he said when asked about reasons for his continuing popularity. “I never study anything about it. I just do it the way I do it. I let other fellows talk about it.” Luckily, Stanley doesn’t hold back in his autobiography, Man of Constant Sorrow: My Life and Times, written with journalist Eddie Dean and published in 2009 by Gotham Books. In the book, we learn of a mountain childhood on Smith Ridge, Virginia, in a home lit by kerosene lamps and without running water. Stanley talks about waking up in the morning with his stomach growling and his fear of a life spent in the coal mines, where his half brothers worked. But poverty was relative. “At the time ... we didn’t pay no mind to it, ’cause we didn’t have anything different and
never seen anyone who did.” Stanley said the memories didn’t come easily when he set out to write the book. “You have to study your own life. You can’t remember everything over 80 years. I had to look into it.” The book, written in plain-spoken language, reveals aspects of Stanley’s personality — at times gruff and opinionated but overall sensitive and forgiving — that previously came through only via the music he performed. The book’s prologue, detailing the isolation and loneliness of mountain country, gives a good explanation of the mournful tone he calls “old-time mountain music.” Stanley writes, “I was born and raised way back in the hills, and a lot of our forefathers, our grandpas and great-uncles and so forth, were of the old Baptist faith, and they all had lonesome voices to sing out those sad old hymns.” The Stanley family attended a Primitive Baptist church, where there were no musical instruments used in services, only voices. It was here that Stanley did his first singing. “That’s where we learned to sing out,” he said. “Later on we picked up instruments and learned to do both together. But at first all we did was sing.” That job at WCYB didn’t offer any pay. “But it got a lot of people to come out and see us,” Stanley explained, “so in that sense the pay was pretty good.” Ralph Stanley leaves the analysis of his music to others.‘Whatever everybody’s opinion is, that must be what it is.’ At first the band played a lot of tunes that came from and sounded like Bill Monroe. Monroe, the mandolin player credited as the father of bluegrass music, created a country sensation with his Blue Grass Boys, which for a short time included banjo player Earl Scruggs. Following in Monroe’s footsteps wasn’t going to do. The Clinch Mountain Boys developed their own approach, one that reflected their hill-country heritage (as opposed to Monroe’s lowlander roots). Stanley refers to it simply as “Stanley style.” The differences between Monroe’s music and Stanley style? “It’s just two different styles. If you listen to us and you listen to Bill Monroe, can you tell the difference? That’s the Lord’s work. He told me how to do it, and I guess he told Bill how to do it.” Hymns and gospel tunes form the backbone of much of Stanley’s music. It reflects the isolation of mountain living but also carries inspiration. Even a tune like the one that lends its name to Stanley’s autobiography, “Man of Constant Sorrow,” a song he used to hear his father sing at night on the front porch, carries a note of optimism and a melody not as somber as its title suggests. Said Stanley, “Music is a way of getting through things.” The book sheds light on some of the career moves the Stanley brothers undertook, the various musicians associated with their band, and their hardscrabble life in the music business. Stanley writes about his resentment, shared by Bill Monroe, toward the success enjoyed by Lester Flatt and Earl Scruggs with their hit from The Beverly Hillbillies. He talks about his shortlived anger at Bill Monroe after Carter left the Clinch Mountain Boys in the early ’50s for a stint with Monroe and how it affected his relationship with his brother. He also acknowledges that Monroe’s singing of “Swing Low, Sweet Chariot” at Carter’s funeral “meant the world” to him. Always close to his mother, he tells how he was too broken up to sing at her funeral when she died at age 86 in 1973. “So many funerals,” Stanley writes. “So many friends and family gone.” Lines like these explain that mournful, lonesome tone that so moved audiences when “O Death” was heard in O Brother, Where Art Thou? Stanley has passed his music down to the next generations. His grandson Nathan Stanley sings with the Clinch Mountain Boys. His son, Ralph Stanley II, has been a member of the band and now leads his own. While Ralph Stanley is still performing, the music is in good hands. After that? “That’s up to the good Lord. If he sees people still like the music, he’ll make sure there are some around who’ll play it.” ◀
details ▼ Ralph Stanley and the Clinch Mountain Boys
Implant Dentistry of the Southwest If you are missing one
If you are missing one more teeth, or or more teeth, whywhy not not be a consider a Dental Implant? part of a study or clinical research? They maythem be your bestmoney. solution. Replace and save
Dr.Burt BurtMelton Melton Dr.
2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
on your feet | get it together | on your little feet
BIG WINTER
SALE
SAVE UP TO
30 %
*FINE PRINT: Bring this ad in for an additional 10% off sale items only! Coupon expires 1/31/14. You must present this coupon at time of purchase for your extra 10% sale discount. No exceptions! 530 Montezuma Ave. • Sale info line 983-3900
“Holding your hand through the entire process” • Over 20 Years Experience
Expert Personalized | Service & Instruction
• No “Geek Speak”
Home or Office | Onsite Repairs
• Same Day Service
PC or Mac | iPhones & iPads
Babies are on the way... Support their moms by volunteering with us 983-5984
▼ 7:30 p.m. Thursday, Jan. 30 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $29-$79; 505-988-1234, www.ticketssantafe.org
www.manymothers.org PASATIEMPOMAGAZINE.COM
27
Paul Weideman I The New Mexican
News priNts Artists transform The New York Times
28
PASATIEMPO I January 24 -30, 2014
“Saudi King Says Jets Are Needed to Curb Reds’ Mideast Gains.” “Quayle Meets With Saudi Royalty and Seeks More Aid for Military.” These are two of the hundreds of headlines that A.J. Bocchino harvested from nearly seven decades of New York Times stories relating to what he calls a long-standing oil-forprotection bargain between Saudi Arabia and the United States. A very large dye-sublimation print of the headlines is included in All the News That’s Fit to Print, opening Friday, Jan. 24, in the Spector Ripps Project Space at the Center for Contemporary Arts. The exhibition also features All the Heads on the Front Pages of the New York Times. The 12 drawings in this series — each one a crowded cluster of sketchy head shapes — were made by artist Pat Boas in the first year of the new millennium. Another work relating to the nation’s “newspaper of record” is Quotidian by Donna Ruff. The Santa Fe-based artist is co-curator of All the News with CCA visual arts director Erin Elder. The other artists represented in the exhibit — all incorporating The New York Times into their work — are Lauren DiCioccio, Shanti Grumbine, Elissa Levy, Francesca Pastine, Guy Richards Smit, Adam Simon, and Fred Tomaselli. For Quotidian, a new piece made for the show, Ruff employed a laser cutter to remove all text and photographs from copies of New York Times front pages. “Normally in a work like this, I would cut the paper myself, but I was doing so many of them: there will be 28 of these draped over the rungs of a 16-foot ladder going up to the ceiling,” she said. “These are on handmade Japanese paper, which is a little translucent and sort of ephemeral-looking. They’re almost ghostly, and they will be rising to the ceiling and floating out into the darkness. “There’s a reason why so many artists work with The New York Times. I mean, it’s the paper of record. There’s a gravitas to this newspaper. I have read it every day for at least 40 years. It’s really part of my life. But I’ve always been interested in language and comprehension, and for the last 10 years or so, I’ve worked with the idea of taking away content and what is left behind.” Ruff, who was born in Chicago and grew up in Miami, has family precedents for working with paper. Her great-grandfather was a bookbinder in Russia, and her grandparents owned a Chicago scrap-paper factory. “They would buy encyclopedias by weight as scrap, with the pages sliced through so they couldn’t be resold. My grandmother taped them back together and gave them to us. Something inchoate remains — the slicing, the mending, the labor-intensive work.” Ruff was a children’s book illustrator during a period of residence in New York City. She has an affinity for the Manhattan telephone book and for religious texts such as the Torah and the Qur’an, as well as for The Times. Traces of these sources can be glimpsed in the various works in her Lena Street studio. In one series, she obliterated sections of story text by cutting Islamic wheel patterns out of newspaper pages. “This kind of coincided with the Arab spring, and there’s this idea of taking away and also leaving behind. In the case of a lot of the artists in the show, I
think because of all that’s come out about redaction of documents, they’re taking stuff out of The Times and recontextualizing it, but it’s still very recognizable as The New York Times. That’s true even if you can only see a tiny piece of a headline, because the typeface [in the Cheltenham family of fonts] is so recognizable.” Her esteem for the printed word, affected by realities of censorship, is cryptically evident in past works such as Encyclopedia Britannica and Grrltalk, which consist of artfully shredded book pages. A series featuring pull quotes from The Times was printed on graphite-treated mylar, then torn and wrinkled. In another series of beautifully dark pieces, she transferred newspaper photos onto glossy Japanese paper, then squeegeed ink and acrylic paints over them to lend a printmaking quality. “A lot of these photos I’m using are of women or children who have been impacted by war, and there’s the idea of the veil, and isolation, and silencing. All those things have gone into my interest in geometric, calligraphic patterns and redaction, and when you remove things, something is left behind, so there is a beauty and people will spend some time with it, but at the same time there’s an elegiac kind of sadness to it.” Oregon artist Boas, contacted before she began her day teaching painting at Portland State University, said her All the Heads on the Front Pages of the New York continued on Page 30
A.J. Bocchino: United States and Saudi Arabia (Oil/Protection) [detail], 2009-2010, dye sublimation print, courtesy the artist; top right, Adam Simon: Four Days Color Coded (Death, Power, Human Interest) #1, 1993/2013, oil, newspaper, polymer resin on canvas; opposite page, Fred Tomaselli: Guilty, 2005, digital inkjet print on perforated archival paper, James Cohan Gallery, New York; images courtesy Center for Contemporary Arts unless otherwise noted
PASATIEMPOMAGAZINE.COM
29
News prints, continued from Page 29 Times pieces were completed in 2002. “They’re done on silk tissue that’s made from a gampi fiber. I used a blue-gray ink and a small brush, tracing them in a calligraphic way.” Her portfolio holds works in a great variety, all in two dimensions. Among them are pale, subtle interpretations of Times front pages (NYT Alphabet), outrageously colorful and organic shapes (Mutatis Mutandis), and abstraction play with letter and iconography (Unalphabetic). A later series, NYT Little People (created during 2008 and 2009), was a reprise of the theme of heads in the newspaper. “I felt that All the Heads didn’t really represent the content,” she explained. “The newer ones are gouache paintings, concentrating on the people who were relatively unknown. I was hoping to get more of a sense of what was actually happening in the news.” She has noticed what could be an example of positive journalistic evolution in the past decade or so. “When I was working on All the Heads it was apparent — and you see this in the drawings — that the big heads are the big leaders, and they’re almost always male. The only time you’d see images of things happening in the Third World would be crowds after a disaster, like a flood in India. But as I kept on looking, by 2008 that had really changed. Now, more often than not, you see everyday people illustrating stories.” The bulk of Bocchino’s art projects have repurposed headlines and text from the American media. “I’ve used mostly The New York Times because it’s the most comprehensive in regard to foreign policy, which is a lot of the subject matter I use,” he said from his home in Brooklyn. “I used to take the main headlines from the front page every day and then color-code them by subject. Then I started to get more specific. The piece in Santa Fe [United States and Saudi Arabia (Oil/Protection)] is composed of headlines from 1940 to 2008 related to the relationship between the United States and Saudi Arabia, about access to oil and the U.S. providing protection and arms to the Saudis.” The fabric piece is 9 feet high and 14 feet long; Bocchino wanted it to resemble a flag. He has done similar hand-colored works. This one, though, was made by superimposing frames of color over the headline text. The work is in two shades of green, one mimicking the green of the Saudi flag and the other resembling camouflage green to symbolize the protection aspect of the relationship. Bocchino’s other recent works chronicle the history of conflicts in the South China Sea and the East China Sea and look at the United States as the world’s policeman. “It’s stuff that’s current but also has a history to it,” he said. “I read four papers every day. Most of it related to my work, although at this point, sports hasn’t made it into the work.” ◀
details ▼ All the News That’s Fit to Print ▼ Reception 6 p.m. Friday, Jan. 24; through March 30 ▼ Spector Ripps Project Space, Center for Contemporary Arts, 1050 Old Pecos Trail ▼ $5 suggested donation; 505-982-1338, www.ccasantafe.org
30
PASATIEMPO I January 24 -30, 2014
Donna Ruff: 7.4.13, 2013, hand-cut newspaper
The big chill: ICEPOP
C
rockett Bodelson and Sandra Wang figure they’ll have more than 700 artworks ready for the Friday, Jan. 24, opening of ICEPOP. In this many-pronged show at the Center for Contemporary Arts, they examine ice, polar exploration, and mobility. The show runs through March 30. “We’re working on the pieces now. They’re still coming out of the kiln,” Bodelson said. “We’re using an English product called frost porcelain. What drew us to think about ice was working with this clay. The title of the show fits in most with this installation that depicts Antarctica 100 years ago and Endurance, the 1914 Sir Ernest Shackleton expedition, and contemporary Antarctica. There are over 250 people living there year-round now, and it’s opening up to tourism, but there is a treaty to keeps it neutral and pristine. For an artist it’s inspiring because it’s an untouched place, and it isn’t supercharged like the Arctic with all the politics about oil drilling.” Bodelson and Wang, who met in 2007 in San Francisco, make up the collective SCUBA. They curated nine exhibitions at their (now-defunct) Caldera Gallery on Baca Street in 2011 and 2012. In December 2013, they sold their art objects in a “Storesalon” space at SITE Santa Fe. A center of the ICEPOP installation, in CCA’s Muñoz Waxman Gallery, is their modified 1989 Ford Econoline van, which appears as if it’s floating on water. The vehicle has a name: Ice Shelf. “Sandra and I used to live in it, and we had a painting studio inside. We’d drive it up and down California, painting in Joshua Tree and Big Sur and other places.” The hundreds of small artworks are like drawings. The artists flatten pieces of frost porcelain in a clay press, draw and cut shapes with a needle tool, and then apply acrylic paint. “They’ll hang on two walls of the gallery,” Bodelson said. “We’ll also have 375 porcelain tiles that we had in the Currents show [Santa Fe International New Media Festival] last summer. They have animations of water molecules breaking apart that come alive with a light projector.” — P.W.
SCUBA: ICEPOP, 2013, working models, ceramic
PASATIEMPOMAGAZINE.COM
31
Michael Abatemarco I The New Mexican
Multiples choice Contemporary indigenous prints
C
ape Dorset, located at the southern end of Canada’s Baffin Island, has a primarily Inuit population of fewer than 1,500 people. Yet it boasts a vibrant and influential art community. In the mid-20th century, not long before the formation of the West Baffin Eskimo Co-operative, many of Cape Dorset’s inhabitants lived an ancestral hunting life. As game populations dwindled and the Canadian government relocated Inuit families to permanent residences, they developed modes of artistic expression that made Cape Dorset a prominent Canadian art destination and the epicenter of Inuit art. Since the inception in the late ’50s of the co-operative (also known as Kinngait Studios), art has driven Cape Dorset’s economy, and the area has become wellknown for generations of sculptors and printmakers including Kenojuak Ashevak, one of the earliest members of the co-operative. A selection of Ashevak’s works on paper is included in ARTiculations in Print, a museum-wide exhibit opening on Friday, Jan. 24 at the Institute of American Indian Art’s Museum of Contemporary Native Arts. The exhibition, consisting of four separate shows, also includes a group of contemporary prints from the collection of Oregon’s Crow’s Shadow Institute of the Arts and mixed-media exhibits with an emphasis on works on paper by John Hitchcock, a professor at the University of Wisconsin, and David Sloan, who grew up in Santa Fe and draws on his Diné heritage for inspiration. Opening concurrently is a solo exhibit of work by Tony Tiger called Full Consciousness of Being; The Place
32
PASATIEMPO I January 24 -30, 2014
Between, a collaborative show by Sallyann Paschall and Alex Peña; Bon à Tirer, a small show of prints from MoCNA’s collection; and films from the Sundance Institute’s Native American and Indigenous Program.
printmaking and her dedication to introducing the medium to younger generations. Her imagery is a menagerie based in observations of Canadian wildlife and Inuit myth and tradition.
Kenojuak Ashevak (1927-2013): A selection of prints Kenojuak Ashevak made her mark at the West Baffin Co-operative creating etchings, drawings, soapstone carvings, and stone-cut prints — a primary medium at Kinngait Studios for half a century that involves inking raised areas of cut stone in a process similar to that used for woodcuts. The inked design is pressed into the paper by hand. The museum’s selection for the main gallery, from the collection of Edd Guarino, includes drawings, etchings, and lithographs with Ashevak’s characteristic bold, graphic designs, primarily of animal imagery. Her prints often depict birds with radiating plumage in combinations of soft and bright hues devoid of background imagery, lending focus and intensity to the compositions. Owls and other avian creatures stare wide-eyed at the viewer while other prints and drawings depict amorphous hybrid creatures and anthropomorphic spirit beings, representations of shamanic states of transformation. Ashevak’s early life was traditional and nomadic. Born in an igloo in 1927, she was steeped in the culture of the Inuit, which she conveyed through her art in nontraditional formats. She is the subject of John Feeney’s 1961 film Eskimo Artist: Kenojuak for the National Film Board of Canada. She received numerous accolades and awards for her commitment to
John Hitchcock: Traces of the Plains John Hitchcock grew up in Lawton, Oklahoma, near Fort Sill and the Wichita Mountains. The influence of these locations can be seen in his silkscreen prints in the exhibit Traces of the Plains. His colored patterns blend with images of military machinery overlaid with drawings of the heads of animals with haunted, hollow eyes — a conflation of contrasting imagery reflecting his memory of the region where he was raised. “Growing up in between those spaces and on Comanche tribal lands had a huge impact on my visuals,” Hitchcock told Pasatiempo. “My grandfather worked on helicopters and tanks during World War II, the Vietnam War, and the Korean War. He’s Kiowa. My dad ended up in the military at Fort Sill, and Fort Sill was an internment camp for American Indian people. I first learned how to draw from designing geometric patterns and floral patterns for my grandmother’s beadwork when I was a little kid, aged 5 or so. What I’ve done recently is pulled out a big collection of her beaded medallions and regalia in my studio and returned to using them as an influence.” Hitchcock tempers the brightly rendered visuals with dark, heavy lines that give his work a hallucinatory edge. Traces of the Plains also contains a textile installation of flags printed with animal imagery and video work. “There’s two videos and one of them is the processional of
From left, John Hitchcock: Cotton Electric, 2013, silkscreen and ink on paper, image courtesy the artist; Vanessa Enos: Bonifer Pond, 2009, lithograph
a powwow, and it’s filmed at Fort Totten in North Dakota. I shot the grand entry and slowed the video down as the dancers are coming in and touching the earth. For me its sort of honoring our relatives, honoring our ancestors and the earth itself. It’s respectful; it’s celebratory. There’s joy in the fact that everybody’s celebrating. The next video has military weaponry, footage of World War II, bombs dropping. It contains one of the first recorded images of American Indians dancing. The background music is the band Slayer’s ‘Raining Blood.’ The whole notion of that song is about someone coming into power with the desire to destroy. ‘Raining in Blood’ references death and the blood spilled, killing and sacrifice. It’s questioning this idea of war and what we fight for.” The installation is of black military flags printed with horses, deer, buffalo, and owls. “In various cultures owls are a symbol of protection or a warning, telling you something. My grandfather would tell us that for Kiowa that the owl was the symbol of death. If you hear a screech owl outside your window then an elder in your family has passed on. But it’s not good or bad. It’s a transition, a transferal from one space to another.” David Sloan: T’ah aniiłtso Yéé’bii’ Neiikai (Endangered Species) David Sloan’s Endangered Species series is made up of prints of animal imagery, brightly rendered in neon colors. Silkscreened animals of bees, whales, and other threatened or endangered creatures, identified by their names in Diné, lay over lithographic reproductions of
old advertisements from the Navajo Times. The ads contain words that reference Native peoples through offensive language such as “Wampum buy heap big pack,” an advertisement for pork and beans. The series title invites the viewer to consider Diné as a complex and nuanced language in contrast to the facile, stereotyped broken English represented in the ads, but also to view Diné language as similarly threatened with extinction as the animals Sloan depicts. While Diné is spoken more than any other indigenous language, the number of speakers is fewer than 200,000 people. Crow’s Shadow Institute of the Arts Collection Pendleton, Oregon’s Crow’s Shadow Institute of the Arts has been specializing in fine art prints since 2001. Invited artists, including many whose primary focus is nonprint media, attend the institute to work with master printer Frank Janzen creating monotypes and editions in the mediums of lithography, etching, woodcut, and linocut. The selection at MoCNA includes work by James Lavadour (who incorporated the institute in the early 1990s), James Luna, Rick Bartow, and others. Ryan Rice, chief curator at MoCNA, choose a diverse group of artists to represent the collection from Crow’s Shadow. Tony Tiger: Full Consciousness of Being Mixed-media artist Tony Tiger explores his familial history within the cultural milieu of his Sac and Fox, Muskogee Creek, and Seminole heritage. Tiger blends continued on Page 34
David Sloan: K’aalógii (Butterfly), 2013, monoprint, image courtesy the artist Opposite page, Kenojuak Ashevak (1927-2013): Peaceful Repose, 2007, etching and aquatint
Images courtesy Museum of Contemporary Native Arts unless otherwise noted
PASATIEMPOMAGAZINE.COM
33
Contemporary indigenous prints, continued from Page 33 old family photographs with brightly colored abstracted patterns taken from traditional clothing designs and reworked into his collages. Tiger’s themes of faith and family are informed by subjective experience and personal observation. The artist gives a talk on Saturday, Jan. 25.
to IAIA either as alumni, former staff, or alumni of the institute’s residency program — is located in the museum’s Hall Gallery. The exhibition’s title is a French printmaking term meaning “good to pull.” The museum plans to showcase more works from its permanent collection on an ongoing basis beginning this year.
Sallyann Paschall and Alex Peña: The Place Between Sallyann Paschall and Alex Peña never exhibited together before they collaborated on The Place Between. There are strong similarities in their work, but Peña’s use of materials is more painterly. Both artists explore themes of place in their mixed-media pieces on paper incorporating original photography with paint and other mediums. “We both use calligraphic marks and dots and photography,” Paschall told Pasatiempo. “Some people use the term ‘hybrid prints,’ and I like that.” The show explores the idea of “original multiples,” in contrast to edition prints, through variations on themes and works with multiple components. Included in the exhibit is an installation of Paschall’s small geometric shapes with printed surfaces that float in a corner of the gallery, a gathering of polygons. Peña co-curated the museum’s Bon à Tirer exhibit with MoCNA collections curator Tatiana Lomahaftewa-Singer.
Native American films A selection of short films from the Sundance Institute’s Native and Indigenous film program runs in the Helen Hardin Media Gallery. The films, showing continuously, are Andrew Okpeaha MacLean’s Sikumi (On the Ice), Kevin Lee Burton’s Nikamowin (Song), Taika Waititi’s Two Cars One Night/New Zealand, Blackhorse Lowe’s Shimásání, and Ceder Sherbert’s Gesture Down — I Don’t Sing. ◀
Bon à Tirer: Prints from MoCNA’s Permanent Collection Bon à Tirer, with prints by Emmi Whitehorse, Harry Fonseca, Norman Akers, Keri Autaumbi, Duane Slick, C. Maxx Stevens, and Marie Watt — artists with ties
details ▼ ARTiculations in Print through July; The Place Between through March; Full Consciousness of Being through May 11; Bon à Tirer and Native American Short Films through March & reinstalled May 24-July 31 ▼ Reception for all exhibits 5 p.m. Friday, Jan. 24; artist talk with Tony Tiger 2 p.m. Saturday, Jan. 25 (no charge) ▼ Museum of Contemporary Native Arts, 108 Cathedral Place ▼ Entry by museum admission beginning Jan. 25; 505-983-1666, www.iaia.edu/museum
Top, from left, Alex Peña: A Pretense of Certainty #2, photo-intaglio, relief, screenprint, and mixed media on paper; Sallyann Paschall: Oolagah Play, 2013, monotype; Duane Slick: Small Pox and Doctor, 1994, monotype on paper; bottom, Tony Tiger: Essence of Being, 2013, acrylic on paper, image courtesy the artist
34
PASATIEMPO I January 24 -30, 2014
TURQUOISE TRAIL CHARTER SCHOOL
1st ANNUAL
Happening in January
Continuing Exhibition
EDUCATION & DIVERSITY
gala
FEBRUARY 8, 2014, 5:30 PM LA FONDA HOTEL • LUMPKINS BALLROOM
MUSIC BY
JOE E WEST& ROUND R MOUNTAIN LIVE & SILENT AUCTIONS • PLATED DINNER • DANCING
RESERVE YOUR SEATS NOW! Call all 505.467.1703 FOR MORE INFORMATION N PLEASE VISIT
TTSCHOOL.ORG RG For a preview of auction items, like us on Facebook: TTCS Education & Diversity Gala 2014
Renaissance to Goya: Prints and Drawings from Spain. the only uS venue for this exhibition
of rare prints and drawings, some never on display before. (Co-presented with the British Museum, London. Closes March 9, 2014.)
Francisco de Zurbarán (1598–1664), Head of a monk, 1625–64. courtesy british MuseuM.
CulturE day at thE roundhouSE
Monday, January 27, 8 a.m.–4 p.m. State Capitol. Free and open to the public. the museum will feature the art and marionettes of Santa Fe legend gustave baumann during this day-long celebration of the culture of new Mexico, organized by the department of Cultural affairs.
PubliC lECturE
Thursday, January 30, 6 p.m. Free. St. Francis auditorium. “indian removal and the Violent origins of Spanish and Mexican Settlement in new Mexico,” by david Correia, Ph.d. assistant Professor, american Studies, university of new Mexico. the arrival of the americans in the 1840s exacerbated land issues which have continued to be a major and contentious concern for both native and hispano communities in northern new Mexico.
New Mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | nmartmuseum.org |
brazilian Toy-making This Sunday!
santafe newmexican .com/ WEATHER
Current Conditions 7-Day Forecast Interactive Radar Map
You turn to us.
January 26, 1– 4 pm
Make your own Brazilian festival toys with Jennifer Hereth — a fun project for all ages!
In conjunction with the exhibition Brasil & Arte Popular. Free with regular museum admission. Sundays free for New Mexico residents with I.D. MNMF members and children under 17 are always free. Funding for this event provided by the International Folk Art Foundation. João José da Silva, Bumba-Meu-Boi hand puppet (detail), 1992. IFAF Collection. Photograph by Blair Clark.
On Museum Hill in Santa Fe · 505-476-1200 · InternationalFolkArt.org PASATIEMPOMAGAZINE.COM
35
Jennifer Levin I For The New Mexican
HORN OF
PLENTY PETER S. BEAGLE’S The Last Unicorn
The Last
Un i co
rn
hough The Last Unicorn has become a cult classic, unless you caught it in first run in 1982, you’ve never seen it on the big screen — the way Peter S. Beagle, screenwriter and author of the 1968 novel upon which it is based, wants you to see it. And what’s more, Beagle tours with the film to movie houses in select cities — greeting his adoring fans like a rock star, signing their books, and answering their questions. In Santa Fe, three screenings will be held at the Jean Cocteau Cinema on Saturday, Jan. 25. Additionally, Beagle will sit for a “summit” with cinema proprietor and legendary fantasy writer in his own right George R. R. Martin. In advance of their conversation, Beagle spoke with Pasatiempo.
eL Th
Pasatiempo: How did you develop the plot of The Last Unicorn? Peter S. Beagle: I was more or less making it up as I went along. I knew I wanted to write something that was like a collaboration between several different writers whose work I dearly loved, like T.H. White and Lord Dunsany. And I knew, as with certain books by James Thurber, that it should simultaneously be both a legitimate fairy tale and a spoof on fairy tales. But it wasn’t any clearer than that when I started out. I had an opening line and a vision of a unicorn traveling somewhere, with a companion I couldn’t see, for a reason I hadn’t figured out yet. Pasa: Why are you so captivated by unicorns? Beagle: I really don’t know. My mother was an elementary school teacher, and according to her, when I was only 4 years old, I actually lectured her class on the ways and habits of unicorns. I don’t remember that myself, but she swore that when I finished, I actually promised to come back and tell the class more about unicorns someday. Pasa: In the 1980s, when the movie came out, unicorn images were popular but often made out to be something silly for girls, though The Last Unicorn isn’t remotely a “girly” movie. Yet it’s the favorite movie of many girls. What does it feel like to be an icon in this way? Beagle: I try not to think about it a great deal. It’s just the way the dice fell. As for whether unicorns are inherently silly or not, the fact is that they go back a very long way in human culture, thousands and thousands of years. And up until they started appearing regularly in cartoons in the second half of the 20th century, they were treated very seriously indeed. Pasa: There is a resurgence in popularity of unicorns, with stickers and T-shirts appearing again. To what do you attribute this? Beagle: Some of it is just the turning of the tide. Things come and go in this world, back in fashion one year and out of fashion the next. Some of it is their recurring appearance in modern cartoons. Some of it is the generally growing public interest in fantasy and the fantastic. And, being accurate — if not exactly modest — some of it comes from The Last Unicorn itself. It has a large enough audience to help amplify whatever general interest in unicorns there would otherwise have been. Pasa: The movie’s main villain, the Red Bull, continues to be terrifying. Were you surprised at how scary people find him? Beagle: My original novel is meant for all ages, but when I was writing the film’s screenplay for Rankin/Bass, we were definitely trying to simplify
icorn t Un as The L a
“The Mortgage Experts” Personalized Face-to-Face Service Professional Mortgage Planning Conventional, Jumbo, FHA, VA Call for a free 30-minute Mortgage Consultation Connor Cochran
Scott RobinSon
BRANCH MANAGER scott.robinson@gatewayloan.com NMLS #202265
Peter S. Beagle
and reshape the movie for children. That didn’t mean dumbing it down or changing any essential elements, but instead trying to get to the purest, simplest core of the narrative in a restricted running time. I love the fact that children are often terrified of the Red Bull but also deeply fascinated by him. Pasa: What led you to name the magician Schmendrick, after the Yiddish word for a stupid person? Schmendrick is more inexperienced than stupid, but he’s a mensch. Beagle: Of course he is! But he has to discover that for himself in the course of the story. And the Yiddish word schmendrick doesn’t strictly translate as “stupid” but rather as a person out of his depth, somebody clumsy and ineffectual: the boy sent to do a man’s job. Schmendrick is certainly all of that before he finally comes into his own. His name is also a parody of a classic comic strip character from my own childhood — Mandrake the Magician. I didn’t create Schmendrick for this book. He wandered into it sideways from bedtime stories I was already telling my oldest daughter about the adventures of the world’s worst magician. Pasa: It subverts the typical Disney formula to have Lady Amalthea turn back into a unicorn and not live happily ever after with Prince Lír. Were you tempted to give them that ending? Beagle: Never. The ending was implicit in the story itself, and no other ending would have been an honest one. The ending is, I think, one of the reasons the story has endured. It may be a fantasy, it may have wizards and witches and unicorns and monstrous red bulls, but it doesn’t lie to its audience. The Disney formula is simple: everything works out all right in the end. And that’s very comforting, but it is also shallow, because it simply isn’t true. In the real world it’s just as Schmendrick tells Molly in the movie: “There are no happy endings, because nothing ever ends.” Pasa: If someone doesn’t know The Last Unicorn was a book first and stumbles onto you as an author because of this article, what book of yours would you recommend they read first to get into your work? Beagle: If they like novels, they should start with my first book, A Fine and Private Place. It’s utterly different from The Last Unicorn but that’s OK, because I hate to repeat myself. For readers who prefer short fiction, well, my latest collection is always my favorite, so right now I’d suggest they read the stories in Sleight of Hand. It also happens to have a Schmendrick piece in it, set before The Last Unicorn, that sheds some light on his particular personal dilemma. Pasa: Who are some of your favorite fantasy authors writing today? Beagle: Neil Gaiman and Patrick Rothfuss, of course. But the fantasy writers who excite me the most are mainly women — my old friend Patricia McKillip, and Robin McKinley, and Elizabeth Bunce. And I just discovered Katherine Applegate, who won a Newbery Award for a marvelous book called The One and Only Ivan, written from the point of view of a gorilla. ◀
502 W. Cordova Rd, Suite B • Santa Fe • 505-428-0331
S AV O R T H E S O U T H W E S T Savor the rich, earthy flavors of creative American cuisine infused with regional ingredients at the Anasazi Restaurant. Three-Course Prix Fixe Lunch Monday-Saturday · $20 Three-Course Prix Fixe Dinner Sunday-Thursday · $40 For reservations, call 505-988-3236 Menu subject to change
A NA SAZ I RESTAURANT
Rosewood Inn of the Anasazi 113 Washington Avenue Santa Fe, NM 87501 505.988.3030 www.rosewoodhotels.com
ALAN ROGERS, M.D., P.C.
Comprehensive .Compassionate .Patient Centered Health Care
Family Physician | Board Certified ABFM In Santa Fe since 1987
983-6911 530-A Harkle Road
www.alanrogersmd.familydoctors.net
$50 Credit On Initial Visit With This Ad No longer accepting insurance, but reasonable fees.
details ▼ The Last Unicorn ▼ Film screenings noon, 6:30 p.m., 9 p.m.; Q & A “summit” with Peter Beagle & George R.R. Martin & book signing 5 p.m.; all events Saturday, Jan. 25 ▼ Jean Cocteau Cinema, 418 Montezuma Ave.
Exp. 3/31/2014
▼ $12 per event; $20 for screening & summit; 505-466-5528
328 S. Guadalupe St. Santa Fe - 505.986.1260 - lbvbags.com
PASATIEMPOMAGAZINE.COM
37
MOVING IMAGES pasa pics
— compiled by Robert Ker
the way you look at missionaries. Director Roger Ross Williams appears via Skype 5:30 p.m. Friday, Jan. 24, only. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. (Bill Kohlhaase) See review, Page 43. HERE COMES THE DEVIL Michele Garcia and Alan Martinez play young siblings who disappear in some hills during a family vacation, only to reappear later. Mom and dad soon realize that they’ve returned changed, and that there’s something evil about the whole thing. Rated R. 97 minutes. In Spanish with subtitles. Jean Cocteau Cinema, Santa Fe. (Not reviewed) I, FRANKENSTEIN Some of the producers of the Underworld series hope to do for Mary Shelley’s best-known creation what they did for vampires and werewolves: Matrix-ize it! Aaron Eckhart plays Frankenstein’s monster as an action hero, caught in a war between gargoyles and demons. This film will not be nominated for any 2015 Academy Awards. Rated PG-13. 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)
Sweet life: Miranda Otto and Glória Pires in Reaching for the Moon, at the Jean Cocteau Cinema in Santa Fe
opening this week THE BEST OFFER Writer-director Giuseppe Tornatore has crafted an elegant mystery set in an art world full of fakes and forgeries. It’s a bit of both itself but is still handsome to look at and enjoyable to absorb. Geoffrey Rush is smooth as silk as Virgil Oldman (a name freighted with meaning), a high-end art auctioneer who’s a bit of a crook and an eccentric. His world changes when he’s called by a mysterious young woman (Sylvia Hoeks) to appraise her deceased parents’ fabulous estate. The dialogue and plot twists are contrived, but the film is enjoyable viewing and was a big winner at Italy’s equivalent of the Oscars. Rated R. 131 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 42. GAME OF THRONES MARATHON The HBO series Game of Thrones, based on the Song of Fire and Ice books by George R.R. Martin, is not typically screened in theaters. The Jean Cocteau Cinema shows the first three seasons, screening two or three episodes per week (first come, first served) until March 24. Occasionally, Martin will drop by in person or a cast or crew member will appear via Skype. Season 1 38
PASATIEMPO I January 24 -30, 2014
episodes 9 and 10 screen at 7 p.m. Monday, Jan. 27. Not rated, but not suitable for children. Each episode runs roughly 55 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) GIMME SHELTER This is not the old Rolling Stones documentary but a movie about a rolling stone (in the sense of the Bob Dylan song): Agnes Bailey (Vanessa Hudgens), a pregnant and troubled teen who escapes her abusive mom (Rosario Dawson), is rejected by her rich dad (Brendan Fraser), and finds herself astray until she discovers God and a shelter for homeless women. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) GOD LOVES UGANDA Roger Ross Williams’ documentary portrays homophobia as the motivating factor in the missionary work of the Kansas City, Missouri-based International House of Prayer in Uganda. Its campaign to demonize sexual practices, especially homosexual behavior, inspires Ugandan efforts to enshrine anti-gay policy into law — including the death penalty for “aggravated homosexuality,” which may or may not include sex. While that part of the legislation was rescinded after an international outcry, the bulk of it remains, including 14-year prison sentences for first-time offenders. Graphically presented images of religious fervor and the hate it inspires will redefine
THE INVISIBLE WOMAN Over the last dozen or so years of his life, Charles Dickens (Ralph Fiennes) kept a young mistress, the actress Nelly Ternan (Felicity Jones), hidden from the world. In Fiennes’ film, adapted by Abi Morgan (Shame, The Iron Lady) from Claire Tomalin’s book, he tells a distinctly Victorian tale of illicit love. Dickens burned all his correspondence and diaries in part to keep this story secret, but it seeped out. Fiennes has built a beautifully detailed and presented Victorian world, but he has not quite managed to make the romance come alive in it. Rated R. 111 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) See review, Page 44. LET THE FIRE BURN The 1985 bombing by Philadelphia police of a row house occupied by a troublesome group of black activists had tragic consequences: 11 of the house members, including five children, died, and some 60 surrounding homes burned as well. Director Jason Osder examines the event and what led up to it using footage from local television, videotapes of the hearings that followed, and other documents, with few contemporary comments. The result is a trick of time, putting viewers inside history that stretches back to the 1970s, when the MOVE organization’s disputes with authorities and neighbors began. The most moving account comes from the only child of the targeted home to survive, Michael Ward, aka Birdie Africa. The fact that he died this past fall at 41 makes his testimony even more poignant. Not rated. 95 minutes. The Screen, Santa Fe. (Bill Kohlhaase)
REACHING FOR THE MOON Director Bruno Barreto (Four Days in September) presents a film about the true-life love affair between American poet Elizabeth Bishop (Miranda Otto) and Brazilian architect Lota de Macedo Soares (Glória Pires). The women met when Bishop traveled to Rio de Janeiro in the 1950s to escape writer’s block and came into a country that, like the relationship she found, was volatile and beautiful. Not rated. 118 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)
now in theaters ALL IS LOST A man (Robert Redford) is stranded on a crippled vessel somewhere in the Indian Ocean in this often-enthralling drama. All Is Lost is basically Robert Redford against the sea, and it relies on good oldfashioned storytelling to keep you involved. It’s a gutsy project that trusts its audience to trust it back, but be warned: the final third gets a bit repetitious. Saturday and Sunday, Jan. 25 and 26, only. Rated PG-13. 106 minutes. The Screen, Santa Fe. (Robert Nott) AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film weaves themes and rhythms, tight ensemble work and electrifying solos, and builds to a footstomping climax. Nominated for 10 Academy Awards, including Best Picture and all four acting categories (for Bale, Adams, Bradley Cooper, and Jennifer Lawrence). Rated R. 138 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) AUGUST: OSAGE COUNTY Tracy Letts adapts his Pulitzer Prize-winning play for the screen, with an embarrassment of riches led by Meryl Streep as the poisonous matriarch of one of the most dysfunctional families you’ll ever meet as they gather to cope with the suicide of the patriarch (Sam Shepard). Streep is joined but not matched by a generally strong cast, with particular kudos to Julia Roberts who, along with Streep, was nominated for an Oscar for her work here. Rated R. 119 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) BROKEN CIRCLE BREAKDOWN This Belgian indie boasts artful cinematography, a fantastic soundtrack, and
now a nomination for a Best Foreign Language Film Oscar. Didier (Johan Heldenbergh) and Elise (Veerie Baetens) fall in love, have a baby, and perform in a bluegrass band until tragedy strikes. Director Felix Van Groeningen throws time in a blender, whirring around from the middle to the beginning and back. Not rated. 111 minutes. In Flemish with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) DALLAS BUYERS CLUB In 1985 a homophobic Texas redneck named Ron Woodroof was diagnosed as HIV-positive, at a time when AIDS was known almost exclusively as a gay disease. His battle against the medical industry that put profit ahead of patients is the basis for this remarkable story. Matthew McConaughey as Woodroof and Jared Leto as his transvestite sidekick Rayon were good enough to earn notice from the Academy, which also nominated the film for Best Picture. Rated R. 117 minutes. Center for Contemporary Arts and Regal Stadium 14, Santa Fe. ( Jonathan Richards) DEVIL’S DUE The title of this film refers to a due date, and the protagonist, named Samantha (Allison Miller), would have a lot to talk about with a woman from the 1960s named Rosemary. Alas, horror movies have changed since then, and this pregnancy-goneevil movie features a lot of people getting loudly slammed around. Rated R. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) FROZEN Disney’s latest fable, nominated for a best Animated Feature Film Oscar, is strange: it is a breezy tale of misunderstanding with no real villain or central conflict. Two princess sisters in a fantasy kingdom are split when one is revealed to have magical powers to summon snow and ice. With the help of a big lug (Jonathan Groff), younger sis (Kristen Bell) must pull older sis out of her wintery withdrawal from society. Rated PG. 108 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE GREAT BEAUTY Director Paolo Sorrentino’s excursion through Roman high life is a funny, sexy, and heartbreaking look at a society dancing as fast as it can to keep up with a past that can’t be caught. Our guide is Jep Gambardella (Toni Servillo), a writer who made a literary splash with a novel 40 years ago and hasn’t been able to think of anything worth writing about since. Nominated for a Best Foreign Language Film Oscar, the movie is a conscious and masterful updating of Fellini.
Not rated. 142 minutes. In Italian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) HER Writer and director Spike Jonze spins a futuristic fable about a melancholy man (Joaquin Phoenix) and his sexy-sounding computer operating system (voiced by Scarlett Johansson). Everything from the fashion to the architecture builds a sophisticated depiction of a utopian near-future, and the breadth of the themes makes Her a Rorschach test: one could see it as a movie about the definition of love, our reliance on technology, the shifting of gender roles, or the merits of Buddhist philosophy. Phoenix does a lot of solo talking, but Jonze’s assured and imaginative filmmaking carries the movie. It’s up for five Academy Awards, including Best Picture. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE HOBBIT: DESOLATION OF SMAUG As if in reaction to criticism that the first Hobbit flick was too slow, director Peter Jackson keeps the action pumping in this sequel. Given that the film is nearly three hours long, it gets exhausting. It also feels shorter than many 90-minute films, thanks to its attention to detail, swashbuckling action, operatic drama, and a jim-dandy of a dragon (voiced by Benedict Cumberbatch). Rated PG-13. 160 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) THE HUNGER GAMES: CATCHING FIRE This is a rare case of a movie that’s just as good as — if not better than — the book on which it’s based. Defiant Katniss (Jennifer Lawrence) has inspired unrest in Panem, a dystopian nation where a totalitarian government punishes its citizens for their rebellion by forcing children to compete in an annual televised battle. To dampen Katniss’ fire, sinister President Snow (Donald Sutherland) and a new Head Gamemaker (Philip Seymour Hoffman) force her back into the arena. Rated PG-13. 146 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) INSIDE LLEWYN DAVIS The Coen brothers have made a richly textured, visually gorgeous film set in the Greenwich Village folk scene at the start of the ’60s. The title character (Oscar Isaac) is loosely inspired by Dave Van Ronk, one of the core figures of the folk revival, but he doesn’t achieve similar stature. The continued on Page 40
PASATIEMPOMAGAZINE.COM
39
MOVING IMAGES pasa pics
continued from Page 39
Coens handle the music with respect and treat the life of a marginal artist with humor, sympathy, and a nice streak of cynicism. The film is about opportunities missed, lost, and squandered. Rated R. 105 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) JACK RYAN: SHADOW RECRUIT Kenneth Branagh — who, despite his impressive background in Shakespeare and British theater, is now billed as “the director of Thor” — is the director (and co-star) of the latest film starring Tom Clancy’s beloved Jack Ryan. This one is a prequel, with Chris Pine doing the whole international espionage thing in the title role. Kevin Costner and Keira Knightley play Ryan’s boss and wife. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE LEGEND OF HERCULES The cheapie “swords and sandals” flick, that B-movie staple, gets a modern update with this loose retelling of the Hercules fable, which stars people with names like Kellan Lutz and Gaia Weiss, boasts special effects that look less impressive than Playstation 4 games, and is smeared with a recycled 300 visual style. Director Renny Harlin’s fall from grace is complete. Rated PG-13. 99 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. (Not reviewed) LONE SURVIVOR A movie based on a memoir of a combat mission and titled Lone Survivor has to find its strengths in something other than suspense. Peter Berg’s bloodand-guts tale is adapted from Marcus Luttrell’s (Mark Wahlberg) account of an ill-fated 2005 attempt by four Navy SEALs to take out a murderous warlord in the mountains of Afghanistan. The acting is solid, the action is tough, and the real-life consequences were tragic. But the movie comes across as a two-hour hybrid of a video game and a recruitment film. Rated R. 121 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Jonathan Richards)
spicy
medium
bland
heartburn
mild
Read Pasa Pics online at www.pasatiempomagazine.com
40
PASATIEMPO I January 24 -30, 2014
NEBRASKA Woody Grant (Bruce Dern) has won a million dollars, or so his letter from Publishers Clearing House says, and he’s determined to go to Lincoln, Nebraska, to claim his prize. His son David (Will Forte) agrees to drive him. This is the setup for Alexander Payne’s sweet, biting comedy-drama of a receding American Midwest. As important as the characters is the black-and-white photography, which brings out the lonely feeling of an era and a generation disappearing into the past. Dern and Payne are both up for Oscars, and the film is in the running for Best Picture. Rated R. 115 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE NUT JOB Bug-eyed rodents rule the day in this cartoon about a squirrel (voiced by Will Arnett) and a rat (Robert Tinkler) who attempt to break into a nut store. Kids might like this movie, but parents deserves a prize just for making it through the loud, obnoxious trailer. Rated PG. 85 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who takes on a human-interest story by bringing an Irishwoman (Judi Dench, Oscar-nominated once more) to America to find her long-estranged son. The film has the makings of an odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. Before director Stephen Frears is done taking us on all of his turns, we’ve pondered aging, forgiveness, and the existence of God. The film is up for a Best Picture Oscar. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker) RIDE ALONG It’s the kind of movie you feel like you’ve already watched 100 times: the suddenly ubiquitous Kevin Hart plays a wise-cracking young punk who joins an older, hard-case cop (Ice Cube) on a basic ride-along. And then things get crazy. Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) SAVING MR. BANKS Fans of Mary Poppins will probably find this biopic depicting the struggle between Walt Disney and author P.L. Travers fascinating, if disturbing. But the screenplay’s arc just isn’t strong enough to carry the film as it moves back and forth between the harsh reality of Travers’ childhood in the
Australian outback and the fairy-tale environment of Disney’s studio. Still, Emma Thompson gives a beautiful turn as the strong-willed Travers, while Tom Hanks is all easygoing charm as Disney. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Nott) 12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with clinical observation and exquisite composition, but he tarnishes his adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many movie moments, blunting the impact and calling his intentions into question. The film is up for nine Oscars, including Best Picture and acting awards for stars Chiwetel Ejiofor, Michael Fassbender, and Lupita Nyong’o. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE WOLF OF WALL STREET Martin Scorsese’s celebration of chicanery and gluttony in the world of finance is based on the true story of Jordan Belfort (Leonardo DiCaprio), who fleeced his way to the top selling penny stocks. Scorsese has turned his story, which was nominated for a Best Picture Oscar, into a dazzling but repetitious movie that halfheartedly masquerades as a cautionary tale laced with dwarftossing contests, exotic cars, yachts, helicopters, and acres of naked women who serve, among other things, as surfaces off of which to snort cocaine. Scorsese, DiCaprio, and co-star Jonah Hill were also nominated for Oscars. Rated R. 179 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards)
other screenings Jean Cocteau Cinema 11 p.m. Friday, Jan. 24; midnight Saturday, Jan. 25: The Brain That Wouldn’t Die. Noon, 6:30 p.m., & 9 p.m. Saturday, Jan. 25: The Last Unicorn. Regal Stadium 14 2 p.m. Sunday, Jan. 26; 2 & 7 p.m. Wednesday, Jan. 29: Ferris Bueller’s Day Off. 10 p.m. Thursday, Jan. 30: That Awkward Moment. ◀
ACADEMY AWARD NOMINEE ®
BEST COSTUME DESIGN • MICHAEL O’CONNOR
“ONE OF THE BEST PICTURES OF THE YEAR!” Kenneth Turan, LOS ANGELES TIMES Todd McCarthy, HOLLYWOOD REPORTER Manohla Dargis, THE NEW YORK TIMES
What’s shoWing
THE INVISIBLE WOMAN
Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Dallas Buyers Club (R) Fri. to Sun. 11 a.m., 12:30 p.m., 3 p.m., 7:30 p.m. Mon. to Thurs. 2 p.m., 2:45 p.m., 4:30 p.m., 7 p.m., 8 p.m. God Loves Uganda (NR) Fri. 5:30 p.m., 8 p.m. 5:30 p.m. Sat. and Sun. 5:30 p.m., 8 p.m. The Great Beauty (NR) Fri. to Sun. 1:30 p.m., 4:30 p.m. Mon. to Thurs. 12 p.m., 5:15 p.m.
JeAn CoCteAu CinemA
418 Montezuma Avenue, 505-466-5528 The Brain That Wouldn’t Die (NR) Fri. 11 p.m. Sat. 11:59 p.m. The Broken Circle Breakdown (NR) Fri. 3:45 p.m. Sun. 3:45 p.m. Wed. 3 p.m. Thurs. 3:45 p.m. Game of Thrones (NR) Mon. 7 p.m. Here Comes the Devil (R) Fri. 8:30 p.m. Sun. 8:30 p.m. Wed. 7:30 p.m. Thurs. 8:30 p.m. The Last Unicorn (G) Sat. 12 p.m., 6:30 p.m., 9 p.m. Reaching for the Moon (NR) Fri. 1:30 p.m., 6:15 p.m. Sun. 1:30 p.m., 6:15 p.m. Wed. 12:30 p.m. Thurs. 1:30 p.m., 6:15 p.m. regAl deVArgAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m. August: Osage County (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:50 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Gravity (PG-13) Fri. and Sat. 10:10 p.m. Sun. to Thurs. 7:50 p.m. Her (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. Inside Llewyn Davis (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:10 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. The Invisible Woman (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Nebraska (R) Fri. and Sat. 1:50 p.m., 9:35 p.m. Sun. to Thurs. 1:50 p.m. Philomena (PG-13) Fri. to Thurs. 4:50 p.m., 7:20 p.m. regAl StAdium 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com Call theater or see website for times not shown. American Hustle (R) Fri. to Tue. 12:55 p.m., 4:15 p.m., 7:25 p.m., 10:30 p.m. Dallas Buyers Club (R) Fri. and Sat. 1:10 p.m., 7 p.m. Sun. 7:20 p.m. Mon. and Tue. 1:10 p.m., 7 p.m. Devil’s Due (R) Fri. to Tue. 12:15 p.m., 2:35 p.m., 4:55 p.m., 7:40 p.m., 9:55 p.m. Ferris Bueller’s Day Off (PG-13) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Frozen (PG) Fri. to Tue. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:30 p.m. Gimme Shelter (PG-13) Fri. to Tue. 12:05 p.m., 2:35 p.m., 5:05 p.m., 7:35 p.m., 10:05 p.m. The Hobbit:The Desolation of Smaug 3D (PG-13) Fri. to Tue. 4:20 p.m. The Hobbit:The Desolation of Smaug (PG-13) Fri. to Tue. 12:40 p.m., 8 p.m. The Hunger Games: Catching Fire (PG-13) Fri. to Tue. 12:30 p.m., 3:45 p.m., 7:05 p.m., 10:20 p.m. I, Frankenstein 3D (PG-13) Fri. to Tue. 2:30 p.m., 7:15 p.m. I, Frankenstein (PG-13) Fri. to Tue. 12:10 p.m., 4:50 p.m., 9:40 p.m.
BASED ON THE BOOK BY CLAIRE TOMALIN
WRITTEN BY ABI MORGAN DIRECTED BY RALPH FIENNES
Jack Ryan: Shadow Recruit (PG-13) Fri. to Sun.
12:15 p.m., 2:45 p.m., 5:20 p.m., 7:50 p.m., 10:25 p.m. Mon. and Tue. 12:15 p.m., 2:45 p.m., 5:20 p.m., 7:50 p.m., 10:25 p.m. The Legend of Hercules 3D (PG-13) Fri. to Tue. 12:20 p.m., 7:40 p.m. The Legend of Hercules (PG-13) Fri. to Tue. 2:50 p.m., 5:15 p.m., 10:10 p.m. Lone Survivor (R) Fri. to Tue. 1 p.m., 4 p.m., 7:10 p.m., 10 p.m. The Nut Job in 3D (PG) Fri. to Tue. 12:25 p.m., 5:05 p.m. The Nut Job (PG) Fri. to Tue. 2:50 p.m., 7:20 p.m., 9:45 p.m. Ride Along (PG-13) Fri. to Tue. 12 p.m., 2:35 p.m., 5 p.m., 7:30 p.m., 10 p.m. Saving Mr. Banks (PG-13) Fri. and Sat. 4:05 p.m., 10:10 p.m. Sun. 4:30 p.m., 10:10 p.m. Mon. and Tue. 4:05 p.m., 10:10 p.m. That Awkward Moment (R) Thurs. 10 p.m. The Wolf of Wall Street (R) Fri. to Tue. 12:25 p.m., 4:10 p.m., 8:10 p.m.
WWW.SONYCLASSICS.COM
EXCLUSIVE ENGAGEMENT STARTS TODAY Santa Fe UA DE VARGAS MALL 6 (800) FANDANGO #608
VIEW THE TRAILER WWW.THEINVISIBLEWOMANFILM.COM
9
AC A DEMY AWAR D NOMINATIONS
®
including
BEST PICTURE
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com All Is Lost (PG-13) Sat. and Sun. 10:15 a.m. The Best Offer (R) Fri. to Thurs. 12:30 p.m.,
3:10 p.m., 7:40 p.m.
Let the Fire Burn (NR) Fri. to Thurs. 5:45 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com August: Osage County (R) Fri. 4:30 p.m., 7:10 p.m., 9:45 p.m. Sat. 1:55 p.m., 4:30 p.m., 7:10 p.m., 9:45 p.m. Sun. 1:55 p.m., 4:30 p.m., 7:10 p.m. Mon. to Thurs. 4:30 p.m., 7:10 p.m. Devil’s Due (R) Fri. 4:55 p.m., 7:35 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:35 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. Frozen (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. The Hunger Games: Catching Fire (PG-13) Fri. 6:50 p.m., 9:50 p.m. Sat. 2:30 p.m., 6:50 p.m., 9:50 p.m. Sun. 2:30 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m. I, Frankenstein (PG-13) Fri. 4:40 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:30 p.m. Mon. to Thurs. 4:40 p.m., 7:30 p.m. Jack Ryan: Shadow Recruit (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Lone Survivor (R) Fri. 4:25 p.m., 7 p.m., 9:40 p.m. Sat. 1:50 p.m., 4:25 p.m., 7 p.m., 9:40 p.m. Sun. 1:50 p.m., 4:25 p.m., 7 p.m. Mon. to Thurs. 4:25 p.m., 7 p.m. The Nut Job (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. Ride Along (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Saving Mr. Banks (PG-13) Fri. 4:35 p.m., 7:15 p.m., 10 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 10 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m.
Copyright © 2014 Twentieth Century Fox. All Rights Reserved.
EXCLUSIVE ENGAGEMENT
NOW PLAYING “
Santa Fe UA De Vargas Mall 6 (800) FANDANGO #608
EVERY FAMILY HAS ITS SECRETS. NONE AS
WICKEDLY HILARIOUS AS THESE! ”*
“
JULIA ROBERTS “MERYL STREEP GIVES THE BEST PERFORMANCE OF HER CAREER.” -Claudia Puig
DELIVERS A BRILLIANT, TOUR DE FORCE PERFORMANCE.” -Owen Gleiberman
FROM ACADEMY AWARD® WINNING PRODUCERS GEORGE CLOONEY AND GRANT HESLOV
August: Osage County DIRECTED BY JOHN WELLS
SCREENPLAY BY TRACY LETTS *Roger Friedman, SHOWBIZ411 AugustOsageCountyFilm.com
ARTWORK©2014 THE WEINSTEINCOMPANY.
NOW PLAYING AT THEATERS EVERYWHERE! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED PASATIEMPOMAGAZINE.COM
41
movIng Images film reviews
Tricks of the trade Jonathan Richards I For The New Mexican The Best Offer, mystery, rated R, The Screen, 3 chiles Virgil Oldman (Geoffrey Rush) is a connoisseur, a crook, an obsessive-compulsive, an arrogant snob, a loner, and, in the words of Henry Higgins, a confirmed old bachelor and likely to remain so. A man in his 60s with no history of romantic entanglements might be suspected as a closeted homosexual or a straitjacketed asexual. But such is not the case with Virgil. He does have a closet, or rather, a safe room behind a closet in his luxurious bachelor apartment. But he keeps it stocked with women. Women! Hundreds of them! Beautiful women, a few plain women, young women, older women, naked women, clothed women, large and small, aristocrats and commoners packed in together, floor to ceiling. Before you call the cops — and I’m not saying you shouldn’t — I should add that these women are all on canvas. Virgil is a collector of fine and rare art, and this room, hidden behind shelves of gloves and protected by a digital lock, houses the heart of his collection, his women. These paintings constitute an incalculable fortune. And as with most great fortunes, there’s a dirty secret behind this one. Virgil is an art auctioneer of the very highest stripe, and over the years he has used his position to acquire, by hook and especially by crook, rare and precious art that he misrepresents in auction lots and buys on the cheap with a confederate, a white-maned painter named Billy Whistler (Donald Sutherland). His world begins to change when he is contacted via telephone by an eccentric heiress, Claire (Sylvia
Geoffrey Rush
42
PASATIEMPO I January 24 -30, 2014
There must be a pearl earring in here somewhere: Sylvia Hoeks and Geoffrey Rush
Hoeks), who begs him to come and appraise the contents of the mansion she has inherited from recently deceased parents. The catch: she’s an extreme agoraphobe who has not left the house in years and will only communicate unseen from behind the door of a locked room. Virgil has his own phobia: he cannot bear touching anything and always wears gloves. As he begins to fall for this mystery woman, it calls to mind the Oscar Wilde description of fox hunting as the unspeakable in pursuit of the uneatable; here it’s the untouchable in pursuit of the unseeable. As he examines the contents of Claire’s house, Virgil begins to find old rusted bits of gears and wheels, which he takes to his friend Robert ( Jim Sturgess), a mechanical genius who soon identifies them as parts of an automaton built by 18th-century inventor Jacques de Vaucanson. The film’s robot is a dead ringer for the one in Hugo. Completely reassembled, it would be worth — well, think of an outrageous figure and you’ll still be low. Writer-director Giuseppe Tornatore (Cinema Paradiso) has assembled a gadget of his own here, a complex wheels-within-wheels art-world mystery that owes a great deal to Hitchcock in aspiration, if not in execution. Virgil is an expert in identifying forgeries, and Tornatore’s handsome, lushly told story has some aspects of a clever forgery in its imitation of the master. But it fails to master the subtleties of a movie such as Vertigo, to which it aspires. It telegraphs its twists and cheats on its integrity. With no experience in the romancing of flesh-andblood women, Virgil picks the brain of the ladykiller Robert for tips on how to proceed as he becomes more and more obsessed with the girl behind the door. They discuss authenticity and forgery in
heavily metaphoric terms that embrace both art and love. “Anything can be faked, Virgil,” the young man advises. But he also cautions that “there’s always something authentic concealed in every forgery.” The best movies in the twist-upon-twist genre get their strength from plausibility, in the sense that in some cinematic universe this stuff could really happen and that the reveals hold up to an internal logic when you go back and put them to the pressure test. Tornatore’s yarn is full of holes; pump it up for critical evaluation, and the air will leak out of a dozen fissures. And his dialogue too often smacks of the painfully expository. Still, this movie swept Italy’s awards and killed at the box office. And it’s fun, especially if you can let a story unfold on its own terms and not poke it too much till it’s over. If you like to figure things out as you go along, you’ll have a field day. The art-world settings are great to look at, and Rush paints his character with fine brush strokes. His Virgil begins to soften and melt as his heart warms at the unfamiliar flames of love and sexual desire. And, as with the forgeries Virgil exposes, you can enjoy the artistry of what Rush does without buying into the authenticity of the character. The automaton that figures as a major plot device was a miracle of engineering, a sort of soothsaying mechanical savant that could roll its eyes, flail its limbs, and answer questions. The voice production was probably faked; Robert and Virgil speculate that a dwarf may have been concealed in its base. But it always got the answers right. “Everything it said was true,” Virgil marvels. The same can’t be said for Tornatore’s automaton. But it does move its limbs and roll its eyes nicely. ◀
moving images film reviews
Deadly exports Bill Kohlhaase I The New Mexican God Loves Uganda, documentary, not rated, Center for Contemporary Arts, 3.5 chiles Some American missionaries view Africa in the same way that contemporary capitalists do: as fertile ground to be mined and exploited. While doing good is the declared basis of their mission, part of that mission is to bring their ideology to places where they feel it will take root. Roger Ross Williams’ documentary of a Kansas City, Missouribased evangelical church, the International House of Prayer (its acronym can only cause snickers among the pancake crowd), and its efforts to bring a radical anti-homosexual agenda to Uganda is disturbing on many levels, not the least of which is manifested in proposed Ugandan legislation that would allow the death penalty for those engaged in homosexual activity. That proposal, greeted with outrage across the globe, was absent from the anti-gay bill passed by the Ugandan legislature last December, replaced with life imprisonment for “aggravated homosexuality.” A first offender would get 14 years. The bill that passed not only prohibits any form of sexual relations between persons of the same sex, it also outlaws “the promotion and recognition” of homosexual activity by any individual or agency. It requires notifying authorities if such activity is observed or suspected. Ugandan president Yoweri Museveni has yet to sign the bill. But the bill’s effects, measured in fear and violence, were being felt long before the legislation passed.
Street preacher decrying homosexuality
Voice for tolerance: Bishop Christopher Senyonjo with Ugandan students
Williams’ film doesn’t have to work hard to expose the injustice and hatred involved. Using interviews with both Americans and Ugandans as well as footage of rallies and American evangelicals as they leave the U.S. and travel to Africa, he finds little need for narration and even less for posturing. It’s clear where the American evangelicals — mostly young people — stand, even before they leave Missouri. IHOP leader Lou Engle, a co-founder of the prayer rally group The Call and an evangelical who, according to the Southern Poverty Law Center, can “venture into bloodlust,” smiles his way through outrageously misleading and inflammatory comments. Scenes captured in Uganda show his words are having an effect. Anti-gay demonstrators wave signs with hateful messages on streets lined with billboards touting liquor. Belligerent street preachers shout at passersby. One scene captures a beating, presumably of a gay man, by a growing gang of attackers. The tension is palpable during the funeral of David Kato, a gay rights activist who was beaten to death with a hammer as the film was being made. Equally frightening are the apparently good intentions of the young evangelical missionaries even as their message — abstinence from sex and the evils of condoms — would result in a death sentence for thousands in a country afflicted with AIDS. None of the Christians, American or African, speak of helping AIDS victims. Much of what’s happened in Uganda is a reaction to AIDS programs initiated by Americans — notably President George W. Bush — and the United Nations. The evangelicals’ attempts to link those efforts to promotion of the “homosexual agenda” seem both insidious and stupid. Yet that appears to be the missionaries’ springboard to action. The U.S. Christian Right sees the country as fertile ground for its agenda, based on the fact that Uganda is 84 percent Christian and that nearly half
its population is under the age of 15. Repeated declarations that America has been lost to the homosexual agenda may seem silly to most viewers, but not when coupled with the fanaticism of the evangelicals seen in the film. By the time the claim that the United Nations is pushing that agenda arrives in the film, it seems nothing less than what we might expect from the anti-gay fanatics. The film does have its heroes. Bishop Christopher Senyonjo, excommunicated from the Church of Uganda for the tolerance he has shown gays, continues to carry his message even though his life is in danger. The Rev. Kapya Kaoma, an Anglican priest who went to Uganda to study the treatment of gays and lesbians, was driven from the country in fear of his life. But mostly this is a document of exploitation and evil, even if hidden behind happy youthful faces. We’re shown one of Uganda’s leading anti-gay evangelicals as he’s served a meal inside his expansive mansion. We see bored Ugandans stuck in traffic as an anti-gay activist wails at them, using a megaphone. Equally frightening is the view of American evangelicals in pursuit of their anti-LGBT crusade. The fevered participation in religious rallies and the Americans’ seeming obliviousness to the harm in what they’re demanding of the Ugandans (there are more than a few shots of Americans speaking into African ears during church services) can only make one wonder: Is anti-gay fanaticism America’s most visible export to Uganda? What about the Christian Beatitudes? What does any of this hate have to do with the duties suggested in the Christian New Testament? But then, duty is in the eye of the beholder. Williams has not only captured a controversy, he’s captured a threat, one that’s a reality in Uganda, one that lurks behind American right-wing evangelical politics. ◀
PASATIEMPOMAGAZINE.COM
43
movIng Images film reviews
Whoa, Nelly Jonathan Richards I For The New Mexican The Invisible Woman, bio-drama, rated R, Regal DeVargas, 3 chiles She was 18 when they met, an aspiring actress in a theatrical family. He was 46, married, and one of the most famous men in the world. Victoria was queen, and England was a strait-laced place, at least on its surface and in its conventions. As the great man slowly found himself falling in love with the innocent teenager, he knew he was slipping into a world of trouble and hurt. But Charles Dickens had the advantage, in this predicament, of being a man. Whatever qualms of conscience, whatever opprobrium of society he suffered, his way was feathered by his gender as well as his celebrity and his wealth. For Nelly Ternan, the rules were rougher, the road more hazardous, the wounds deeper, and the stakes incalculably higher. And so she becomes the invisible woman, the secret mistress, tucked away in obscurity in a country cottage under an assumed name. In Ralph Fiennes’ film, adapted by Abi Morgan (Shame, The Iron Lady) from Claire Tomalin’s 1991 book, the action takes place in two distinct time periods. The frame in which it is enclosed is the year 1885, many years after Dickens’ death, when Nelly (Felicity Jones) is the wife of a Margate headmaster who knows little of her past and the mother of a towheaded boy. She loves her family, but she’s troubled, and in between domestic duties and directing a school theatrical production, she likes to go for long solitary walks on the beach, dressed and bonneted in black, adrift in a French Lieutenant’s Woman brooding
Ralph Fiennes
44
PASATIEMPO I January 24 -30, 2014
Our mutual friend: Ralph Fiennes and Kristin Scott Thomas
funk. This is not lost on the local pastor, the Rev. Benham ( John Kavanagh), who follows her and sympathetically coaxes her story out of her. The time and place where that story starts are nearly three decades earlier, in a Manchester theater where Dickens (Fiennes) is directing a production of The Frozen Deep, a melodrama by his close friend Wilkie Collins (Tom Hollander). The final members of the cast arrive — Mrs. Frances Ternan (the wonderful Kristin Scott Thomas) and her three grown daughters. A jovial Dickens makes the introductions of his cast and family, presenting his numerous offspring to the new arrivals. At the end, as an afterthought, he indicates a plump woman and adds “and this is my wife.” Although she is not the title character, Catherine Dickens ( Joanna Scanlan) is the real invisible woman of the piece. Twenty years married to England’s greatest living man of letters, 10 times a mother to his children, Catherine has assumed the dimensions and the importance in his life of a well-upholstered sofa. The passion, and even the mechanics, would seem to have extinguished in their marriage since the birth of their last offspring, and if Charles has the occasional affair and keeps it discreet, that is perhaps something she can accept, if not welcome. Fiennes plays Dickens with gusto, exuding the charisma and authority of a man at home with his celebrity, although a look of pain never seems more than two or three layers below the bearded surface of his face. As Nelly, Jones is pretty and sensitive, and plays her sense of her predicament well as the threads of romance begin to gather, but you wish now and then for a little more exuberance. The most striking performances come from Scott Thomas as the loving but practical mother who comes to terms with her youngest daughter’s theatrical limitations
and gently nudges her toward the security of the illicit relationship, and from Scanlan as Catherine, whose pretty pudding of a face registers both understanding and heartbreak as she finds herself being put out to pasture. In a key scene, Dickens and Collins sweep Nelly up from her family birthday party and take her to Collins’ home, where he lives in an openly unmarried relationship with his mistress Caroline (Michelle Fairley). Nelly is shocked and offended, both by the relationship and the fact that Dickens would so pointedly expose her to it. Later, when Collins exhorts her that “We must break free of these conventions,” she retorts, “You see a freedom that I do not see!” For a Victorian woman it is not impossible — Caroline has shown us that — but such a flaunting of convention is a harbinger of a future too distant for Nelly to care to envision. Fiennes has built a beautifully detailed and presented Victorian world, but he has not quite managed to make the romance come alive in it, although he crafts some subtle and even poignant scenes. The author shows his young mistress the final chapter of Great Expectations, and tells her that his publishers are unhappy with the ending he has written; they want one in which Estella and Pip live happily ever after. Nelly may not have seen much of the world, but she has seen enough to know that that’s not necessarily how it works. In her later life, she regrets the compromise ending in which her lover has Pip say: “I took her hand in mine, and we went out of the ruined place; and, as the morning mists had risen long ago when I first left the forge, so the evening mists were rising now, and in all the broad expanse of tranquil light they showed to me, I saw no shadow of another parting from her.” ◀
Proud Sponsors of the CCA Cinematheque
THE CINEMATHEQUE JANUARY 24-30 1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org
Santa Fe’s only not-for-profit, community-supported independent theatre, showing the best in cinema.
BACK IN THEATERS THIS WEEKEND! WINNER g o l d e n g lo b e
“A classic Old World mystery set in Europe’s high-rolling art world.” Deborah Young, The Hollywood Reporter
FROM THE DIRECTOR OF CINEMA PARADISIO
®
*drama
awa r d
best actor matthew mcConaughey
*
best supporting actor jared leto
hugely entertaining!”
“
““A masterful lead performance by Geoffrey Rush.” Gary Goldstein, The Los Angeles Times
the wall street journal
screen actors guild award nominee
best cast
best actor matthew mcConaughey best supporting actor jared leto
a crowd-pleaser!”
“
new York Magazine
100% top critics
producers guild oF america nominee
best picture
M a t t H e W MC C o n aU g H e Y
DALLAS BUYERS CLUB jennifer garner
inspired By true eVents
and
#dallasbuyersclub
4
GOD LOVES
jared leto
dallasbuyersclub.com
Facebook.com/dallasbuyersclub
EUROPEAN FILM AWARDS NOMINATIONS
Fri at 3:10 and 7:40; Sat through Thurs at 12:30, 3:10 and 7:40
“CRITIC’S PICK! A RIVETING CHRONICLE. Relives an incredible chapter in American history.” –Nicolas Rapold, THE NEW YORK TIMES –David Edelstein, NEW YORK MAGAZINE
BEST BEST DIRECTOR BEST WRITER BEST ACTOR PAOLO SORRENTINO PAOLO SORRENTINO • UMBERTO CONTARELLO TONI SERVILLO PICTURE
“ELECTRIFYING!”
BRITISH INDEPENDENT FILM AWARDS NOMINATIONS
UGANDA
BEST INTERNATIONAL FILM
“THE YEAR’S GRANDEST, MOST EXHILARATING FOREIGN FILM.” Richard & Mary Corliss, TIME
Have you heard the good news?
“MIGHT JUST BE “ARADIANTWORK. “OUTLANDISHLY THE MOST DROP-DEADGORGEOUS. ENTERTAINING UNFORGETTABLE Moves to the insistent Luxuriously, seductively, stunningly cinematic.” FILM OF THE YEAR.” beat of life.” KennethTuran,LOSANGELESTIMES
BilgeEbiri,NEWYORKMAGAZINE
“NOTHING SHORT OF SUBLIME.” Ella Taylor, NPR.org
Manohla Dargis, THE NEW YORK TIMES
“A MASTERPIECE, a grand swooning epic, lush to the point of insanity.”
A FILM BY JASON OSDER
Catherine Shoard, THE GUARDIAN
A FILM BY
PAOLO SORRENTINO
Oscar-winning director Roger Ross Williams by Skype!! 5:30p Friday, January 24! Fri-Sun Jan 24-26 11:00a 12:30p 1:30p 3:00p 4:30p 5:30p 7:30p 8:00p -
- Dallas Buyers Club - Dallas Buyers Club* The Great Beauty Dallas Buyers Club* The Great Beauty God Loves Uganda* Dallas Buyers Club God Loves Uganda*
watch the trailer at www.letthefireburn.com
WWW.THEGREATBEAUTY.COM
OFFICIAL ITALIAN ENTRY FOR THE 86TH ACADEMY AWARDS ®
Mon-Thurs Jan 27-30 12:00p 2:00p 2:45p 4:30p 5:15p 7:00p 8:00p -
- The Great Beauty Dallas Buyers Club* Dallas Buyers Club Dallas Buyers Club* The Great Beauty Dallas Buyers Club* Dallas Buyers Club
Fri through Thurs at 5:45
COMING SOON • 12 O’CLOCK BOYS • IF YOU BUILD IT • THE PAST •PARTICLE FEVER AT THE LENSIC • THE TIGHTROPE WITH PETER BROOK • THE MISSING PICTURE • THE SINGULARITY • BETHLEHEM • & MUCH MORE!!! * indicates shows will be in The Studio, our new screening room for $8.00, or $6.00 CCA Members!
Concessions Provided by WHOLE FOODS MARKET
LAST TWO SHOWS
ALL IS LOST Sat and Sun at 10:15am
Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
S U R R O U N D •E X
SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM
45
RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Alive and cooking
Osteria d’Assisi 58 S. Federal Place, 505-986-5858 Lunch 11 a.m.-3 p.m. Mondays-Saturdays; dinner 5-10 p.m. daily; bar menu 4-6 p.m. Mondays-Fridays Vegetarian options Take-out available Patio dining in season Full bar Credit cards, local checks
•
The Short Order Over the last few years, executive chef Cristian Pontiggia has settled in at Osteria d’Assisi and is making a name for himself with his seafood specials, inspired sauces, and accompaniments. Pontiggia’s lasagna and tomato cream sauces are as good as any others in town, but his way with seafood brings in new life. The bar may be the best seat in the house, and your antipasti can serve as finger food. The fresco on one of the dining room walls won’t make you believe you’re in Lombardy, but the service is better than a lot of what you’ll experience in Italy. Recommended: antipasto plate with prosciutto, coppa, and salami; fettuccine Carolina; pizza bianca salsiccia; trout and bay scallop specials; and lemon meringue and coconut cream pies.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
46
PASATIEMPO I January 24 -30, 2014
Osteria d’Assisi is conspicuously located on South Federal Place, across from the magnificent shaded lawn of the U.S. District Court. The restaurant’s charming interior has made it a favorite for special-occasion dinners — birthdays, anniversaries, first dates — for the 20 years it’s been in business. The food is, of course, Italian, but this isn’t a classic red-sauce restaurant. And the cuisine’s not as northern Italian in style as you might expect from a place whose owner, Lino Pertusini, and executive chef, Cristian Pontiggia, both hail from the Lake Como region of Lombardy. While the menu seems to have identity problems, the cooking is confident. Creamy pasta sauces only lightly colored with tomato suggest northern refinement. Rollatini di melanzane, an eggplant roll-up in a rich marinara sauce, is robust in a Neapolitan way. Osteria makes good thin-crust pizza but overdoes it with the cheese (although that’s not always a bad thing). Offerings include both lasagna alla Bolognese (layered house-made pasta with meat sauce and béchamel) and capellini rustica (angel hair pasta with garlic, tomatoes, and mozzarella) — contrasting symbols of northern and southern styles. The menu, though not lengthy by any means, was put together by individuals who truly believe in offering something for everyone. The restaurant is certainly a charming place. The tight little sunlit patio is seasonally attractive. Each of the interior rooms is warm, and one sports a fresco depicting a vineyard. The table service is better than you’ll often experience in Italy, and the food mostly comes to the table hot and fresh. The best seats in the house are at the short wine bar, where people grasp stemware, eat pizza, and share salads over conversation. The wine list is heavily Italian and weighty with reds but also includes a prosecco by the glass. Antipasti serve as bar or finger food. Grilled zucchini and plump cannellini beans, both in oil, are served with a dry, concentrated prosciutto and rounds of salami creamy with fat. A salad of roasted beets, chewy figs, greens, and Gorgonzola had a bit too much of the champagne vinaigrette, subtly flavored as it was. The minestrone was soothing but not spectacular. The pizzas have a chewy, just-browned crust. Toppings are applied sparingly, but their quality is good — you can taste that house-made sausage before you actually bite into it. The cheese on the sausage pizza — mozzarella, fontina, and Gorgonzola — makes a statement in three-part harmony. Main menu items are consistently respectable and occasionally stellar. But the changing array of specials — often involving seafood and sauces that are wonderfully complementary — gives you reason to pay Osteria more than the occasional visit. One evening’s plump bay scallops, set inside a pinwheel of large green-lipped mussels centered around a swirl of salt-cod mousse, had it all: superior ingredients, preparation, and presentation. It was a light, delectable concoction, neither salty nor fishy. All the components were understated yet stood yummily on their own. The scallops were fresh and mildly flavored, the mussels equally gentle despite their size. The sauce that it all sat on, with its little dabs of mint, didn’t let the other flavors dominate. And the plate showed off Pontiggia’s technique of arranging food in a circular fashion.
A lunch special of trout wrapped in parchment, which reminded me of the old campfire method of steaming trout in newspaper, included bay shrimp and peppers. The fish, flaking easily and seasoned just enough to color its translucent flavor, was a touch too moist. But the subtle blend of tastes — trout, shrimp, and vegetables — was enticingly understated. The list of traditional Italian American menu items — ravioli, veal, lamb, pastas, steak, and chicken — is surprisingly brief and to the point. Veal ravioli with mushrooms in a slick cream sauce might have sat in the kitchen a little too long — the pasta’s edges were stiff. The thick and toothsome house-made fettuccine with sun-dried tomatoes, spinach, and a creamy tomato sauce was rich and satisfying. A seared organic beef fillet was gorgeously red inside, with a bit of char on the outside. A generous slab of seared pork belly balanced the beef’s leanness. Desserts — a lemon meringue pie and a coconut cream pie — were not the piled-high diner variety but were sparingly sweetened, modestly sized, and intensely flavored. The tiramisu was no soggy construction, its ladyfingers and layers of mascarpone firm and inviting. We didn’t think much of the coffee, either drip or espresso. Desserts this good deserve better brew. ◀
Check, please
Dinner for three at Osteria d’Assisi: Glass, 2010 Ferrari-Carano fumé blanc ........................$ 9.00 Glass, 2008 Zaccagnini Montepulciano d’Abruzzo ......$ 10.00 Antipasto with prosciutto, coppa, and salami ..............$ 16.45 Insalata bietole fichi ......................................................$ 11.00 (roasted beet and marinated fig salad) Salad split charge ..........................................................$ 1.90 Pizza bianca salsiccia (sausage pizza) ...........................$ 13.50 Ravioli di vitello con funghi .........................................$ 17.95 (veal and mushroom ravioli) Bay scallop and mussels special ....................................$ 32.95 Filettino alla Boscaiola ..................................................$ 32.50 (filet mignon with pork belly) Tiramisu .......................................................................$ 7.50 Coconut cream pie .......................................................$ 7.50 Lemon meringue pie .....................................................$ 7.50 Coffee (2) .....................................................................$ 5.00 TOTAL ..........................................................................$ 172.75 (before tax and tip) Lunch for two, another visit: Cup, minestrone ...........................................................$ Pizza funghi e tartufo ....................................................$ (mushroom pizza with truffle oil) Fettuccine Carolina ......................................................$ Trout special .................................................................$ Cappuccino ..................................................................$ Espresso ........................................................................$ TOTAL ..........................................................................$ (before tax and tip)
5.00 11.95 13.95 16.50 3.95 3.50 54.85
L a
C a n t i n a
P r e s e n t s
a musical comedy
enCore show January 31, 2014 seating at 5:30pm & 8:30pm
For Reservations Call 505-988-9232 Book, Music and Lyrics By dan GoGGin “nunsense is presented By speciaL arranGeMent with saMueL French, inc.” Open Daily 11:00am until close 125 East Palace, Santa Fe, NM 87501 (505) 988-9232 | F i N D u S O N Fa c E b O O k
Pouring soon!
P r o u d ly F e at u r i n g t h e B e s t CraFt Beer new MexiCo B r e w e r i e s h av e t o o F F e r
stay con n E c t E d
@draFtstation
draFt station
60 East san Francisco st., santa FE | tEl (505) 983-6443
PASATIEMPOMAGAZINE.COM
47
ClassiCal WeekenD
DESERT SON Santa Fe Pro MuSica orcheStra Thomas o’Connor, conductor Cármelo de los sanTos, violin
of santa fe
HANDMADE BOOTS, BELTS, BUCKLES, HANDBAGS & JEWELRY SHEARLING COAT SALE
Saturday, January 25 at 6PM Sunday, January 26 at 3PM* *5pm Post-concert reception — Meet the Musicians, Lensic Lobby LenSic PerForMing artS center
Vaughan Williams Fantasia on a Theme of Thomas Tallis BarBer Concerto for Violin and orchestra, op. 14 BeethoVen symphony no. 1 in C major, op. 21 Meet the Music one hour before each concert with Thomas O’Connor and special guest John Clubbe. TiCkeTs $20, $35, $45, $65, students and Teachers $10 santa Fe Pro Musica Box Office: 505.988.4640 Tickets santa Fe at the lensic: 505.988.1234 www.santafepromusica.com
Platinum Lodging Partner: The 2013-2014 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
48
PASATIEMPO I January 24 - 30, 2014
Re presenting He n r y B eg u e l i n , N u m e ro 1 0 & O f f i c i n e C re a t i ve 725 Canyon Rd. • 505-982-9499 • www.desertsonofsantafe.com
pasa week Friday, Jan. 24
BOOKS/TALKS
Armistead Maupin The author reads from and signs copies of The Days of Anna Madrigal, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10-$15, 505-988-1234, ticketssantafe.org. (See story, Page 12) Spengler and Bacon on the End and Beginning of the Modern West St. John’s College 2014 Dean’s Lecture series begins with a talk by Frank Pagano, 7:30 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.
GALLERY/MUSEUM OPENINGS
Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Illuminated sculptures by Ilan Ashkenazi, artist talk 3 p.m., reception 5-7 p.m., through Feb. 22. Muñoz Waxman Main Gallery — Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective Scuba, reception 6-8 p.m., through March 30. (See story, Page 28) Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1666. Articulations in Print, group show; Bon à Tirer, prints from the permanent collection; Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program; reception 5-7 p.m., through July. (See story, Page 32) Spector-Ripps Project Space — Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. All the News That’s Fit to Print, group show, reception 6-8 p.m., through March 30. (See story, Page 28) Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Under 35: Part II, group show of mixed media, reception 5-7 p.m., through Feb. 15.
EVENTS
Winterbrew Annual festival of craft beers and food hosted by New Mexico breweries and local chefs, 4-9 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $20 includes commemorative pint glass and $5 in tokens, 505-660-2951, sold out.
NIGHTLIFE
CLASSICAL MUSIC
Music on Barcelona The ensemble performs music of Quantz, Fasch, and Alec Wilder, 5:30-6:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., donations appreciated, 505-424-0994. St. John’s College piano recital The lunchtime concert series continues with Peter Pesic, 12:10 p.m., Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 505-984-6000. TGIF recital Santa Fe Concert Association’s EPIK artists (students ages 8-17), mixed repertoire, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 505-982-8544, Ext. 16.
IN CONCERT
Guitar Shorty Veteran bluesman, 8 p.m., Garrett’s Desert Inn, 311 Old Santa Fe Trail, $25 in advance online at brownpapertickets.com. Guitar workshop 1-4 p.m. Saturday, $79, for reservations call Garrett’s Desert Inn, 505-982-1851.
Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Under 21............................. 52 Pasa Kids............................ 52
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
Plow Blades, Oliver Child Plow Co., 1930, by Margaret Bourke-White, © Time, Inc; Monroe Gallery of Photography, 112 Don Gaspar Ave.
THEATER/DANCE
Anna in the Tropics New Mexico School for the Arts Theater presents Nilo Cruz’s Pulitzer Prize-winning play set in a 1929 Florida Cuban-American cigar factory, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, nmschoolforthearts.org, closes Saturday.
In the Wings....................... 53 At the Galleries.................... 54 Libraries...............................54 Museums & Art Spaces........ 54 Exhibitionism...................... 55
Charlotte’s Web Presented by Eldorado Children’s Theatre and Teen Players, 7 p.m., Scottish Rite Center, 463 Paseo de Peralta, $12 in advance and at the door, discounts available, eldoradochildrenstheatre.org, through Sunday. The Merry Wives of Windsor preview Presented by Arden Shakespeare Festival, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, call 505-603-7479 for tickets.
(See Page 50 for addresses) ¡Chispa! at El Mesón Three Faces of Jazz, revolving piano trio, 7:30-10:30 p.m., no cover. Cowgirl BBQ Local country singer/songwriter Bill Hearne, 5 p.m.; John Kurzweg Band, rock ’n’ roll, 8 p.m.; no cover. Duel Brewing Joe West Trio, theatrical folk, 7 p.m., no cover. El Farol The Gruve, classic soul and R & B, 9 p.m., call for cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Funk and R & B band Soulstatic, 8 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Jazz off the Plaza with The Revolver Trio, John Gagan on bass, Robin Holloway on piano, and Loren Bienvenu on drums, 9:30 p.m., no cover. Mine Shaft Tavern DJ Sass-a-Frass, 5 p.m.; open mic with blues guitarist Timbo, 8 p.m.; call for cover. Second Street Brewery Hot Club of Santa Fe, Gypsy jazz, 6 p.m., no cover. Second Street Brewery at the Railyard Roots-rock duo Man No Sober, 7 p.m., no cover. ▶▶▶▶▶▶▶▶
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
49
The Palace Restaurant & Saloon Reggae/hip-hop band The Boom Roots Collective, 10 p.m., call for cover. Tiny’s Mark Yaxley, Brazilian-style jazz, 5:30 p.m.; J.J. & The Hooligans, classic rock, 8:30 p.m.close, no cover. Vanessie Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover. Warehouse 21 Teenage Werewolves, Cramps tribute act, Venus & the Lion and To Build a Fire open, 7 p.m., call for cover.
25 Saturday ClaSSiCal MuSiC
Santa Fe Pro Musica Music of Vaughan Williams, Barber, and Beethoven, featuring violinist Cármelo de los Santos, 6 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 505-988-1234, ticketssantafe.org.
iN CONCERT
Music on the Hill Elevated The annual jazz series opens with vocalist Kathy Kosins, 7:30 p.m., doors open at 7 p.m.,Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $25, 505-984-6199. Zia Singers And Ain’t I a Woman, mixed repertoire, 3 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students no charge, 225-571-6352, Sunday encore.
317 aztec 20-0150 317 Aztec St., 505-8 e inn th at ge agoyo loun 3 E. Alameda St., 30 a ed am al e th on 505-984-2121 nt & Bar anasazi Restaura Anasazi, the of Rosewood Inn e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 50 905 W. Alameda St., nch Resort Ra e dg lo ’s op sh Bi Lodge Rd., ps ho Bis 97 & Spa 12 505-983-6377 Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at El Mes 505-983-6756 e., Av ton ing 213 Wash Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. fé Den at Coyote Ca 5-983-1615 50 , St. r ate W . W 2 13 Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton El Cañon at the Hi 88-2811 5-9 50 , St. al ov 100 Sand
50
PASATIEMPO I January 24-30, 2014
THEaTER/DaNCE
Anna in the Tropics New Mexico School for the Arts Theater presents Nilo Cruz’s Pulitzer Prize-winning play set in a 1929 Florida Cuban-American cigar factory, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, nmschoolforthearts.org. Charlotte’s Web Presented by Eldorado Children’s Theatre and Teen Players, 2 p.m., Scottish Rite Center, 463 Paseo de Peralta, $12 in advance and at the door, discounts available, eldoradochildrenstheatre.org, closes Sunday. The Merry Wives of Windsor preview Presented by Arden Shakespeare Festival, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, call 505-603-7479 for tickets.
BOOKS/TalKS
artist talk Tony Tiger discusses his exhibit Full Consciousness of Being, 2-4 p.m., Museum of Contemporary Native Arts, 108 Cathedral Place, by museum admission, 505-983-1666. Getting the Health Care You Deserve A talk by physician Lawrence Lazarus, 11 a.m.noon, Santa Fe Public Library, Main Branch, 145 Washington Ave., no charge, for more information call 505-820-2302. Juan Blea The author reads from his biography Journey to Aztlan, 5 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. Women Presidents in latin america’s Southern Cone David Foster opens the Council on International Relations’ Spring 2014 International Lecture Series, 3 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20, sfcir.org, 505-982-4931.
Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o 309 W. San Francisc El Farol 5-983-9912 808 Canyon Rd., 50 ill El Paseo Bar & Gr 92-2848 5-9 50 , St. teo 208 Galis Evangelo’s o St., 505-982-9014 200 W. San Francisc erging arts High Mayhem Em 38-2047 5-4 50 2811 Siler Lane., Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters iconik Coffee Ro -0996 28 5-4 50 , St. na 1600 Le ca la Bo 5-982-3433 72 W. Marcy St., 50 ina la Casa Sena Cant 5-988-9232 50 125 E. Palace Ave., at la Fonda la Fiesta lounge , 505-982-5511 St. 100 E. San Francisco a Fe Resort nt la Posada de Sa Ave., 505-986-0000 e lac Pa E. 0 33 a and Sp ar g ts Center lensic Performin St., 505-988-1234 o isc nc Fra n 211 W. Sa e lodge Th at ge un lodge lo Francis Dr., St. N. 0 at Santa Fe 75 505-992-5800
EVENTS
Contra dance New England-style folk dance with live music by Reed Island Rounders, beginners’ class 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, 505-820-3535. Peter S. Beagle The Last Unicorn, a two-day exhibit of works by the screenwriter; also, screenings of the film: noon, 6:30, and 9 p.m.; conversation with Beagle and George R.R. Martin 5 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $12 for each event, $20 for screening and conversation, 505-466-5528. (See story, Page 36) Santa Fe Farmers Market 8 a.m.-1 p.m., Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com. Trader Walt’s Southwestern & international Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 8 a.m.3 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge.
NiGHTliFE
(See addresses below) anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. ¡Chispa! at El Mesón! Andy Kingston Jazz Trio, 7:30 p.m., no cover. Cowgirl BBQ Roots-rock duo Man No Sober, 2-5 p.m.; banjo-driven roots-rock duo Todd & The Foxx, 8:30 p.m.; no cover. Duel Brewing Singer/songwriter Edmund Gorman & Friends, 7 p.m., no cover.
low ’n’ Slow lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Molly’s Kitchen & lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo italian Grill 540 Montezuma Ave., 505-984-2645 Rouge Cat 101 W. Marcy St., 505-983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 505-982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705
El Farol Rolling Stones-tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. la Fiesta lounge at la Fonda Funk/R & B band Soulstatic, 8 p.m., no cover. la Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone, 6-9 p.m., no cover. Pranzo italian Grill Pianist Robin Holloway, 6-9 p.m., call for cover. Second Street Brewery Hot Honey, Appalachian country singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, 6 p.m., no cover. Second Street Brewery at the Railyard MVIII Jazz Project, 7 p.m., no cover. Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. The Palace Restaurant & Saloon Rock and blues band Fun Adixx, 10 p.m., call for cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
26 Sunday ClaSSiCal MuSiC
Santa Fe Concert association Family Concert Series Mozart and Mendelssohn violin concertos with soloists Ezra Shcolnik and Phoenix Avalon, 4 p.m., United Church of Santa Fe, 1804 Arroyo Chamiso, $10, 505-984-8759 or 505-988-1234, ticketssantafe.org.
Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewery at the Railyard 1607 Paseo de Peralta, 505-989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 505-988-3333 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna la Boca 125 Lincoln Ave., 505-988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 505-490-6550 Tiny’s 1005 St. Francis Dr., 505-983-9817 The underground at Evangelo’s 200 W. San Francisco St., 505-819-1597 upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 427 W. Water St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Diner 326 S. Guadalupe St., 505-988-7008
Santa Fe Pro Musica Music of Vaughan Williams, Barber, and Beethoven, featuring violinist Cármelo de los Santos, 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 505-988-1234, ticketssantafe.org.
Noble Irish Ancestors and Filthy Mexican Invaders: The uncomfortable Politics of the Archaeology of undocumented Migration A lecture by Jason DeLeón of the University of Michigan, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, 505-954-7203.
IN CONCERT
NIGHTLIFE
Melanie Monsour Piano recital with bassist Paul Brown; jazz, Middle Eastern, and Latin music, noon2 p.m., Museum Hill Café, 710 Camino Lejo, no charge, melaniemonsour.com. Ray Wylie Hubbard Country, folk, and blues artist, 7:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 in advance, brownpapertickets.com, $29 at the door. Those Were the Days Classic-songs medley with vocalist Marvelous Maggie B, pianist Robin Holloway, bassist Andy Zadronzy, and percussionist Gerald Rodriguez, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, 505-424-1601. Zia Singers And Ain’t I a Woman, mixed repertoire, 3 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students no charge, 225-571-6352.
(See Page 50 for addresses) ¡Chispa! at El Mesón! Singer/guitarist Jesus Bas, 7 p.m., no cover. Cowgirl BBQ High Attitude, country rock, cumbias, and oldies, 8 p.m., no cover. Duel Brewing Sydney Westan, Americana, 6 p.m., no cover. El Farol Nacha Mendez with Santastico, 8 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. Tiny’s 505 Electric-Blues Jam, with Nick Wimett and M.C. Clymer, 8 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, 6:30-10:30 p.m., no cover.
THEATER/DANCE
Charlotte’s Web Presented by Eldorado Children’s Theatre and Teen Players, 2 p.m., Scottish Rite Center, 463 Paseo de Peralta, $12 in advance and at the door, discounts available, eldoradochildrenstheatre.org.
BOOKS/TALKS
Richard Ellenberg Journey Santa Fe presents a conversation with the Santa Fe County Democratic Party chairman, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
OuTDOORS
Sierra Club hike Moderately difficult guided round-trip hike of Petroglyph Hill in the Galisteo Basin Preserve, U.S. 285 & Astral Valley Rd., 5 miles south of Eldorado. Call 505-471-0005 for details; January schedule of events available online at riograndesierraclub.org/outings.
EVENTS
Life Drawing A weekly figure-drawing class led by Cari Griffo, 11 a.m.-1 p.m., Duel Brewing, 1228 Parkway Dr., $25 includes refreshments, 505-474-5301.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Santa Fe Revue, country, bluegrass, and R & B mash-up, noon-3 p.m.; Kenny Skywolf Band, blues, 8 p.m., no cover. El Farol Pan-Latin chanteuse Nacha Mendez, 7-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7-10 p.m., no cover. Vanessie Pianist Doug Montgomery, 6:30-10:30 p.m., no cover.
27 Monday BOOKS/TALKS
Mimbres: From Whence It Came and Whither It Went A Southwest Seminars lecture with Stephen H. Lekson, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12, 505-466-2775, southwestseminars.org. (See Subtexts, Page 10)
Vivo Contemporary, 725 Canyon Rd., shows work by Patty Hammarstedt.
The Adaptation & Re-adaptation of a Folk Art Form: The Creation & use of Retablos of the Andes A talk by curator Barbara Mauldin, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 505-982-2226.
EVENTS
Game of Thrones Free screenings of the HBO series every Monday at 7 p.m. through March 24, Jean Cocteau Cinema, 418 Montezuma Ave., jeancocteaucinema.com.
NIGHTLIFE
(See Page 50 for addresses) Cowgirl BBQ Cowgirl karaoke hosted by Michele Leidig, 8 p.m., no cover. Duel Brewing Blue Monday with James T. Baker, Delta blues, 6-8 p.m., no cover. El Farol Monday night jazz with saxophonist Trey Keepin, 7 p.m., call for cover. La Fiesta Lounge at La Fonda Country band Buffalo Nickel, 7:30 p.m., no cover. Vanessie Pianist Doug Montgomery, 6:30-10:30 p.m., no cover.
28 Tuesday THEATER/DANCE
Julesworks Follies The monthly variety show continues with special guest Joe West, 6 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $7, jeancocteaucinema.com.
BOOKS/TALKS
Piper Leigh The poet reads from and signs copies of My Thin-Skinned Wandering, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., no cover. Cowgirl BBQ Folk-rock guitarist/singer Sean Healen, 8 p.m., no cover. El Farol Canyon Road Blues Jam with Tone and Company, 8:30 p.m., no cover. La Fiesta Lounge at La Fonda Country band Buffalo Nickle, 7:30 p.m., no cover. Second Street Brewery at the Railyard Open-songs night hosted by Ben Wright, 7-10 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, 6:30 p.m., no cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.
EVENTS
International folk dances Every Tu, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.
29 Wednesday THEATER/DANCE
Roundhouse Comedy Revue Annual send-up of the legislative session by Albuquerque-based Working Classroom Ensemble Theater Company, 7:30 p.m., The Lodge at Santa Fe, 750 St. Francis Dr., $25, workingclassroom.org, 505-242-9267 or 505-259-7600.
BOOKS/TALKS
Dharma talk Intention, Expectation, and Transformation, by Al Kaszniak and John Dunne, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., no charge, 505-986-8518.
30 Thursday GALLERY/MuSEuM OPENINGS
Primitive Edge Gallery 83 Avan Nu Po Rd., 505-424-5745. A Tribute to the Mentors, IAIA senior thesis group show, reception 5 p.m., through Feb. 21. Santa Fe Community College Visual Arts Gallery 6401 Richards Ave., 505-428-1501. Dos Pintores — Dos Senderos: Padre y Hijo, recent work by Andrés Martínez and Adrian Martínez, reception 5-7 p.m., through March 5.
IN CONCERT
Ralph Stanley and the Clinch Mountain Boys Bluegrass and Appalachian music legend, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $29-$79, 505-988-1234, ticketssantafe.org. (See story, Page 26)
THEATER/DANCE
The Jewel in the Manuscript opening night Rosemary Zibart’s play about Fyodor Dostoevsky, 7:30 p.m., Warehouse 21, 1614 Paseo de Peralta, $12 or two for $20, 505-989-4423, Thursday-Sunday through Feb. 16.
BOOKS/TALKS
Drones and International Law A discussion with Donna Gomien, 5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20, sfcir.org, 505-982-4931. Mormonism: Demystified, Globalized, Decolonized? A lecture by Joanna Brooks, 6:30-7:30 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., $10, 505-954-7203. Winter Lecture Series 2014 Indian Removal and the Violent Origins of Spanish and Mexican Settlement in New Mexico, by David Correia, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge. For series information call New Mexico Museum of Art, 505-476-5068 or El Rancho de las Golondrinas, 505-471-2261. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM
51
EVENTS
Taos Town Hall 400 Camino de la Placita. Group show of handwoven textiles, opening reception 5-7 p.m. Friday, Jan. 24, through March 28. For more information call 575-779-8579.
The Breakfast of Champions Planned Parenthood of New Mexico’s 40th-anniversary celebration of Roe v. Wade; guest speaker Martha Burk, Ms. magazine money editor and Equal Time KSFR radio show host, 7:30-9:30 a.m., Hotel Santa Fe, 1501 Paseo de Peralta, $50 in advance online at bit.ly/1c5v5sy, 505-944-2027.
Events/Performances
Kathy Kosins Jazz vocalist with pianist John Rangel, 7 p.m. Friday, Jan. 24, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St., $25, discounts available, 575-758-9826. 28th Annual Taos Winter Wine Festival Events including tastings, seminars, and dinners are held at area restaurants, wineries, and the Harwood Museum of Art, Jan. 29-Feb. 2, for tickets and full schedule of events visit www.taoswinterwinefest.com.
NIGHTLIFE
(See Page 50 for addresses) ¡Chispa! at El Mesón Jazz pianist Bert Dalton and bassist Milo Jaramillo, 7-9 p.m., no cover. Cowgirl BBQ Run Boy Run, Americana/bluegrass band, 8 p.m., no cover. Duel Brewing Country Blues Revue, 7 p.m., no cover. El Farol Guitarras con Sabor, 8 p.m., call for cover. Evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6 p.m., no cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover. Tiny’s DJs Feathericci and Bacon, 9 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, 6:30-10:30 p.m., no cover. Zia Diner Trio Bijou, vintage jazz with Gemma DeRagon on violin and vocals, Andy Gabrys on guitar, and Andy Zadrozny on bass, 6:30-8:30 p.m., no cover.
▶ Elsewhere AlbuquErquE Museums/Art Spaces
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. 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. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Open 10 a.m.-5 p.m. Tuesday-Sunday, no charge.
Events/Performances
No A screening of the Academy Awardnominated Chilean film and a curator-led tour in conjunction with the exhibit Stitching Resistance: The History of Chilean Arpilleras, 5:30 p.m. Friday, Jan. 24, National Hispanic Cultural Center, 1701 Fourth St. S.W., $15, 505-724-4771. March Forth Marching Band Theatrical big band, 9 p.m. Friday, Jan. 24, Sunshine Theater, 120 Central Ave. S.W., $17 in advance, $22 day of show, ampconcert.org or holdmyticket.com.
52
PASATIEMPO I January 24-30, 2014
▶ People who need people George Kahumoku Jr. performs Jan. 25, at the South Broadway Cultural Center in Albuquerque.
Fo n’ ale A dance-theater piece by Performance Project First Generation, part of Revolutions International Theatre Festival, 6 p.m. Saturday, 2 p.m. Sunday, Jan. 25-26, National Hispanic Cultural Center, 1701 Fourth St. S.W., $27, discounts available, 505-724-4771, vendini.com. George Kahumoku Jr. & Ledward Kaapana Hawaiian slack-key guitarists, 8 p.m. Saturday, Jan. 25, South Broadway Cultural Center, 1025 Broadway Blvd. S.E., $27, holdmyticket.com, 505-886-1251. Chatter Sunday Solo piano recital with Judith Gordon, Chopin preludes and music of John Harbison, 10:30 a.m. Sunday, Jan. 26, poetry reading by G.L. Brower follows, The Kosmos, 1715 Fifth St. N.W., $15 at the door only, discounts available, chatterchamber.org. Leon Russell Rock ’n’ roll veteran singer/pianist and his band, 7:30 p.m. Sunday, Jan. 26, The Dirty Bourbon, 9800 Montgomery Blvd. N.E., $28 in advance, $33 day of show, ampconcerts.org or holdmyticket.com, 505-886-1251. The Menu Tricklock Company presents its staged production based on Jim Linnell’s book of poetry, 8 p.m. Wednesday, Jan. 29; 10 p.m. Friday, Jan. 31; 6 p.m. Saturday, Feb. 1, Tricklock Performance Laboratory, 110 Gold Ave. S.W., no charge, reservations 505-414-3738.
lAs vEgAs
Burris Hall Gallery — NMHU campus Forged sculpture by Christopher Thomson, reception 4-6 p.m. Friday, Jan. 24, through Wednesday, Jan. 29. For information call 505-470-3140.
los AlAmos Museums/Art Spaces
Mesa Public Library Gallery Eclectic Is Us, mixed media by Dirk Wales, opening Wednesday, Jan. 29, through Feb. 27, artist talk 5-7 p.m. Thursday, Jan. 30, no charge, 505-662-8247. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.1 p.m. Saturday, no charge, pajaritoeec.org.
Events/Performances
Joshua Roman Cello recital with pianist Andrius Zlabys, 7 p.m. Friday, Jan. 24, Duane Smith Auditorium, Los Alamos High School campus, 1300 Diamond Dr., $30 and $35, 505-988-1234, ticketsantafe.org. (See Soundwaves, Page 24) Atomic Film Festival Los Alamos Historical Society and Museum presents a screening of John Adams’ opera Dr. Atomic followed by a discussion with Lois Rudnick, University of Massachusetts professor emerita of American Studies, 2 p.m. Sunday, Jan. 26, Fuller Lodge, 2132 Central Ave., no charge, 505-695-5254. Los Alamos Choral Society and Symphony Orchestra Winter concert, 4 p.m. Sunday, Jan. 26, Crossroads Bible Church, 97 East Rd., $15 at the door, students no charge. Backcountry Film Festival Outdoor-adventure-themed films, wine and spirits, and raffle prizes, 7 p.m. Thursday, Jan. 30, Reel Deal Theater, 2551 Central Ave. $12 in advance online at reeldealtheater.com, $15 at the door.
TAos Museums/Art Spaces
Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ninetieth-anniversary exhibits: The Paintings of Burt Harwood • Single Lens Reflex: The Photographs of Burt Harwood • Peter Parks: New Works, all through Sunday, Jan. 26 • The Taos Municipal Schools Historic Art Collection, through Feb. 2. Open 10 a.m.-5 p.m. TuesdaySaturday, 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. 12th Annual Miniatures Show & Sale, opening Wednesday, Jan. 29, through March 2. Open 10 a.m.-5 p.m. TuesdaySunday through March, NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge.
Artists
28th Contemporary Hispanic Market call for entries Bring three works per category along with one photograph of each piece between 8 a.m. and noon Saturday, Jan. 25, to the Santa Fe Community Convention Center; visit contemporaryhispanicmarketinc.com for details; 505-331-2113 or 505-296-2749. Santa Fe Arts Commission workshops Open to nonprofit organizations; Community Arts Promotion and Special and New Projects categories pre-application workshop held at 11 a.m. Thursday, Jan. 30; Community Arts Development Program workshop held at 1 p.m. Thursday, Jan. 30; meet at the Nambé Room, Santa Fe Community Convention Center, 201 W. Marcy St.; online application and details available at santafeartscommission.org under “Funding Programs”; 505-955-6707. Santa Fe Society of Artists spring jury New Mexico artisans are invited to apply for weekly Saturday outdoor art shows located downtown; jury held on Feb. 22; visit santafesocietyofartists.com for application forms; 505-455-3496.
Volunteers
Santa Fe Stories Project The Santa Fe V.I.P. seeks material on the postWorld War II era in Santa Fe; to submit stories or images, visit santafestories.com; submissions accepted through March.
▶ under 21 Teenage Werewolves Cramps tribute act, Venus & the Lion and To Build a Fire open, 7 p.m. Friday, Jan. 24, Warehouse 21, 1614 Paseo de Peralta, $7 at the door, 505-989-4423, all ages. Warehouse 21 concert Alohi and the Free Life and Catnip Tea, 7 p.m. Saturday, Jan. 25, Warehouse 21, 1614 Paseo de Peralta, $5 at the door, 505-989-4423. Open-mic poetry night Featuring Brody Wood, 7 p.m. Wednesday, Jan. 29, Warehouse 21, 1614 Paseo de Peralta, no charge, 505-989-4423.
▶ Pasa Kids Bee Hive musical story time Movement and songs for ages 2 to 5, 11 a.m. Saturday, Jan. 25, Bee Hive Kids Books, 328 Montezuma Ave. no charge, 505-780-8051. ◀
In the wings MUSIC
The Met Live in HD Dvoˇrák’s Rusalka, 11 a.m. and 6 p.m. Saturday, Feb. 8, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, 505-988-1234, ticketssantafe.org. Serenata of Santa Fe Twists and Turns, music of Brahms, Herrmann, and Tower, 3 p.m. Sunday, Feb. 9, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org.
Dweezil Zappa on stage at 7:30 p.m. Feb. 12, greer garson theatre, 1600 st. michael’s Dr. Zappa’s master class precedes the concert at 3 p.m., concert $32-$75, class $75, 505-988-1234, ticketssantafe.org.
Santa Fe Symphony: In Honor of Lincoln Presentation of Copland’s Lincoln Portrait with narration by N. Scott Momaday, and Fanfare for the Common Man, 4 p.m. Sunday, Feb. 16, lecture at 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 505-988-1234, ticketssantafe.org. Pixies Alt-rock band, 7:30 p.m. Tuesday, Feb. 25, Albuquerque Convention Center, 401 Second St. N.W., $39-$58, ampconcerts.org or holdmyticket.com, 505-886-1251. Legends of the Celtic Harp Acoustic trio, 7:30 p.m. Friday, Feb. 28, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Jonathan Wilson Psychedelic-folk singer/songwriter and his band, 7:30 p.m. Friday, Feb. 28, Lensic Performing Arts Center, 211 W. San Francisco St., $12 in advance, 505-988-1234, ticketssantafe.org, $15 at the door. David Russell Classical guitarist, 7:30 p.m. Friday, March 7, Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $40 at the door, 505-984-6000. Greensky Bluegrass Prog. bluegrass band, 7:30 p.m. Wednesday, March 12, Santa Fe Sol Stage & Grill, 37 Fire Place, $15 in advance, $20 at the door, 505-988-1234, ticketssantafe.org. Yacouba Sissoko Kora player, 7:30 p.m. Friday, March 14, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Yolanda Kondonassis and Jason Vieaux Harp and guitar recital, 4 p.m. Sunday, March 16, Duane Smith Auditorium, 1300 Diamond Dr., Los Alamos, $30, ticketssantafe.org, 505-988-1234.
Sharon Jones and the Dap-Kings Soul and funk; Valerie June opens, 7:30 p.m. Tuesday, March 18, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$54, 505-988-1234, ticketssantafe.org. Curtis on Tour The Santa Fe Concert Association presents students from the Curtis Institute of Music, performing works by Mozart, Poulenc, and others, 7:30 p.m. Wednesday, March 19, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$40, ticketssantafe.org, 505-988-1234. Santa Fe Symphony Featuring violinist Clara-Jumi Kang; music of Bruch, Rachmaninov, and Borodin, 4 p.m. Sunday, March 23, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$76, 505-988-1234, ticketssantafe.org. An Evening With Joyce DiDonato Mezzo-soprano, 6:30 p.m. Monday, March 31, Lensic Performing Arts Center, 211 W. San Francisco St., concert only $25-$95, 505-988-1234, ticketssantafe.org; premium seats and dinner $325, tickets available through the Santa Fe Concert Association, 505-984-8759. Joshua Redman Jazz saxophonist, 7 p.m. Friday, April 4, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $30, students $25, holdmyticket.com.
THEATER/DANCE
Don’t Panic: It’s Only Finnegans Wake Solo performance by Adam Harvey, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Jan. 31Feb. 2, Teatro Paraguas Studio, 3205 Calle Marie, $12, 505-424-1601. Colin Quinn The stand-up comic shares his political views in Unconstitutional, 7 p.m. Friday, Feb. 7, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org. Tao Phoenix Rising Contemporary dance and taiko drum troupe, 7:30 p.m. Saturday, Feb. 22, the Lensic, 211 W. San Francisco St., $25-$45, ticketssantafe.org, 505-988-1234. The Jewel Box Cabaret Gender-bending musical comedy and burlesque series, featuring Guava Chiffon, 8:30 p.m. Saturday, Feb. 22, Maria Benitez Cabaret at The Lodge, 750 N. St. Francis Dr., $10, VIP seating $20, 505-428-7781. Les Liaisons Dangereuses Playwright Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m. Friday and Saturday and 2 p.m. Sunday, March 7-16, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketsantafe.org, 505-988-1234.
Upcoming events The Queen of Madison Avenue A reading of Ron Bloomberg’s new play, 7 p.m. Thursday, March 13, the Lensic, 211 W. San Francisco St., $10, 505-988-1234, ticketssantafe.org. Aspen Santa Fe Ballet Choreography by Nicolo Fonte, Cayetano Soto, and Norbert de la Cruz, 7:30 p.m. Friday and Saturday, March 21-22, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$72, 505-988-1234, ticketssantafe.org, April 19 encore. The Guru of Chai Jacob Rajan’s one-man portrayal of modern India, 7:30 p.m. Tuesday, April 1, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org. Luma Experimental-light theater performance, 2 and 7 p.m. Sunday, April 6, the Lensic, 211 W. San Francisco St., $15-$35, discounts available, 505-988-1234, ticketssantafe.org. Spring Awakening A musical based on Frank Wedekind’s oncecontroversial play, 7 p.m. Friday and Saturday, April 25-May 3, 2 p.m. Sunday, May 4, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org.
HAPPENINGS
Gotta Dance Fundraiser for Casa Milagro, KSFR Radio, and Center for Contemporary Arts, DJ-generated music, 6:30-9:30 p.m. Friday, Jan. 31, Muñoz Waxman Gallery — Center for Contemporary Arts, 1050 Old Pecos Trail, $25 in advance at ccasantafe.org. Telluride Mountainfilm Festival Environmental-themed films, 7 p.m. Wednesday, Feb. 5, the Lensic, 211 W. San Francisco St., $15, 505-988-1234, ticketssantafe.org. Lannan Foundation events Author George Saunders in conversation with New York Times Magazine deputy editor Joel Lovell, 7 p.m. Wednesday, Feb. 12; Greg Grandin, author and New York University
professor, with Canadian television journalist Avi Lewis, 7 p.m. Wednesday, Feb. 26; Lensic Performing Arts Center, 211 W. San Francisco St., $6; seniors and students $3, ticketssantafe.org, 505-988-1234. Cancer Foundation for New Mexico Sweetheart Auction Buffet dinner, live and silent auctions, and vacation raffle, 5 p.m. Thursday, Feb. 13, Santa Fe Community Convention Center, 201 W. Marcy St., $75, 505-955-7931, cffnm.org. 35mm Archival Film Series The 1942 drama Casablanca, 7 p.m. Friday, Feb. 14, $5; the 1939 musical The Wizard of Oz, 7 p.m. Saturday, Feb. 15, $7; presented by the Lensic and the Academy Film Archive, Lensic Performing Arts Center, 211 W. San Francisco St., 505-988-1234, ticketssantafe.org. At the Artist’s Table Valentine’s Day dinner prepared by chef Michelle Roetzer and conversation with Roetzer and artist Susan Contreras, 6-9 p.m. Friday, Feb. 14, held in support of Partners in Education Foundation for Santa Fe Public Schools, Santa Fe School of Cooking, 125 N. Guadalupe St., $175, couples $300, 505-474-0240, eventbrite.com. Let’s Dance Santa Fe Community Orchestra’s annual swing and ballroom dance event, 7-10 p.m. Saturday, Feb. 15, Santa Fe Community Gallery, 201 W. Marcy St., by donation; table reservations 505-466-4879, sfcoinfo@gmail.com. Wayard Shamans: The Prehistory of an Idea The School for Advanced Research presents a lecture by Silvia Tomásková on humanity’s earliest expressions of art, religion, and creativity through shamanism, 6:30-7:30 p.m. Thursday, Feb. 20, New Mexico History Museum Auditorium, 113 Lincoln Ave., $10, 505-954-7200. Banff Mountain Film Festival World Tour 2014 Action-sports-themed films, 7 p.m. Monday, March 10, Lensic Performing Arts Center, 211 W. San Francisco St., $16 one night, $28 both nights, ticketssantafe.org, 505-988-1234.
the pixies on stage Feb. 25 at Albuquerque’s convention center.
PASATIEMPOMAGAZINE.COM
53
AT THE GALLERIES LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Now and Then, group exhibition of historic and contemporary artists, through Sunday, Jan. 26. Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800. The Life Photographers, through Friday, Jan. 24. Santa Fe Botanical Garden 725 Camino Lejo, 505-471-9103. Birds in the Garden, installation by ceramicist Christy Hengst, through May. Santa Fe Prep 1101 Camino de Cruz Blanca, 505-982-1829. Works by alumni, including Peter Sarkisian, Ted Larsen, and Eliot Fisher, through January. Santa Fe Public Library Main Branch 145 Washington Ave., 505-955-6780. A World in a Grain of Sand, mixed-media paintings by Susan Marie Brown, through Thursday, Jan. 30. Scheinbaum & Russek 812 Camino Acoma, 505-988-5116. Santa Fe Legacy, prints and photographs by Gustave Baumann, Gerald Cassidy, Louie Ewing, Laura Gilpin, Kate Krasin, Eliot Porter, and Todd Webb, through January. Tansey Contemporary 652 Canyon Rd., 505-995-8513. Devocionales: Neo-Colonial Retablos From an Archetypal Perspective, paintings by Patrick McGrath Muñiz, through January. Vivo Contemporary 725 Canyon Rd., 505-982-1320. As Though Ice Burned, group show of works by gallery artists, through Tuesday, Jan. 28.
LIbRARIES Beaumont and Nancy Newhall Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-474-5052. Open by appointment. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours. Chase Art History Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6041. Visit stjohnscollege.edu for hours of operation, $40 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 505-476-1264. Open 1-5 p.m. MondayFriday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 505-467-6825. Rare books and collections of metaphysical materials. Open MondaySaturday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Saturday, call for hours.
54
PASATIEMPO I January 24-30, 2014
Adjiba, Navajo weaver, circa 1905, in the exhibit The Durango Collection at the Wheelwright Museum of the American Indian.
Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. Monday-Friday. Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6781. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday and Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 505-955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 505-955-2810. Open 10 a.m.8 p.m. Monday-Thursday, 10 a.m.-6 p.m. FridaySaturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 505-827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.
MuSEuMS & ART SpAcES MUSEUMS & ART SPACES
Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. All the News That’s Fit to Print, group show, SpectorRipps Project Space, through March 30 • Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective Scuba, through
March 30, Muñoz Waxman Gallery, reception 6-8 p.m. Friday, Jan. 24. (See story, Page 28). Call for hours or visit ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1039. Modern Nature: Georgia O’Keeffe and Lake George, through Sunday, Jan. 26. Open 10 a.m.-5 p.m. SaturdayThursday, 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 Place, 505-983-1666. Articulations in Print, group show, reception 5-7 p.m. Friday, Jan. 24, through July • Bon à Tirer, prints from the permanent collection, opening Saturday, Jan. 25, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. (See Story, Page 32). 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 International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through
Aug. 10. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through spring 2014 • BeltránKropp 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, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19thcentury 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. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9 • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Open 10 a.m.5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Renaissance to Goya: Prints and Drawings from Spain, through March 9 • Collecting Is Curiosity/Inquiry, through Feb. 2 • A Life in Pictures: Four Photography Collections, through Feb. 2 • 50 Works for 50 States: New Mexico, through April 13 • It’s About Time: 14,000 Years of Art in New Mexico, through January. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; 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 Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Open 10 a.m.-5 p.m. Tuesday-Sunday. $10 admission. Poeh Museum Poeh Museum. 78 Cities of Gold Rd., 505-455-3334. Doing Being Sharing Laughing, group show, through January. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. SITElab 4, project by photographer Will Wilson with New Mexico School for the Arts students, through Sunday, Jan. 26. Open Thursday and Saturday 10 a.m.-5 p.m., Friday 10 a.m.-7 p.m., and Sunday noon-5 p.m. $10; seniors and students $5; no charge 10 a.m.-noon Saturday; no charge Friday. No charge for SITElab shows. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m. daily; donations accepted.
ExhIBItIonIsM
A peek at what’s showing around town
Ilan Ashkenazi: Contemplation, 2013, steel, kozo paper, and LED lighting. Ellsworth Gallery (215 E. Palace Ave., 505-989-7900) presents Emanations, an exhibition of illuminated sculptures by Ilan Ashkenazi. The artist, whose dragon sculpture adorns the roof of the gallery, says that “it is not the skeletal structure of my light sculptures that is the form — they are only the containers for the three-dimensional forms of light.” The sculptures light up the darkened gallery during the run of the show. There is a reception on Friday, Jan. 24, at 5 p.m. and a free artist talk at 3 p.m.
Patrick McGrath Muñiz: Neo-Colonial Mass Media, 2011, triptych, oil and metal leaf on panel. Patrick McGrath Muñiz uses Renaissance and Baroque painting techniques for his retablos, which depict mythic and religious imagery in a contemporary context. Devocionales: Neo-Colonial Retablos From an Archetypal Perspective, an exhibit of his work, is on view at Tansey Contemporary (652 Canyon Road) through January. Call 505-995-8513.
Brandee Caoba: Smoke and Mirrors III, 2013, mixed media on panel. Under 35: Part II is an exhibition of works by Brandee Caoba, Moira Garcia, and Heidi Brandow — alumni of the Institute of American Indian Arts — and IAIA board member Sonya Kelliher-Combs. The show includes prints, paintings, and mixed-media works on themes such as personal identity, Native identity, and mythology. The exhibit opens with a 5 p.m. reception on Friday, Jan. 24, at Zane Bennett Contemporary Art (435 S. Guadalupe St.). Call 505-982-8111.
susan Marie Brown: Nautilus Dripping Pearls, 2000, mixed-media. Susan Marie Brown creates three-dimensional mixed-media paintings in shadow-box frames inspired by and incorporating items from nature such as stones, shells, and wood and presents them as microcosmic visions of the organic world. Her show, A World in a Grain of Sand, is on exhibit in the Tybie Davis Satin Gallery at the main branch of the Santa Fe Public Library (145 Washington Ave.) through Jan. 30. Call 505-955-6780.
Andrés Martinez: Figuras con Leche de Cabra, 2014, oil on canvas. The Visual Arts Gallery at Santa Fe Community College (6401 Richards Ave.) presents Dos Pintores — Dos Senderos: Padre e Hijo, an exhibition of paintings by father and son artists Andrés and Adrian Martinez. “Art is an evolving process — it’s an experiment and it’s like learning a language,” writes Andrés, whose work is reminiscent of that of modernists such as Rufino Tamayo. Adrian writes, “Through my art I attempt to create an impulse, a rhythm that allows the viewer to tap into the ancient and primordial.” The show opens on Thursday, Jan. 30, with a 5 p.m. reception. Call 505-428-1501.
PASATIEMPO
55
Introducing Santa Fe’s New Premier Memory Care Residence The Garden at El Castillo Is Now Open
S
ince 1971 El Castillo has offered premier retirement residences in Santa Fe, changing, growing and improving to best serve our community. We proudly announce the opening of The Garden at El Castillo — gorgeous private apartment suites for people with Alzheimer’s disease, dementia, and other forms of memory loss. Adjacent to our main campus, we remodeled the historic Valdes family home on East De Vargas Street to provide a beautiful, light, spacious home with a lovely outdoor courtyard. Our dedicated, professional staff is ready to provide expert care in a secure environment where family and friends are always welcome.
Our Residents Say: “Lovely Accommodations” “Light, Cheery, Homelike” “Warm and Comfortable” Please call for information and a tour.
Main Campus 250 East Alameda • The Garden Memory Center 239 E. DeVargas • Santa Fe • 505.988.2877 • elcastilloretirement.com 56
PASATIEMPO I January 24 - 30, 2014