Pasatiempo, March 14, 2014

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

SHARON JONES & the Dap-Kings

March 14, 2014

TRUNK SHOW SPRING & SUMMER COLLECTIONS FRIDAY, MARCH 14 THRU

WEDNESDAY, MARCH 26 Monday - Saturday | 10am - 5pm Location: Wiseman, Gale & Duncan Interiors 150 S. St. Francis (corner of St. Francis and Alameda) Sizes 0 - 20 & Petites Visa & Mastercard Accepted To make your appointment, call: Phyllis Frier | 601.918.3651

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231 Washington Ave • Reservations / 505 984 1788

This Weeks Lunch Special: N’Awlins Muffuletta Sandwich (assorted cold cuts, provolone & olive relish) on Housemade Ciabatta w/ Pomme Frites St. Patrick’s 3 - Course Dinner Special: 30.00 per person Starts this Friday, 3/14/2014 from 5:30 1st Course Soup du Jour or Organic Baby Greens w/ Olive Oil & Lemon Entrée Corned Beef, Cabbage & Queso Fresco stuffed Green Ravioli w/ Stone Ground Pommery Mustard Cream & Toasted Rye Breadcrumbs Dessert Dulce De Leche Cheesecake w/ Candied Chimayo Red Chile Pecans & Pink Fleur de Sel (Gluten Free)

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This Week’s Lunch Special:

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PASATIEMPO I March 14 - 20, 2014

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PASATIEMPO I March 14 - 20, 2014

It’s curtains, pardner

Billy the Kid

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Sunday, Mar in the Movies ch 16, 2 pm N M H M Aud itorium Closing event fo and Imagined r the exhibit Cowboys Real . Using film cl ips, historian Baldwin G. Bu rr screen morph describes how the silver ed to fit evolving New Mexico’s favorite outla so w admission; Su cial trends. Free with ndays free to NM residents.

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Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories We have closed our Cerrillos Road location.

Our Warehouse Showroom on Airport Road will continue to feature over 8,000 sq. ft. of quality Southwestern Furniture.

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By Christopher Hampton From the novel by Choderlos de Laclos Directed by Jon Jory

March 14–15—7pm; March 16—2pm

$15/$12 Reserved Seating; $5 Students & Seniors Les Liaisons Dangereuses is presented by special arrangement with SAMUEL FRENCH, INC.

NEW SHIPMENT OF OUR KACHINA RANCH RUSTIC LINE Bookcases, Credenzas, Dressers, Tables, Assorted Pieces

NOTE: Fri. & Sat. performances TIME: 7pm | Sun. Matinees: 2pm FOR TICKETS call the Tickets Santa Fe Box Office: 505-988-1234 or www.ticketssantafe.org

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PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

March 14 - 20, 2014

www.pasatiempomagazine.com

ON THE COVER 24 No stranger to happiness Sharon Jones has spent the last 20 years convincing the world that soul music is alive and relevant. Now almost 58, the singer did not receive her career break until the mid-1990s. Prior to that she supported herself as a corrections officer at Rikers Island, among other jobs. Earlier this year Jones launched a national tour with her band, the Dap-Kings. They play the Lensic Performing Arts Center on Tuesday, March 18. The cover portrait of Jones is by Paul McGeiver.

BOOKS 12 In Other Words Growing a Feast; Why Cows Need Names and More Secrets of Amish Farms; and Great Possessions: An Amish Farmer’s Journal 14 Type A Hearing between the lines

LANNAN EVENT

MOVING IMAGES 32 Tim’s Vermeer 33 Xingu 34 Pasa Pics

CALENDAR 41 Pasa Week

16 Seeing in the dark Trevor Paglen

AND

MUSIC AND PERFORMANCE 18 21 22 26

9 Mixed Media 11 Star Codes 38 Restaurant Review: L’Olivier

Pasa Tempos CD reviews Onstage Variation Trio Pasa Reviews The Other Place Listen Up Revisiting the motherland

ART 28 Art in Review Tom Morin 30 Timothy Nero Mind Gears

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

From left, two pieces

by Timothy Nero: More Atrocities and More Absurdities, 2013

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Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com

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Chief Copy Editor/Website Editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com

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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com

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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com

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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

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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

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2014 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl

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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

THEATERWORK is producing the following events in Santa Fe as part of the Southwest Irish Theater Festival: As Theaterwork’s gift to the community, all tickets are $5. No reservations required (505)-471-1799 www.theaterwork.org All performances at: James A. Little Theater

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The Cordelia Dream by Marina Carr March 21 & 29 @ 7pm An open conversation with Marina Carr March 22 @ 10:30am Molly Sweeney by Brian Friel March 22 @ 2pm, March 28 @ 7pm

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Cathleen ni Houlihan by W.B. Yeats

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March 22 @ 7pm, March 29 @ 2pm

All The Doors Swinging Wide! Irish Music and Poetry Musical Director Marilyn Barnes March 23 & 30 @ 2pm

Made possible in part by Lannan Foundation; The McCune Charitable Foundation; New Mexico Arts, a division of the Department of Cultural Affairs, the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; the National Endowment for the Arts and Friends of Theaterwork.

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PASATIEMPOMAGAZINE.COM

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Lensic Presents

Prepare to be dazzled by Luma, a visual circus of light, color, and motion.

April 6 2 pm & 7 pm $15–$35 | Half price for kids 12 and under

Sponsored by

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

t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n

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MEDICINE SPECIALISTS

Taking New Patients and Same Day Appointments!

McMADNESS

Saturday, March 15 @ 10AM Please join us for a mesmerizing display of the famous McIntosh Blue Watt meters, still made in the USA. Representatives from McIntosh Labs will present a quick look at over 60 years of McIntosh history. Discussion of design philosophy, innovations circuit design, and their timeless aesthetics.

William "Wink" Bacon PA-C

Taking care of Northern New Mexicans for 12 years

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

1650 Hospital Drive, Suite 800 8

PASATIEMPO I March 14 - 20, 2014

Santa Fe, NM 87505

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MIXED MEDIA

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Giving voice: Amy Goodman

ADDDDDDDDDDDDDDDDDDDDDF H H H H H H H Amleto: The Discovery of an Amazing Opera Rarity H H Maestro Anthony Barrese, Artistic Director and Principal Conductor H of Opera Southwest, will speak on his discovery and reconstruction of H H the score of an opera by Franco Faccio titled Amleto (Hamlet). On H H October 26 and November 2, 2014, the entire opera will premiere for H H the first time since 1871 in Albuquerque by Opera Southwest.

H H Wednesday, March 19, 2014–5:30PM Unitarian Universalist Church, 107 East Barcelona, Santa Fe, NM H H Free admission to all Guild members. $10 for non-­members or join at the door from $35 per year. H H JLLLLLLLLLLLLLLLLLLLLL:

The insistent tones of journalist, author, and broadcaster Amy Goodman have given voice to the world’s oppressed, disadvantaged, and persecuted for some 18 years on the syndicated, independent global news hour Democracy Now! Broadcast on more than 1,000 radio and television stations, the show offers in-depth stories that the corporate news media often brushes over or ignores. Goodman’s 2012 book The Silenced Majority: Stories of Uprisings, Occupations, Resistance, and Hope (published by Haymarket), written with Denis Moynihan, takes a people’s perspective on the events that are shaping the future. She’ll assess the struggle when she speaks at a benefit for radio stations KUNM-FM 89.9 and KSFR-FM 101.1 and PBS TV station KNME at the Lensic Performing Arts Center (211 W. San Francisco St.) at 7 p.m. on Friday, March 14. Tickets, $15, are available by calling 505-988-1234 or visiting www.ticketssantafe.org.

— Bill Kohlhaase PASATIEMPOMAGAZINE.COM

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Santa Fe’s New, Premier Memory Care Residence The Garden at El Castillo is Now Open and We are Filling Filling Up Up Quickly we are

Since 1971 El Castillo has offered premier retirement residences in Santa Fe, changing, growing and improving to best serve our community. We proudly introduce 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. Please call today for information and a tour.

Main Campus 250 East Alameda • The Garden Memory Center 239 E. DeVargas • Santa Fe • 505.988.2877 • elcastilloretirement.com

Learn more about

Men’s Health CHRISTUS St. Vincent cordially invites you to learn about the health issues facing men age 50 and older.

Saturday, March 22, 2014 9:00 am – 11:00 am • Hotel Santa Fe 1501 Paseo de Peralta, Santa Fe, NM

Come join urologist Arthur Caire, MD, as he provides information on Prostate Cancer Screening, BPH, Low Testosterone, and Erectile Dysfunction.

Dr. Arthur Caire is a general urologist who’s recently joined our community from Tulane Medical Center in New Orleans, LA. He specializes in urology and is also the first in Northern New Mexico to perform robotic urology surgery.

RSVPs are required. Please call 800-908-8126 to sign up for this free event.

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PASATIEMPO I March 14 - 20, 2014

Celebrate St. Patrick’s Day! STAR CODES

Heather Roan Robbins

Corned Beef and Cabbage, Guinness Stew, Ploughman's Lunch

Sticky Toffee Pudding, Guiness Chocolate Cake, Bailey’s Cream Cheesecake

Railyard Reunion Band Sunday, March 16 playing from 4-8pm

Knock naGrian Irish Session Music Monday, March 17 playing from 4-8 pm

St. Patrick may have chased the snakes out of Ireland, but we have our own form of house cleaning to do this weekend under a full moon in Virgo. Let’s clear the decks for Thursday’s spring equinox.

Prioritize kindness as the weekend begins. The mood can be nervy and unsettled, we can be hard on ourselves and others, and we obsess about what needs fixing. We feel pressured to take action as Mercury forms minor but irritating aspects to power-tripper Pluto and excitable Uranus this week. Instead of being hard on ourselves and others, let’s tie into the positive aspects of Virgoan intelligence and compassion. There are some wild ideas flying around with this week’s Mercury aspects.

Use critical thinking to sort out information. Clear body, desk, mind, and closets for the coming spring floods and keep the heart connected to the head.

Notice a certain mental intensity early next week as Mercury semisquares Pluto. We could hear troubling news or be challenged by new ideas that unsettle our preconceptions. This is a strategic but worried aspect that can polarize some political situations, but we don’t have to let it polarize us. Let’s chill, deal with real problems, and look for the love underneath.

Mercury, Venus, and Mars in friendly, but somewhat dispassionate air signs (Mercury and Venus in Aquarius, Mars in Libra retrograde) help us achieve some objectivity. The mood is generally friendly if we don’t get stuck behind opposing philosophies. Let’s keep building networks of mutual support.

326 S. Guadalupe • 988-7008 • www.ziadiner.com

Friday, March 14: Strange and nervous energy swirls under this Virgo moon. Manage anxiety carefully. If people are edgy, sympathize with their worries. Mechanical issues need attention. The evening is direct, energized, and funny but with a snarky edge.

Saturday, March 15: The day is interesting if we can let go of a selfconsciousness and stay centered. We’re ready for new input but can feel easily overwhelmed. Be curious and focused. Tonight we want to unwind and connect but can be restlessly discontent.

Sunday, March 16: The mood is tricky under an early full Virgo moon.

Deal with concerns in a calming way. Spring cleaning channels this energy well. The mood relaxes tonight as the moon enters friendlier Libra.

Monday, March 17: Stay grounded and enjoy the party. After a technically tricky morning, the energy softens and moods lift for St. Patrick’s Day under a sociable Libra moon. We do the strangest things for love or for fun. Mercury enters Pisces; the vibe is intuitive and impressionable.

Tuesday, March 18: Spring fever is in the air as Venus sextiles restless Uranus and sets off creative and romantic sparks. The day wanders, and we become more decisive tonight as the moon conjuncts Mars.

Wednesday, March 19: This is a highly intuitive day, perfect for a yoga retreat. We long for more depth and beauty. Some lash out if feeling unsafe as the moon enters self-protective, perceptive Scorpio.

Thursday, March 20: Spring roars in as the sun enters Aries at 10:57 a.m. We are easily inflamed and excited. Even as the birds tweet we may need to take on some new challenge as the moon conjuncts Saturn. ◀ www.roanrobbins.com

Seeing new patients in our Santa Fe office!

Appointments scheduled through Los Alamos office: 662-4351 Most insurance accepted! (not contracted with Tricare)

PASATIEMPOMAGAZINE.COM

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IN OTHER WORDS book reviews Growing a Feast: The Chronicle of a Farm-to-Table Meal by Kurt Timmermeister, W.W. Norton & Company, 310 pages In this day of factory farms, monoculture acres that are regularly doused with pesticides, herbicides, and artificial fertilizers, barns full of animals that never see the light of day and are pumped full of antibiotics, there are a few holdouts.

Kurt Timmermeister is one of these. He got into farming through his love of real food. He ran restaurants in Seattle before buying a few acres on Vashon Island in Washington’s Puget Sound and embarking on a new life of growing vegetables and running a small dairy farm. Today, he has a successful business of making artisan cheeses from the milk of his cows raised on a 13-acre farm.

Growing a Feast is a chronicle of one meal he cooked for 20 friends using his own produce. The menu included pizza with homemade tomato sauce, squash soup, rolls with butter he made himself, antipasti from the farm, cabbage slaw from the garden, poached local eggs, tagliatelle with chicken gizzards and livers, a beef round roast from a steer raised on the farm, and tomato upsidedown cake.

Why Cows Need Names and More Secrets of Amish Farms by Randy James, Black Squirrel Books/Kent State University Press, 234 pages A world away from trendy farm-to-table meals are the dairy farms in Ohio Amish country. Written by the county agricultural agent for the Geauga Amish Settlement, this book chronicles the efforts of a young Amish family to start their own farm.

The Gingeriches take over an old dairy operation that belonged to the husband, Eli’s, father. Eli has been purchasing used farm equipment and Holstein milk cows.

He and his wife, Kate, take out a mortgage and a loan for more farm equipment. The budget is tight, with a surplus of only $16,000 for living expenses for the couple and their children during the first four years.

Using horse-drawn farm machinery, milking under the light of kerosene lanterns, benefiting from the labor of husband, wife, and

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PASATIEMPO I March 14 -20, 2014

The narrative explains in detail just how he produced each course — not only the cooking but also the growing.

He begins the book with the birth of one Jersey cow, Alice, who eventually contributes her milk to the feast. He writes of how he plants tomato seeds, the fruit eventually used in the menu, on an early-spring day, and visits a nursery to purchase sets of vegetables he didn’t start himself. He follows with a narration of weeding, harvesting, and preserving the bounty.

The story of the beef begins when the steer, “Boy,” is born, continues through his life in the green pastures, down to the time when Timmermeister shoots him with a rifle and his staff butchers him on the farm. There is a lot of blood, but death is quick and the animal doesn’t suffer for an instant.

The author is involved in every detail of the meal. Sometimes the details are excruciatingly minute.

The narrative moves slowly, as things should on a farm, where food is grown with care and attention to every detail.

As a bonus, at the end of the book are recipes for many of the foods that Timmermeister served at his dinner. What a feast the author and his friends must have had!

— Robin M. Martin children — plus occasional help from neighbors — the family follows a detailed business plan and makes a success.

As the author details the family’s experiences, he adds in general information on the Amish. This group, a sect of the Anabaptists, was formed about 1690 on the Rhine River.

They were persecuted — drowned, burned, and hanged — by both Catholics and Protestants for their religious beliefs, which included adult baptism. To escape persecution, the Amish moved from their towns to the German countryside, where they became farmers.

Today, there are about 300 Amish communities in the U.S. and Canada. Tradition is important. Each congregation has different rules about how much mechanized equipment is allowed on a farm. Some congregations allow milking machines, some allow refrigeration equipment for the milk; others ban both.

The Amish are beautifully educated, although the children don’t learn English until they enroll in school, and they graduate after eighth grade. They continue to read and study throughout their lives. Many Amish young people buy farms and follow in their parents’ footsteps.

James’ book is a window into a world of successful small farms. It is encouraging to know that in this era of giant agribusiness, there are still places where farmers name their cows and have a deep connection to the land. The book is repetitious, especially in the final chapters. It is a shame that a university press such as Kent State does not have higher editing standards.

— R.M.M.

Great Possessions: An Amish Farmer’s Journal by David Kline, Wooster Book Company/Farrar, Straus and Giroux, 235 pages A more poetic book about Amish farming than Randy James’ Why Cows Need Names is a collection of essays written for the Amish magazine Family Life by an Ohio farmer. Published in 1990, the book is a classic in the vein of Aldo Leopold’s A Sand County Almanac.

David Kline takes the reader through the seasons on his farm. Because his operation is not overrun with tractors and other devices with internalcombustion engines, he has a deep connection to nature. Plowing and reaping with a team of horses allows the leisure,

and the quiet, to watch the birds, insects, and small mammals that inhabit his fields.

Being outside every day, from pre-dawn milking to chores late in the evening, gives him a deep connection to nature.

Beavers, bats, butterflies, mushrooms, tree rings, deer, and migrating birds are only some of the topics of his essays. Not only is Kline an observant naturalist, he is a careful researcher, giving scientific background for many of his observations. The book does not go into Amish religion or social organization, yet Kline’s deep religious faith shows through in every chapter. The book is a reminder that even in modern times a connection to the land is not only possible but also beautiful.

— R.M.M.

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

TREVOR PAGLEN

with REBECCA SOLNIT

WEDNESDAY 19 MARCH AT 7PM LENSIC PERFORMING ARTS CENTER What does a surveillance state look like?

Over the past eight months, classified documents provided by NSA whistleblower Edward Snowden have exposed scores of secret government surveillance programs. Yet there is little visual material among the blizzard of code names, PowerPoint slides, court rulings and spreadsheets that have emerged from the National Security Agency’s files. The scarcity of images is not surprising...My intention is to expand the visual vocabulary we use to ‘see’ the U.S. intelligence community. Although the organizing logic of our nation’s surveillance apparatus is invisibility and secrecy, its operations occupy the physical world...If we look in the right places at the right times, we can begin to glimpse America’s vast intelligence infrastructure.

— Trevor Paglen, The Intercept, 10 February 2014

DAVE ZIRIN

with DAVID BARSAMIAN

WEDNESDAY 2 APRIL AT 7 PM LENSIC PERFORMING ARTS CENTER Our sports culture shapes societal attitudes, relationships, and power arrangements. It is where cultural meanings – our very notions of who we are and how we see each other, not only as Americans but also as individuals – play out. It frames the ways in which we understand and discuss issues of gender, race, and class. And, as ever, it is crucial for understanding how these norms and power structures have been negotiated, struggled with, and resisted.

— from Game Over: How Politics Has Turned the Sports World Upside Down, by Dave Zirin © 2013

Dave Zirin, widely published independent sports journalist, author, sports editor for The Nation magazine and host of Edge of Sports Radio, has brought his blend of sports and politics to multiple television and radio programs, including MSNBC, CNN, ESPN’s Outside the Lines, C-SPAN’s BookTV, Democracy Now! and National Public

Trevor Paglen is a photographer whose work deliberately blurs

Radio. Zirin is well known for his book The John Carlos Story: The

the lines between science, contemporary art, journalism and other

Sports Moment That Changed the World. His new book, forthcoming

disciplines to construct unfamiliar (yet meticulously researched)

in May 2014, is Brazil’s Dance with the Devil: The World Cup, the

ways to see and interpret the world around us. His subjects in-

Olympics and the Future of Democracy.

clude experimental geography, state secrecy, military symbology and visuality. Among his works are Invisible: Covert Operations and Classified Landscapes (co-authored by Rebecca Solnit);

TICKETS ON SALE NOW

Secret World, and most recently, The Last Pictures, a meditation

ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID

on the intersections of Deep Time (the concept of geologic time),

Video and audio recordings of Lannan events are available at:

Blank Spots on the Map: The Dark Geography of the Pentagon’s

politics and art.

www.lannan.org PASATIEMPOMAGAZINE.COM

13

TYPE A

A column exploring the changing world of publishing and reading

James McGrath Morris Hearing between the lines For most people, silence is an important component of reading. Dutiful parents raise children with quiet time for books, librarians shush noisy patrons, and teachers dispatch pupils to read in still corners of classrooms.

One company wants to use the new world of ebooks to shatter this tradition and give noise to books. Booktrack, a New Zealand firm, is adding ambient sounds, sound effects, and even music to ebooks. By doing so, it hopes to transform reading the way sound transformed silent film.

“Lots of people, when they hear about Booktrack, jump to the wrong conclusion,” co-founder Paul Cameron explained from his San Francisco office. The plan is not to diminish the importance of reading, rather to strengthen it. What we do is enhance reading.”

Opening any of the dozens of sound-enhanced books on Booktrack’s website (www.booktrack. com), a reader quickly gets a sense of the concept. Ominous music plays and a dog can be heard panting on the opening pages of The Spider Thief, a new thriller by Laurence MacNaughton.

For Arthur Conan Doyle’s short story “The Adventure of the Speckled Band,” producers mixed piano and violin music with footsteps, the crackle of a fire, drawers opening, and the rustling of paper.

At first the effect is quite startling, and it takes a bit of effort to properly adjust the volume as well as the pace of the soundtrack to match one’s reading speed. But soon the soundtrack — at least when well paired to the words — seems quite natural. As in a movie, one is manipulated by the sound’s effect without it noticeably intruding on the experience.

That, of course, is the key to making this idea work. If the enhancements are obtrusive, they

break the spell that can be induced when you forget you are reading and lose yourself in the story. “Reading is one of the few ways you can do that,” Cameron said. “Dreaming is another one.”

It was Cameron’s brother Mark who came up with the germ of the idea. He noticed that his fellow public-transit commuters often listened to music while reading ebooks. He decided to try methodically pairing music to what he was reading. When he told his brother about what he had done, the pair decided to provide all readers with what Paul calls “a more cinematic-type experience.”

Several years and millions of dollars later, the resulting Booktrack ebook looks like other ebooks except for a small arrow that descends the right-hand side of the page, indicating the pace of the sounds. Readers use a set of controls to synchronize the sound to their reading speed, which can be set as low as a few words a minute to more than 1,000 words a minute.

When books went digital, there was a sense this might level the playing field for books in competing against video games and other distracting pastimes for young people’s attention.

Paul Cameron believes that enhancing books with sounds is a critical part of winning that battle. “A society that reads is a good society.

We want to make reading relevant to today’s generation.”

He is also convinced that Booktrack will alter reading for the better. He backs his optimism with a study his company commissioned. Liel Leibovitz, a visiting assistant professor at New York University who researches video games, new media, and the interaction between humans and machines, found both comprehension and retention rates increased with books enhanced with sound. “Subjects using the Booktrack software

Left, Paul and Mark Cameron, co-founders of Booktrack

14

PASATIEMPO I March 14 -20, 2014

performed categorically better on information retention tests and attested to increased focus and greater clarity,” the professor concluded. “This is an exciting new technology that deserves further attention.”

Brimming with ambition, Cameron and his colleagues at Booktrack are not limiting themselves to changing reading. They also want to alter the manner by which authors present their work. To that end, authors can use an immense library of sounds on the Booktrack website to produce sound-enhanced versions of their books.

Cameron is aware of the skepticism directed toward his work. Most press accounts dutifully include a naysayer. For instance, Kevin Ryan, who owns a San Francisco bookstore, told CBS News, “How much farther away can you get from the quiet act of reading a book to yourself than having a soundtrack provided to you.”

On the other hand, David Wilk, a consultant with years of experience in the book trade and now a guru of the digital-book world, cautions that it’s too early to dismiss technological enhancements to ebooks. “It took television 50 or 60 years to go from live proscenium filming with one camera to the sophisticated multi-camera computer-enhanced productions we see today.”

In San Francisco, Cameron’s faith is unwavering. An apostle of giving readers a movielike experience, he is out to convert the world. One day he met with Mark D’Arcy, director of global creative solutions at Facebook. At first D’Arcy seemed quite uninterested in Cameron’s project. “When I read, I read in silence,” he told Cameron.

But he was persuaded to pick up an iPad and headsets and give it a try. After about 15 minutes, D’Arcy returned to Cameron. “I didn’t see the future of reading,” he said. “I just heard it.” ◀

Lensic Presents Indian Ink Theatre Company of New Zealand

Guru of Chai

The contradictions of modern India, with its iPhones and ancient gods, come alive in this funny and beautiful romantic thriller about a poor chaiwallah (tea seller).

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15

SEEING IN THE DARK

Trevor Paglen’s artwork sheds light on state secrets

When evaluating Paglen’s work, it’s important to keep in mind

that the tracking of black-ops sites and surveillance-state architecture are still merely the contemporary content in which he has found a muse.

What he actually seeks to document is what institutions we choose to make visible and what we choose to submerge under a cloak of secrecy.

B

efore Edward Snowden, Chelsea Manning, and Julian Assange document-dumped their way to becoming the world’s most famous whistleblowers of the military-governmentsurveillance complex, Trevor Paglen was quietly mapping out the sites where America carries out its black ops and its secret surveillance. With a telescopic lens and a geographer’s training, he has been able to track down and take gorgeous, if occasionally out-of-focus, largeformat photos of the mysterious Area 51 site in Nevada, the airplanes used for “extraordinary-rendition” flights, and U.S. domestic spy satellites.

If his name remains obscure next to those of his more famous compatriots in exile or lockdown, it’s partly because he has never broken a law or violated a confidentiality agreement to come by his knowledge. It may also be that his ghostly depictions of real military installations redacted from United States Geological Survey maps, what Paglen calls his “blank spots on the map,” are not leaked to newspapers or made the subject of TV exposés. Instead, his photos command five-figure prices and are hung on gallery walls of some the most elite outlets for contemporary work, such as the Tate Modern and the Museum of Modern Art. “My approach has never been to expose the deepest darkest secrets, as if exposing it would make it somehow go away,” Paglen said. “I’m constantly interested in the perception of things we can see and things we can’t see. My approach is to examine infrastructure and ask more fundamental questions. If you are going to have a large clandestine state operating in secret, then we ought to know how it operates and functions.” Paglen speaks on Wednesday, March 19, at the Lensic Performing Arts Center as part of the Lannan Foundation’s In Pursuit of Cultural Freedom series.

“At Lannan, it’s going to be a talk about vision, about how to see things around you are that are invisible, culturally invisible,” Paglen said. “There are state secrets around us all the time that are made to appear imperceptible. I’m talking about front companies for intelligence agencies that are integrated in plain sight and can be found all over. I will be addressing the spy satellites which orbit over our head every night.”

His talk will be followed by an interview with writer Rebecca Solnit. She provides a lengthy introduction to Invisible, a book that collects his writing and photography on a wide range of elements of the physical infrastructure of state secrecy. Both artists share a passion for documenting marginalized landscapes and building connections between disparate and far-flung subjects. “Rebecca is an old friend. I’ve been a fan of hers forever,” Paglen said. “My work and thinking are very much influenced by her style and approach to research and writing.”

If Paglen’s work exposing state secrets doesn’t foment internet outrage or street protests, it’s worth considering the more subtle and long-term effects of his photographs. These images, transmitted through a global network of galleries, internet art sites, and photo books, have the collective effect of placing these once “invisible” sites in the public eye, in ways that have real political and legal effects.

Casey Sanchez I For The New Mexican In a 2006 case concerning a Pakistan-born Maryland resident who had been held by the CIA without formal charges being filed, Paglen’s photos were cited as proof by defense lawyers that the existence of secret detention facilities could be considered “public information” and therefore could be talked about in court without compromising national security.

Making the secret public is at the heart of his DIY cartography. Recently, on behalf of The Intercept, an investigative-journalism site spearheaded by journalist Glenn Greenwald, Paglen flew over Washington, D.C., in a helicopter, taking aerial photos of the headquarters of the National Security Agency, the National Reconnaissance Office, and the National Geospatial-Intelligence Agency — “so that there are now public-domain photos of these buildings and agencies which anyone can use when writing about these topics,” he said.

With Jacob Appelbaum, an activist hacker and Wikileaks editor, Paglen has recently embarked on a project of creating a series of minimalist glass-tube sculptures that are actually open-access wireless hotspots that send web traffic through Tor, an open-source software protocol that reroutes a user’s internet traffic through multiple IP addresses in different countries so as to obscure its origin from government agents and internet service providers. Classified correspondence released

by Edward Snowden revealed that officials at the NSA fretted over Tor’s continued existence and popularity, as it proved highly difficult for the agency to unencrypt or eavesdrop on data sent using it.

When evaluating Paglen’s work, it’s important to keep in mind that the tracking of black-ops sites and surveillance-state architecture are still merely the contemporary content in which he has found a muse.

What he actually seeks to document is what institutions we choose to make visible and what we choose to submerge under a cloak of secrecy. “If you build these kind of state-secret institutions they will not confine themselves. They will reproduce themselves and they will have a cumulative effect on society,” Paglen said.

Two years ago, he put together a collection of images to be housed in the inner chamber of a satellite launched into space as part of a project called The Last Pictures. It is thought that, long after humans and the infrastructure and edifices we build are wiped off the planet, satellites will still be spinning in orbit.

The pictures are intended to provide a sort of visual explanation of the human species to whatever entity may encounter them in some far-future era.

“It’s not that very different from the secrecy work I do,” Paglen said. “I’m using time as a metaphor.

Imagine this from the perspective of someone 200 million years away trying to understand what we as humans, for better and for worse, did as we altered the earth’s surface and the consequences it had for shaping our future. The secret institutions we create and perpetuate now also have long-term effects we cannot yet see.”

It’s a departure from the eccentric photography for which he has become known, but the Last Pictures project deals with same philosophical concerns: making visible the invisible infrastructure that defines us

as a society. Last year, in a New Yorker profile of his work, Paglen claimed, “What I want art to do is help us see who we are now.” But as state surveillance and national secrecy have become the norm, Paglen fears civic society may be losing the battle to accurately depict and transmit the narrative of our time. In Paglen’s book Dark Spots on the Map, citing the work of other historians, he dryly notes that the output volume of redacted or classified pieces of government literature now outnumbers non-classified material, both governmental and non-governmental.

Paglen’s grim conclusion from this statistic is also his primary motivator: “Our own history, in large part, has become a state secret.” ◀ National Security Agency, Fort Meade, Maryland; opposite, National Reconnaissance Office, Chantilly, Virginia; photos by Trevor Paglen

Trevor Paglen

Rebecca Solnit

details ▼ Trevor Paglen in conversation with Rebecca Solnit, a Lannan’s Foundation in Pursuit of Cultural Freedom Series event ▼ 7 p.m. Wednesday, March 19 ▼ Lensic Performing Arts Center ▼ $6, $3 seniors & students

PASATIEMPOMAGAZINE.COM

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PASA TEMPOS FRANZ VON SUPPÉ Extremum Judicium (CPO) Francesco Ezechiele Ermenegildo Cavaliere di Suppé-Demelli (as he was christened in 1819) is the only famous composer born in the Kingdom of Dalmatia. He found fame in Vienna under the name Franz von Suppé and scored success in the realm of operetta, of which he composed about 50. Indeed, the only music of his you are likely to have heard are the rousing overtures to his operettas Poet and Peasant and Light Cavalry.

His sacred works are so obscure that listeners will be amazed to discover that his newly unearthed Extremum judicium (a “Last Judgment” Requiem extended into an oratorio) exists at all, let alone that it is a distinctive, imposing, interesting entry in the roster of memorial music. Running almost two hours, it sets the complete Latin text of the Mass for the Dead and interpolates newly penned poems to expand on various points of meditation, often in emotionally volatile accompanied recitative or arioso style. Adriano Martinolli D’Arcy leads the Graz Philharmonic and Graz Opera Chorus, plus four adept soloists, in a firm performance of this grave work, which embraces passages of almost Verdian intensity. High points include a portentous “Tuba mirum” with trombone choir and solo bass, a “Sanctus” in which the chorus exhales hushed Alexandre tones against shimmering strings, and an “Agnus Dei” that nods to the great Requiem by Mozart. — James M. Keller

album reviews

GARDENS & VILLA Dunes (Secretly Canadian) Dunes is a great album to play while drifting off to sleep. This collection of indierock ditties is as soothing to the ears as it is monotonous. There are no pronounced rises or falls or peaks and valleys as the title would seem to suggest. Rather, it offers a series of mild compositions that draws heavily on the work of groups like Dirty Projectors, Depeche Mode, and Band of Horses (particularly evident in the falsetto vocals defining tracks like “Bullet Train”). The five-person Santa Barbara group released its debut, self-titled album in 2011 and seem to have spent the following three years studying the style of these and other more-established bands. Many pieces are intent on inspiring one with the conflicting desires to dance and self-sedate. Individually, the songs have their moments, but hearing all 10 of them in sequence has a muddying effect, causing even the best ones to lose their individual identity. Those that succeed, like “Minnesota,” do so by abandoning the danceinducing impulse and relaxing into ambient territory. apparently influenced by a lengthy recording process in the midst of a Michigan winter. Though the following track, the driving “Thunder Gloves,” seems to promise Desplat’s variety, the flatness that ensues is reflective once again of the hazards of over-influence. — Loren Bienvenu

music for ‘The Monument Men’

THE WAR ON DRUGS Lost in the Dream (Secretly ALEXANDRE DESPLAT The Monuments Men: Original serves to make the film Canadian) As with bands like Destroyer and Arcade Motion Picture Soundtrack (Sony Classical) It’s hard Fire, Philadelphia’s The War on Drugs makes music not to be aware of Alexandre Desplat’s soundtracks while better than it is. that often recalls classic-rock musicians, but not exactly watching the films they accompany, even as the music their material in the “classic” era of the ’60s and ’70s. The meshes seamlessly with the scenes. The liveliness and tone and even some melodies sound more like what baby beauty of his scores, whether capturing the nostalgia and boomers such as Don Henley,Tom Petty, and Steve Winwood poignant irony of The Curious Case of Benjamin Button, the weregoing for in the ’80s, when they achieved their final round tragedy and human carnival of Philomena, or the Middle Eastern of radio hits with slick production and songs that wore the wisdom flavor and tension of Argo, always make for agreeable stand-alone of middle age and wistfully looked back on better days — in other listening. His music for George Clooney’s The Monuments Men both dresses words, music that played in the car when today’s young musicians were and complements the action on the screen, serving to make the film better children. The War on Drugs takes that feeling and makes something new than it is. It’s often jauntily militaristic, with the expected snare-drum and even youthful out of it, giving the production a laid-back warmth, propulsion. But it also contains music-box moments of warmth and lightsmoothing the sharp corners of an aerodynamic rhythm section, ness as well as passages suggesting danger and consequence that the and letting it all just amble along. The songs frequently stretch out film’s script doesn’t quite convey. There are two main themes here, one past five minutes and are often notable for their long, laconic faderepresenting the weight and reverence of the film’s mission, the other a outs. The band’s strengths are put to best use in a three-song bouncy march that snaps us to attention. The rest is mostly variation stretch in which the soaring “An in tempo, mood, and orchestration on these Ocean in Between the Waves” is themes. A few sections are reminiscent of bookended by grounded numbers Malcolm Arnolds’ score to The Bridge Over that luxuriate in instrumental the River Kwai, especially the ensemble of flourishes: the liquid guitar of whistlers near its end. Desplat’s score does “Suffering,” the echoing snare drum much to center the film, giving it emotion and of “Disappearing.” The whole album meaning that the on-screen action never quite is worth spacing out to, and is one establishes. Pull this one out for patriotic of the best rock records in a while. holidays and serious daydreaming.

— Robert Ker — Bill Kohlhaase

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PASATIEMPO I March 14- 20, 2014

Japanese Kite-Making Demonstrations Tuesday, March 18 – Friday, March 21 10:00 AM – 1:00 PM each day Presented in conjunction with the exhibition Tako Kichi: Kite Crazy in Japan

Sunday, March 16 at 3pm St. Francis Auditorium, New Mexico Museum of Art Jennifer Koh, violin | Hsin-Yun Huang, viola Wilhelmina Smith, cello | Benjamin Hochman, piano

BEETHOVEN Trio in G Major, Op. 9, No. 1 NEIKRUG Green Torso DVORˇÁK Quartet in E-flat Major, Op. 87, No. 2 Meet the Music one hour before the performance.

Learn more about the music you love!

Tickets $20, $35, $45, $65 | Student, Teacher, Family & Group discounts through the Santa Fe Pro Musica Box Office: 505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 | www.santafepromusica.com Concert Sponsor:

Major Lodging Sponsor:

Artist/Masterclass Sponsor:

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.

This program is partially funded by WESTAF and the National Endowment for the Arts.

$5 MILLION BACK TO YOU Mikio Toki

Master KIte Maker

Masaaki Modegi

Internationally Acclaimed Japanese Kite Scholar

Find out about free kite-making workshops for all ages and register for the Sunday, March 23 Advanced Kite-Making Workshop for ages 16 and up.

Please call 476-1200 for more information.

Free with museum admission. New Mexico senior residents with I.D. free on Wednesdays. Youth 16 and under and MNMF members always free.

Funded by the Japan Foundation and the International Folk Art Foundation.

On Museum Hill in Santa Fe · (505) 476-1200 · InternationalFolkArt.org

PASATIEMPOMAGAZINE.COM

19

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PASATIEMPO I March 14 - 20, 2014

ON STAGE Griot with brio: Yacouba Sissoko

Born in Kita, Mali and educated in Bamako, Yacouba Sissoko is a living link to his country’s griot tradition of poets, folklorists, and musicians. A master at exploiting the delicate, harplike sounds of the kora, Sissoko has played with some of West Africa’s most notable musicians and traveled the world with Souleymane Koli’s 45-piece Ensemble Koteba of Abidjan. Sissoko expertly blends his traditional sound with jazz, pop, and Latin music. His band, Siya, which performs at Gig Performance Space (1808 Second St.) on Friday, March 14, at 7:30 p.m., includes trumpeter Rachel Therrien, n’goni player Moussa Diabate, guitarist Moussa Kone, and percussionist Idrissa Kone. Tickets, $20, are available at the door.

Visit www. gigsantafe. com. — B.K.

THIS WEEK

Loud is allowed: Ty Segall

Ty Segall, the garage rocker who never sleeps, plays High Mayhem (2811 Siler Lane) at 8 p.m. on Tuesday, March 18 (doors open at 7:30 p.m.).

Segall, who is 26, has already put out a career’s worth of punk- and grungeinspired solo and collaborative records, including last year’s Sleeper. His current tour is unusual for targeting the frequently skipped-over reaches of the Southwest, including stops in Oklahoma, Arizona, and New Mexico (he plays Albuquerque’s Launchpad on Wednesday, March 19). It’s also the first time in more than a year that his original band members — Mikal Cronin, Charles Moothart, and Emily Rose Epstein — are together again, meaning his sets draw from material new and old. Details and advance tickets ($10) are available at www.highmayhem.org. Joining Segall is Los Angeles group Chad & the Meatbodies and Santa Fe’s Alamo Sun. Don’t be surprised if it gets a little loud. — L.B.

Stringed themes: Variation Trio

The Variation Trio was founded in 2005 and, in recent years, has needed to squeeze its activities into the increasingly busy schedules of its members, violinist Jennifer Koh, violist Hsin-Yun Huang, and cellist Wilhelmina Smith — but especially into the packed calendar of Koh, who has emerged as a particular champion of contemporary violin music. The repertoire for string trio is on the slender side, but Beethoven was relatively generous, composing five works for that combination early in his career. In this concert, presented by Santa Fe Pro Musica, the Variation Trio plays his Trio in G Major (op. 9, no. 1), a straightforward work published in 1798.

Koh’s husband, pianist Benjamin Hochman, will assist the group in Green Torso by Santa Fe composer Marc Neikrug, and Dvoˇrák’s Piano Quartet in E-flat Major, op. 87, which overflows with the melodic richness and folk-infused vigor that stand as its composer’s signature. The concert takes place at 3 p.m. on Sunday, March 16, at St. Francis Auditorium in the New Mexico Museum of Art (107 W. Palace Ave.). Tickets ($20 to $65) are available from Pro Musica at 505-988-4640 and through Tickets Santa Fe at the Lensic (505-988-1234, www. ticketssantafe.org). — J.M.K.

Cruisin’ with Grusin

The Santa Fe Youth Symphony shines its Spotlight on Young Musicians for the eighth consecutive year during a concert featuring composer and pianist Dave Grusin. Winner of an Academy Award and 12 Grammys, Grusin held a February master class for the lucky concert performers, who were selected after an open audition process. The ensemble covers lots of ground, with selections including Rachmaninoff’s Polichinelle, Selena’s “Como la Flor,” and even a Bach/Hendrix mash-up called Bach ’n’ Roll for string quartet. Grusin plays solo after intermission, though what he selects from his vast repertoire remains to be seen — rumor has it that he might include selections from his scores for the films On Golden Pond and The Firm. Showtime is 7 p.m. on Saturday, March 15, at the Scottish Rite Center (463 Paseo de Peralta). For tickets ($10, $5 for students, free for children 5 and under), call 505-467-3770 or visit www.sfysa.org. — L.B. PASATIEMPOMAGAZINE.COM

21

PASA REVIEWS

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PASATIEMPO I March 14 -20, 2014

Drifting away

T

he title of The Other Place, which the Fusion Theatre Company presented in three performances last weekend at the Lensic Performing Arts Center, refers in part to a second home that once served as a Cape Cod getaway for Juliana, on whom the spotlight shines throughout the evening. The other “other place” is the vague blur toward which her memory, her understanding, and her mind increasingly veer as the evening unfolds. Sharr White, the 40-something playwright who unleashed this work on Broadway for 34 previews and 61 performances in 2012-2013, never allows any of the characters to utter the word “Alzheimer’s,” but it figured repeatedly in early drafts of the script, and one of the supporting characters lets slip the term “early-onset.” Juliana is headed along that path, an ironic fate for a woman we first glimpse working as a shill for a pharmaceutical company, introducing a roomful of neurologists to an experimental drug that may slow the advance of precisely that disease.

Although several other characters appear in the play — those parts being distributed among three actors — Juliana is by far the dominant person.

By the end, one has the sense of having watched an extended monologue in which the other players provide only incidental support. The plot is less a narrative of action than a character study in which the audience seizes glimmers of what is going on in Juliana’s head more or less at the same time she does. Events unroll against minimal sets through a single act of about 85 minutes, and one was grateful that no intermission interrupted the gradual revealing of the situation. For the first part of that span, audience members try to rationalize details that don’t quite conform with the logical layout of facts. At some point, these shards of speciousness accumulate in a pile that becomes impossible to overlook.

The play is not laid out in a traditional plot arc. Instead, we piece together the situation as it is revealed through scenes in which Juliana interacts with her physician, her husband (who also is a physician), her daughter (or at least her son-in-law), and the woman who now lives in the “other place” house on Cape Cod. Much of what Juliana perceives is delusional, but director Shepard Sobel allows the drama to be disclosed without becoming mired in confusion. Doubt is the subject, but the doubt is demarcated with clarity, and the presentation keeps the viewer engaged. Jacqueline Reid portrayed the central role with brutal forthrightness. Indeed, her Juliana was a cruel, dismissive person, and she clearly did not court the compassion viewers ended up feeling for her. The more her disease wrested away responsibility for the nastiness she displayed, the more sympathetic she became.

Among the actors playing the very secondary roles, Scott Harrison made an especially appealing case as Juliana’s husband, or perhaps her ex-husband or ex-husband-in-the-making; since we view the relationship through Juliana’s eyes, we can’t be certain where the truth really lies. Peter Diseth similarly conveyed the part of “the Man” with credibility, most impressively as the son-in-law who mediates with exasperated kindness between Juliana and her estranged daughter. Playing Juliana’s doctor, as well as the woman who now inhabits the “other place” house, was Celia Schaefer, whose overly detailed, even fussy interpretations did not align well with the rest of the cast but, on the other hand, did not detract from the play’s poignant conclusion.

— James M. Keller The next play to appear in Fusion Theatre Company’s 2013-2014 season is “Tribes” by Nina Raine, beginning April 24 in Albuquerque, with performances in Santa Fe on May 2 and 3. See www.fusionabq.org.

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PASATIEMPOMAGAZINE.COM

23

NO STRANGER TO HAPPINESS Sharon Jones & the Dap-Kings

S

24

PASATIEMPO I March 14 -20, 2014

Dean Reinford

Paul McGeiver

haron Jones has recently started her third life. Less than a year after being diagnosed with stage 2 pancreatic cancer, the singer — considered by many to be the figurehead of the soul-revival movement — said she’s surprised to be alive. She’s even more surprised to be performing most nights of the week, attributing the miracle to several painful months of chemotherapy, the reconstruction of her bile duct, the removal of a significant length of her small intestine, and a number of other operations that Jones is happy to explain in visceral detail, the astonishment still evident in her voice.

“I finished my chemo New Year’s Eve and Jan. 10, I was on Jimmy Fallon,” Jones told Pasatiempo, speaking while en route to Indianapolis from one of her band’s two tour buses (she has a large band and support crew — each bus accommodates eight). The current national tour brings Sharon Jones & the Dap-Kings to the Lensic Performing Arts Center on Tuesday, March 18. The tour launched in early February, and Jones admitted she was a little scared. In her opinion, the first five shows were a bit shaky, because she was out of practice. “While I was sick, I didn’t even listen to any of our music. I couldn’t sing because they cut my diaphragm right across. From May to October is a long time for a singer not to be singing. … Now we’ve been killing it. I’ve gotten comfortable. I’ve been telling everyone I got my mojo back.”

Jones is known for her energy on and off stage. She prefaced the conversation with the disclaimer that she was very tired, but she quickly became animated when discussing music — even punctuating reflections, jokes, and memories with snatches of humming and song (covering a Prince guitar solo one moment and a less-soulful synth line from a Justin Bieber song the next). During her two-hour sets, she continues impressing her audiences with tireless dancing, singing, and shouting. “I’ll be 58 soon, and people still come and say, Where do you get your energy? And, You don’t look sick. That’s what I get to shout about! I don’t get to go to church much. It’s the power of praise — that’s my testimony.”

The experience of starting afresh is nothing new for Jones. Born in Augusta, Georgia, she grew up singing gospel music in church and studying the styles of luminaries like James Brown and Tina Turner. She moved

to New York at a young age and was soon performing regularly with funk and soul bands, often as a backup vocalist. Though highly talented, she reached middle age without having gotten her big break. “They told me I didn’t have it years ago, that ‘you don’t have the looks.’ I knew one day I’d have it. … You got to be patient. If you got it, you got it.” During those years, she supported herself with a number of intensive yet down-to-earth jobs (including a stint as a corrections officer at Rikers Island) that may have contributed to her insight into human suffering and resilience — insight particularly beneficial to a soul singer.

In 1995, Jones’ patience finally paid off. A young independent label called Desco Records, which specialized in new and authentic soul music, hired her to back up the prolific singer Lee Fields. Jones impressed the label heads enough that they offered her the chance to record a few singles as a frontwoman. Not long after, when one of the Desco founders split off to found his own label, Jones and many members of the Desco studio band went along with him. The new label was dubbed Daptone Records and issued its first LP in 2002: Dap Dippin’ With Sharon Jones and the Dap-Kings.

(The term dap most often refers to a fist bump; one of that album’s hits, “The Dap Dip,” is a song about a dance of the same name, in the tradition of the classic Archie Bell and the Drells song “Tighten Up.”) People quickly took notice of Jones and her band’s efforts to revitalize soul. Their second album, Naturally, includes a guest appearance from Fields, closing the circle back to Jones’ early sessions with Desco. During the 12-year span between the release of Dap Dippin’ and this year’s Give the People What They Want (the band’s fifth LP), Sharon Jones & the Dap-Kings’ popularity has continued to grow, marked by impressive sales and chart positions on Billboard, appearances on numerous television talk shows, commercial licensing, film cameos, and musical collaborations with Lou Reed, Phish, and Michael Bublé.

Yet Jones pointed out that financial stability took longer to arrive. She had neither a bank account nor a credit card until 2006 and said that, for years, creditors “were hounding me.” The turning point came after her more recent work with Bublé, which included a duet on his multiplatinum, Grammy-winning album Crazy Love. “That was my down payment to get my mother out of the projects” in Queens, New York, Jones said.

Unfortunately, her mother died the following year, an event that Jones identifies as a low point on the rise-and-fall (but mostly rise) trajectory defining her past two decades.

Asked if she feels comfortable with her stature as an established star, the singer equivocated. “You know when I’m gonna tell you we’ve made it? When the music industry starts recognizing soul music. When we sit down and watch the awards shows and there’s

Loren Bienvenu I For The New Mexican

Sharon Jones & the Dap-Kings

a category for soul music. Whether or not my name’s there, that’s when I’ll think what we’ve been doing wasn’t in vain.” Contemporary soul music, she said, is not just about redoing things from the past — it’s fresh and relevant, and definitely not retro (a word she despises). “They say soul music doesn’t exist anymore.

I’m alive, showing it does. I’m not no soulman from ’69. This ain’t ’69 or ’65. This is 2014.”

Her criteria for authentic soul are straightforward.

“It sounds good, it comes from the heart, and it’s telling a story that people understand.” Give the People What They Want fulfills these requirements.

Thematically, its 10 tracks are devoted to timeless soul topics like loneliness, love gone stale, and injustice.

This can be seen in a small sampling of lyrics: “Feeling like a stranger to my happiness”; “You’ll be lonely after I’m gone”; “All this hugging and all this kissing can’t put back together the love that we’re missing”; and, “People don’t get what they deserve,” a statement straying from the personal to the universal.

At the same time, Jones and her band still make room for humor. Partially agreeing with the assessment that the new album is about hurt, she sang a few refrains from the song “Get Up and Get Out,” written by drummer Homer Steinweiss. Lines like, “I been

there with you night after night. You leave before I see the morning light,” and “No one can know you are here, for you I shed so many tears,” seem to depict some illicit and tumultuous love affair. But Jones said that, when people respond to the sorrow in that song, assuming that it is about a callous ex-lover, “I’m like, well, that song’s about bedbugs.”

Though the song remains something of an inside joke for the band, Jones admitted that its significance is more complex. Much like her own life, “Get Up and Get Out” has undergone multiple phases — the singer currently reinterprets its meaning to match her own recent experience as a survivor. “That’s also what I’m shouting about.

I’m telling cancer to get up and get out.” ◀

details ▼ Sharon Jones & the Dap-Kings, presented

by Heath Concerts ▼ 7:30 p.m. Tuesday, March 18 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $34-$54; 505-988-1234, www.ticketssantafe.org; check for availability

PASATIEMPOMAGAZINE.COM

25

LISTEN UP James M. Keller

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his week, composer Jesse Jones is visiting New Mexico for the first time since he left the state 19 years ago. From a composer’s perspective, the occasion for his return is triumphant indeed: the performance of a major work, his String Quartet No. 3, by the eminent Juilliard String Quartet, which commissioned the piece in 2012, premiered it this past fall, and is giving it widespread exposure through its national and international tours this season.

On Sunday, March 16, the ensemble includes Jones’ composition, along with Schubert’s G-Major String Quartet (D.887) and excerpts from Bach’s The Art of Fugue, in its concert at the Simms Center for the Performing Arts at Albuquerque Academy.

Jones was born in 1978 in Flora Vista, a village in the Four Corners region, about midway between Farmington and Aztec. “At that time,” he recalled, “it was just a little river community on the Animas, with only a post office and a Circle K, but it was a special place to grow up. I spent a lot of time listening to the water rolling over the rocks. I could see Shiprock from my front porch, and I could watch violent thunderstorms roll in across the austere landscape and over Shiprock. I am so happy to be going back again to see old friends, the river, the mesa.”

Most kids who grow up in Flora Vista are bused to school in either Farmington or Aztec, but for many of his formative years Jones was home-schooled by his mother. “I really wanted to be a concert pianist, and home schooling was the only way I could devote the necessary time to it — say, six to eight hours of practice a day.” His mother was his first piano teacher, but specialists soon took over “getting my technique in order,” as he put it — a discipline that often involved a four-hour commute to Santa Fe. But in 1997, a misjudgment brought an end to his aspirations. “I broke my arm in an arm-wrestling match, and it dashed my dreams to be a concert pianist. You have to understand, my mom was a very cultured person, an English major in college, but my dad was a more no-nonsense, blue-collar fellow who ran a bolts-and-fasteners business for building dams. So I spent my days getting culturally enriched by my mother, but at other times there could be a fair amount of roughhousing.”

B

ut, as they say, when one door closes, another opens. “While my arm was in a cast, I learned to play the mandolin. I applied what I knew about the piano, and I got pretty good at it.” At about the time of this transformation,

26

PASATIEMPO I March 14 -20, 2014

Erin Kinzer

Revisiting the motherland

Jesse Jones; background, music by the composer

Jones’ family moved to Oregon, where he went to college at Eastern Oregon University. There he became a mandolinist and singer in a progressive bluegrass trio named String Helix, a group that toured from 2001 to 2005 and grew accomplished enough to gain a spot on Garrison Keillor’s radio show A Prairie Home Companion. “I don’t think there is much stylistic bleed-through between my bluegrass music-making and my ‘classical’ composition, but playing the mandolin has given me a good understanding of string instruments. And, beyond that, there is something of the vocal quality of a bluegrass singer that I often try to mimic in my compositions — certain inflections, a gritty vocal quality that might help inform any melody I write.”

His first forays into composition were fiddle tunes, but before long he began developing in the direction of more complex concert music. He earned a master’s degree in composition from the University of Oregon, where one of his teachers was Robert Kyr, who also enjoys New Mexico connections; Kyr normally spends his summers at the Monastery of Christ in the Desert near Abiquiú and has served as composer-in-residence for the Santa Fe Desert Chorale. In 2012, Jones earned the DMA (Doctor of Musical Arts) from Cornell University, where his composition teachers included Steven Stucky and Roberto Sierra, and the award of the Elliott Carter Rome Prize enabled him to spend the 2012-2013 academic year at the American Academy in Rome. He is now in his first year as assistant professor of composition and music theory at the University of South Carolina.

His String Quartet No. 3 came about through a Cornell connection. While Jones was studying there, a faculty violinist named Joseph Lin devised an imaginative project. In connection with his performance of Bach’s six sonatas and partitas for unaccompanied violin, he commissioned six of the school’s DMA students to write pieces that were in some way based on those models.

One of the resulting works was Jones’ Violin Concerto, which Lin premiered. In 2011, Lin was named to the plum position of first violin of the Juilliard String Quartet, which has been the quartet-in-residence at The Juilliard School since its founding in 1946. “The Juilliard Quartet literally called one day,” Jones said,

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“and they commissioned me to write a quartet for them. It was an amazing thing. That was the group whose recordings pretty much introduced me to Berg’s Lyric Suite, the Beethoven quartets … really, the masterpieces of the quartet repertoire.”

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he concerto Jones had written for Lin was titled For a Faded Mind, and he describes it as being “about the experience of losing my mother to Alzheimer’s disease and how it must feel to have Alzheimer’s.” The Juilliard String Quartet commission arrived just as he was experiencing the inevitable next step: the emotional aftermath of his mother’s death. For this work, Jones chose the title “Whereof man cannot speak ….” He borrowed those words from the philosopher Ludwig Wittgenstein, who, in his Tractatus Logico-Philosophicus, wrote, “Whereof man cannot speak, thereof he must be silent.” “My mother often advised me, ‘If you don’t know what you’re talking about, it’s best to not say anything’ — which was her turn on Wittgenstein’s comment. The piece is my personal cycle of grief as I went through it: being in disbelief, very sad, turning into anger — all of these things within the space of a day or so.

“But it is also flooded with beautiful memories of my mother, and I end the piece with the ‘Mother’ section, where I spell the word ‘mother’ in cipherlike notes. It’s not exact, but it is what generated the music at that spot. For instance, when you spell out a scale in solfège — do, re, mi, and so on — M is represented by mi (E), the third step of the scale. O didn’t have a pitch associated with it, so I arbitrarily chose D. T is “te” in solfège — B-flat — and H is the German term for B-natural. E is E — that’s simple — and then R is re, which is D. So this melody, which goes E – D – B-flat – B-natural – E – D, idealizes the memory of my mother. All the instruments in the ensemble play it, although it is blurred in the texture through heterophony, the melody being played overlapping by the four musicians.” In a sense, Jones’ selection of the title is born of argument rather than agreement. “It would be hard to find words to describe the intense emotions I experienced as I lost my mother, but if you’re a composer, you can still make music. You don’t have to remain silent.”

It is a commonplace in the contemporary-music world that the only thing harder to snag than a premiere is the second performance of a piece. That proved to be a nonissue in this case. The Juilliard String Quartet, which has been much applauded over the years for championing new works, decided to commit itself enthusiastically to this one. The foursome unveiled it at a concert in Indianapolis this past October and is repeating it at venues large and small throughout the season, including high-profile performances at the Kimmel Center in Philadelphia, the Nourse in San Francisco, and Alice Tully Hall in New York. (“Eloquent in its melancholy, Mr. Jones’s work made a striking impact in a poised, intense account,” wrote critic Steve Smith about the Alice Tully Hall performance in The New York Times). “The Juilliard String Quartet is giving something like 18 or 19 performances of the piece this season,” Jones said, “with 10 of those being in Europe — Germany, Denmark, the Netherlands.” Although he wasn’t able to attend the European performances, Jones is catching as many of the American ones as he can. The New Mexico premiere of his String Quartet No. 3 is a performance he would not want to miss. Since it affords him an occasion to travel from Albuquerque to Flora Vista to revisit the scenes of his childhood, the trip promises to unleash and intensify even more memories than he has already enshrined in “Whereof man cannot speak ….” ◀

The Juilliard String Quartet performs music by Jesse Jones, Bach, and Schubert, presented by Chamber Music Albuquerque, at 3 p.m. on Sunday, March 16, at the Simms Center for the Performing Arts (Albuquerque Academy, 6400 Wyoming Blvd. N.E., Albuquerque). Tickets are $30 and $40; call 505-268-1990 or visit www.chambermusicalbuquerque.com.

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PASATIEMPO I March 14 -20, 2014

ART IN

REVIEW

Tom Morin: A Life of Art — High Relief Sculpture, A Gallery Santa Fe, 154 W. Marcy St. Suite 104, 505-603-7744; through March 24

T

raditional tribal arts serve as reference points for Tom Morin’s eclectic sculptures. The circular compositions on painted shields of some Native American tribes, many embedded with colors or lines to indicate the four directions, inspired Morin’s Shield series. In addition, many of Morin’s sculptures seem to draw from woven fiber arts. Morin’s work is made from repurposed materials. Specifically, he incorporates abrasive belts and discs used for sanding and grinding into his sculptures. Selections from his Shield, Spirit Icon, Zen, Sky Window, and Mesa series are on exhibit at A Gallery Santa Fe. The remarkable variety of colors of the belts — natural hues from wood resin embedded in the abrasive coating used in the industrial materials — and discs provides the pigmentation in these pieces.

Morin does not apply additional paint but has a painter’s eye for color relationTom Morin: Number Six from the ships. These are unique sculptural forms.

Zen series, abrasive belts and wood The pieces in the Mesa series are layered collage works for which Morin has cut strips of abrasive belts and arranged them into striated landscape patterns.

Diagonal lines etched into the material evoke distant rains over mountainous terrain. The earthy colors lend themselves easily to the look and feeling of Southwestern topography, and the worn, discolored areas of the strips to dusty clouds. The Mesa works are the most representational and two-dimensional on display, although they are rendered in slight relief because of the layering and buildup of materials.

The works in the Zen series are minimally patterned geometric abstractions with balanced compositions. The elegance of the overall designs contrast with the abrasive materials with which they were constructed. Another contrast is the additive construction process itself — Morin employs materials generally used in subtractive applications. The belts and sanding discs are mounted on curvilinear wood bases, lending undulating form to several pieces. He does some studio work on site, offering visitors a chance to interact with him and see his working process. Morin’s use of secondhand materials with a lot of wear and tear adds variation to the overall symmetrical designs of the Zen series. The differences between the sculptures’ raised sections and recessed areas allow for shadow play in changing light conditions.

The larger works, those from the Zen and Spirit Icon series, were influenced

by Morin’s travels. The Spirit Icon series was begun after a visit to Odisha (formerly Orissa) in India during the festival of Danda Nata. He captures a sense of tribal aesthetics without adapting specific elements or copying its forms.

Tribal influences are seen through a contemporary filter. These sculptures are composed of basic rectangular, circular, and semicircular shapes. They have a meditative quality — particularly the Shields, which, because of Morin’s application of concentric circles, recall the mandalas of Hindu and Buddhist art. Research into neuroaesthetics, the scientific study of aesthetic experience, suggests that humans have a predisposition to symmetry as an evolutionary trait. Pleasing proportions are the bedrock of Morin’s art.

— Michael Abatemarco

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PASATIEMPOMAGAZINE.COM

29

Michael Abatemarco I The New Mexican

AMOEBAS WITH PATINA

Mindful macrobiology in the art of T imothy Nero

W

hen looking at life at a molecular level — cells, viruses, and bacteria — one sees a variety of unusual shapes and forms.

Often, appendages reach out from the body of an organism as if seeking or reaching for something to cling to.

When cells merge, two bodies become one, just as two drops of water coalesce into a single mass. Under a powerful microscope, we can see the separate components of molecular biology, but a larger view affords us a glimpse of how all those individual parts work in unison.

Timothy Nero’s shaped paintings have a biomorphic quality reminiscent of such miniscule forms. The painted surfaces are abstract, but the overall forms have a figurative appearance. “I don’t consider them nonobjective,” Nero told Pasatiempo. “They are figures in their own right. I consider them molecularly figurative.” Mind Gears, an exhibition of Nero’s work at Ellsworth Gallery, includes paintings, drawings, and sculpture. “Most of the paintings are new. They haven’t been exhibited anywhere. I’ve just been hunkered down in the studio working away.”

Several of the paintings in Mind Gears have curvilinear shapes with appendages, not unlike viral appendages, but there’s another sense, referenced in the exhibit title, in which these protuberances, running along the outer edges of the work, can be regarded.

Like teeth on gears, they seem like the elements that connect to a larger whole. “I guess they reference the garden-variety human conditions, a sense of separateness,” Nero said. “In mindful meditation, one considers separation and the fact that we are all one. Everything is one. I’m referring to the unity of everything.”

In the 1960s, artists such as Ronald Davis and Richard Tuttle explored painting on shaped canvases, primarily rendered with clean lines, hard edges, and geometric shapes. But the flat, two-dimensional canvases often had a sculptural appearance, an illusion created by use of two-point perspective. Nero’s work is categorically different. “I’m not really interested in creating illusory space. I’m more about flatness and form moving across a surface. Sometimes they do turn out three-dimensional, but that’s not really the intention overall. I fell out of love with painting backgrounds, and I wanted the wall to become the background for the shapes. Some of my earlier pieces have an angular or geometric shape to them. Newer pieces tend to be rounded and spiny looking, very extreme and narrow.

I’m really interested in extreme forms. When I look at 30

PASATIEMPO I March 14 -20, 2014

the course of my career, going back to the mid-’80s, the images were always about extremes.”

In addition to the unique shape of each painting, Nero’s surface treatment is different for each piece.

Some are painterly abstractions, such as his Mind Gear 2, which has gradations from dark to light gray, and his Don’t Know, Can’t Know, with pearl-like colors overlaid with delicate line work. Others have curling, looping lines similar to those of topographic maps, unspooled skeins of thread, or, given Nero’s references to microorganisms and molecular biology, to uncoiled chromosomes. Another allusion, though more conceptual, is to the tangle of human thought, which Nero likens to the Gordian Knot, a Phrygian legend about a knot impossible to untie but not impossible to simply cut through. “A few years ago, I was looking at mental

silence or meditative space and juxtaposing that with a common state of mind where we’re thinking, thinking, thinking, constantly thinking. The Gordian Knot is that tight meshing of all these thoughts running all the time in our minds. I was sort of seeing marks that way.”

Nero’s sculptures, elongated forms with wooden protrusions, have a rougher appearance than his paintings.

Nero mixes rust into paint to give some of his sculptural work the corroded, pitted look of tarnished metal. They, too, have “teeth” protruding from the surface. The weathered veneer of the sculptures renders them less organic in appearance and perhaps more industrial, like old mechanized parts left out in the elements.

Light also plays an important role in the twodimensional work, revealing a subtle glow or aura when reflected off the backs of the paintings, which

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are hung with a gap between them and the wall. “A lot of my paintings — not all but most — have a more intense color painted on the back. You can see yellow or green hazes. What I paint is an intense green, for example, or orange or cadmium red. Everything stands out from the wall about three-quarters of an inch. That’s something I’ve played with since the mid-’80s, too, but not a whole lot. Now it’s more of a component of my work.” ◀

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Timothy Nero: above, Mind Gear 2, 2012, acrylic and canvas on wood; below, Greasy Mind, 2013, acrylic on wood

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Tim’s Vermeer, documentary, rated PG-13, Center for Contemporary Arts, 3.5 chiles There are two essential questions posed by this richly entertaining movie created by the illusionist team of Penn and Teller (who narrate and direct, respectively) around a quixotic experiment by their friend Tim Jenison. One: Did Johannes Vermeer use optical devices to create his extraordinary paintings? Two: If he did, does that make them less extraordinary?

Jenison is a Texas inventor who started a hardware/software company called NewTek and invented a low-cost post-production tool called Video Toaster. It made him a multimillionaire and allowed him the time and means to pursue whatever he damned well wants to.

In 2002, Jenison’s daughter gave him a copy of artist David Hockney’s book Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters. Hockney, lending his prestige and analysis to ideas that have been in circulation for more than a hundred years, proposed that Vermeer and his contemporaries, who had access to breakthrough developments in optics such as the camera obscura and curved mirrors, used them to create a stunning revolution in painting realism. The idea slowly comes to take hold of Jenison. He begins by setting up a simple mirror device with which he demonstrates his ability, the first time he has ever picked up a paintbrush in earnest, to render a remarkably accurate reproduction in black and white of a photograph of his father-in-law.

Accompanied by Penn Jillette, who asks a few questions and provides a narrative commentary, Jenison then embarks upon what can only be described as an obsessive quest as he sets out to prove that he, a non-artist, can produce a Vermeer. His target: Vermeer’s circa-1662 masterpiece The Music Lesson, which most often hangs away from profane eyes in the halls of Buckingham Palace.

Vermeer, Jenison hypothesizes, might not have had all that much artistic training. “It’s possible that he was more of an experimenter, more of a tinkerer, more of a geek.” Vermeer, of course, whatever his methods, did not have a Vermeer to copy.

Jenison spends vast sums of money and an estimated 1,825 days as he travels to Delft to research the original setting and circumstances of the painting, and then to London, to sweet-talk the Queen into letting him have a look at the original. He grinds and polishes the lenses and constructs the devices that would have been available in 17th-century Holland, builds the set, the furniture, and the props of the painting, sews the costumes, and hires, dresses, and arranges the models. He then painstakingly reproduces, brushstroke by agonizing brushstroke, the image and the color and the light that he sees through his optical contraptions. At the end of it all, half numbed by the strain, he has a pretty credible Vermeer and a fascinating documentary of his effort. And Vermeer remains, despite Jillette’s skepticism, “an unfathomable genius.” ◀

MOVING IMAGES

Kurt RUSSell Jay BARUChel Katheryn WInnICk Chris DIAMAnTOpOUlOS Kenneth WelSh Jason JOneS with terenCe STAMp and Matt DIllOn

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Parks and relocation Michael Abatemarco I The New Mexican Xingu, epic adventure, not rated, in Portuguese and Tupí with subtitles, Jean Cocteau Cinema, 2.5 chiles Xingu National Park, created in 1961 and home to several indigenous tribes, is a protected wilderness area and reserve deep in the heart of Brazil. In the mid-20th century, tribes along the Xingu River had little contact with white men. In the 1940s, the Brazilian government led an expedition to survey the largely unexplored region. While the government was seeking to exploit natural resources along the Xingu, three brothers who took part in the expedition had other ideas. The Villas-Bôas brothers — Claudio, Orlando, and Leonardo — made efforts to contact, aid, and protect indigenous cultures threatened by development. Two of the brothers were nominated for Nobel Peace Prizes and awarded gold medals by Britain’s Royal Geographic Society.

Xingu tells the story of the brothers’ adventures and their interactions with tribes along the river, many of whom would become their trusted friends.

Cao Hamburger’s biopic and adventure tale has its heart in the right place but, after a tense and exciting start, seems to have had the wind knocked out it.

The brothers’ struggle to persuade the Brazilian government to turn the region into a national park, an effort that took decades to realize, flies by without leaving the audience much room for emotional engagement — particularly with the three protagonists, who come across as one-dimensional. There are the humorless Cláudio ( João Miguel), the most passionate of the three, who positions himself as their leader; Orlando (Felipe Camargo), compassionate and a little rash; and the excitable Leonardo (Caio Blat), ostracized by his brothers early in the story after he breaks taboos forbidding romance with tribal women and brings the brothers unwanted media attention.

Xingu’s opening scenes, particularly while the members of the expedition find themselves surrounded at night by a potentially hostile tribe while camping by the river, are effective and compelling. So too is a troubling sequence near the end when Cláudio, desperate to move reluctant members of one tribe to a protected reservation, threatens them at gunpoint, but it’s an act without apparent repercussions. Cláudio knows a worse fate will befall the tribe members if they remain as the timber industry and Brazilian settlements encroach on their land. A scene in which Cláudio and Orlando make contact with an isolated tribe that, allegedly, no one has ever seen, is poetic, but a pall hangs over the encounter; earlier episodes show how the white men inadvertently brought influenza to the tribes, decimating populations.

Xingu suffers under the weight of its own story. The whole tale, from the Villas-Bôas brothers’ first contact with the indigenous peoples to president Jânio da Silva Quadros’ signing the decree to protect the Xingu region, is put on screen, but vast jumps in years occur between scenes, leaving the audience to fill in the blanks. It is a noble effort, but if you are looking for a film as affecting as 2002’s phenomenal City of God, made by the same producers, this is not it. ◀

AN INVENTOR TRIES TO SOLVE ONE OF THE GREATEST MYSTERIES OF ART

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environment for this Austin-set indie rom-com about a bunch of guys and girls who fall in and out of love.

Ashley Bell stars. Not rated. 91 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) THE MET LIVE IN HD: WERTHER Jonas Kaufmann and Sophie Koch star in this staging of Massenet’s adaptation of Goethe’s The Sorrows of Young Werther, broadcast live from the Met. 11 a.m. Saturday, March 15, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NEED FOR SPEED The Fast and the Furious franchise is widely loved and only shifting to higher gears of popularity, so the imitators are starting to get the green light. Need for Speed hews so close to the Furious make and model that it features a multicultural band of outlaws who crack wise and drive colorful cars in an attempt to pull off a wild heist. Starring Aaron Paul of Breaking Bad. Rated PG-13. 124 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

You’re in the Wehrmacht now: Volker Bruch in Generation War, at The Screen in Santa Fe

opening this week THE ART OF THE STEAL Kurt Russell plays a lowlife whose motorcycle-stuntman gig dries up, so he gets the old gang (including two-bit criminals played by Jay Baruchel and Matt Dillon) back together for one last, big score. The goal: steal the Gutenberg Bible. Terence Stamp co-stars. Rated R. 90 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) CHILD’S POSE Luminita Gheorghiu electrifies the screen in this Romanian story about a mother seeking to clear her son’s name when he’s accused of manslaughter.

Convinced of his innocence despite the evidence, Cornelia (Gheorghiu) insinuates herself into his life, setting the stage for a struggle between an adult son seeking to cut his ties with his controlling mother, whose judgment is clouded by a perverse sense of loyalty. Gheorghiu is the star of this film, but our sympathies lie with those around her, including her family and the police who resent her intrusion into their investigation. Director Calin Peter Netzer keeps the pace taut in this psychological family drama

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PASATIEMPO I March 14 -20, 2014

that also manages to be a telling portrait of class distinctions. Not rated. 112 minutes. In Romanian with subtitles. The Screen, Santa Fe. (Michael Abatemarco) GAME OF THRONES MARATHON The Jean Cocteau shows the first three seasons of the HBO series Game of Thrones, based on George R.R. Martin’s Song of Ice and Fire books. Several episodes screen per week (first come, first served). Occasionally, Martin will drop by or a cast or crew member will appear via Skype. Season 3 episodes 6, 7, and 8 screen at 7 p.m. on Monday, March 17. Not rated, but not suitable for children. Each episode runs roughly 55 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) GENERATION WAR This acclaimed and controversial miniseries from German television is billed as a Band of Brothers from the Nazi side of the conflict.

The story, which begins in 1941, centers on five young friends whose lives are split into vastly different and often tragic directions as a result of the war.

Not rated. 279 minutes. In German with subtitles.

The Screen, Santa Fe. (Not reviewed) LOVE & AIR SEX It’s a competition like air guitar, only you pretend to have sex with imaginary partners in front of large, raucous audiences. That’s the

THE SECRET OF KELLS This animated film centers on a young boy who sets out on an adventure to complete the unfinished Book of Kells and fights Vikings and a serpent god along the way. Brendan Gleeson heads the voice cast. Not rated. 75 minutes.

Jean Cocteau Cinema, Santa Fe. (Not reviewed) THE SINGLE MOM CLUB It’s been three months since A Madea Christmas, so it’s time for a new film written and directed by Tyler Perry. This time, he chronicles the difficult plight of the single mother, which — according to the trailer — mainly seems to involve living in big houses, drinking wine with your girlfriends, and doing a lot of wild dating.

Rated PG-13. 111 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) TIM’S VERMEER There are two essential questions posed by this richly entertaining movie created by the illusionist team of Penn and Teller (who narrate and direct, respectively) around a quixotic experiment by their friend Tim Jenison, a tech multimillionaire. One: Did Johannes Vermeer use optical devices to create his extraordinary paintings? Two: If he did, does that make them less extraordinary? Jenison embarks upon what can only be described as an obsessive quest as he sets out to prove that he, a non-artist, can produce a Vermeer using optics available in 17th-century Holland. Rated PG-13. 80 minutes. Center for Contemporary Arts, Santa Fe. See review, Page 32. ( Jonathan Richards)

WALKING THE CAMINO: SIX WAYS TO SANTIAGO This documentary looks at a few of the many people who walk across northern Spain on the pilgrimage path known as the Camino de Santiago.

Director Lydia B. Smith appears in person for the 5 and 7 p.m. Saturday, March 15, shows. Not rated.

84 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) XINGU The story of the creation of Brazil’s Xingu National Park comes off as a patchwork of thrown-together episodes that barely give the audience a chance to catch up. Several sequences are compelling and fraught with tension, particularly those involving early contact between indigenous tribes along the Xingu River and white men. An expedition into tribal territory inadvertently brings death in the form of disease but also hope, as three brothers start a massive campaign to protect tribes. Unfortunately, Xingu gives little insight into the Villas-Bôas brothers’ personal lives and motivations. Not rated. 102 minutes. In Portuguese and Tupí with subtitles. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) See review, Page 33.

now in theaters AFTERNOON OF A FAUN: TANAQUIL LE CLERCQ Tanaquil Le Clercq, a striking and versatile dancer, was the fourth and last wife of choreographer George Balanchine, co-founder of New York City Ballet. On tour with him and the company in Denmark in 1956, she contracted polio and never danced again. A highlight of this documentary is an extract of her in Jerome Robbins’ stripped-down Afternoon of a Faun with Jacques d’Amboise. Here, in a few minutes of black-and-white footage, are a gaze, a touch, a few steps, and a look at the audience that create an unforgettable impression.

The documentary provides many fascinating glimpses of Le Clercq in performance, but the film is not a compelling story of survival. Not rated. 91 minutes.

The Screen, Santa Fe. (Michael Wade Simpson) AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over the music of 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 foot-stomping climax. Rated R. 138 minutes.

Regal DeVargas, Santa Fe. (Jonathan Richards)

BETHLEHEM Israel’s official entry for Best Foreign Language Film at the 86th Academy Awards is a taut, suspense-filled thriller about an Israeli intelligence agent (Tsahi Halevi) and a teenage Palestinian informant (Shadi Mar’i). It builds to a tense climax as the men’s burgeoning friendship is threatened by conflicting loyalties when the informant’s older brother is suspected of involvement in terrorist activities. Director Yuval Adler’s film may be too fast-paced for its own good, sacrificing character development as it attempts to humanize both sides of the ongoing conflicts between Israel and Palestine. Not rated. 99 minutes.

In Hebrew and Arabic with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) FROZEN Disney’s latest fable, which won the Academy Award for Best Animated Feature Film, is strange: it is a breezy tale of misunderstanding with no real villain or central conflict. Two princess sisters in a fantasy kingdom part ways when one is revealed to have magical powers to summon snow and ice. With the help of a big lug (voiced by Jonathan Groff), younger sis (Kristen Bell) must pull older sis out of her withdrawal from society.

Rated PG. 108 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) GLORIA Chile’s official submission for Best Foreign Language Film at this year’s Oscars is an understated comedy that tells an honest story about middle-aged romance. In Santiago an outgoing sexy divorcée with a youthful spirit (Paulina García) makes a fresh start at dating in this light-hearted but keenly observed film about the challenges of finding love later in life. After meeting a former naval officer (Sergio Hernández) who owns a paintball park, Gloria is swept into a whirlwind romance. She’s a woman seeking freedom from the past, and he’s a man who can’t let go of his.

García gives a strong but measured performance as Gloria. She’s a likable character, and when the cracks in her new relationship open wide, she has a way of handling disappointments with dignity, charm, and self-respect — but a little ammo doesn’t hurt, either.

Rated R. 110 minutes. In Spanish with subtitles.

Regal DeVargas, Santa Fe. (Michael Abatemarco) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film — showcases humankind’s vast resourcefulness and potential. Cuarón won the

Best Director Academy Award, and the film cleaned up in the technical categories as well. Rated PG-13.

91 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (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. The movie, which won the Academy Award for the Best Foreign Language Film, is a conscious and masterful updating of Fellini. 1 p.m. Wednesday and Thursday, March 19 and 20, only. Not rated.

142 minutes. In Italian with subtitles. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) HER Writer and director Spike Jonze has spun a modern fable about a melancholy man (Joaquin Phoenix) and his computer operating system (voiced by Scarlett Johansson). 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. Jonze won the Academy Award for Best Original Screenplay. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE LEGO MOVIE Emmet Brickowski (voiced by Chris Pratt) is an ordinary LEGO worker in a city where everyone follows instructions to build the perfect world. Then, Brickowski learns from some rebels that he can build whatever he wants, and they set out to defeat the evil President.

What sounds like a long commercial is one of the best family films in recent years, with subversive humor, nifty twists, wild visuals, catchy music, guest spots by the likes of Batman, and an anarchic plot that snaps together as perfectly as a certain plastic toy. Rated PG. 101 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE MONUMENTS MEN During World War II, the U.S. put together a team of art scholars and academics under the aegis of the military to try to locate art treasures looted by the Nazis. As the war wound down, it became apparent that the Germans were prepared to destroy these works if they couldn’t keep them. George Clooney, continued on Page 36

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wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned war movie in the tradition of The Dirty Dozen out of this gripping, funny, and moving material. Rated PG-13.

118 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) MR. PEABODY & SHERMAN Those old enough to have watched The Rocky and Bullwinkle Show may remember “Peabody’s Improbable History,” a smart segment about the time travels of a brilliant beagle and his human. This adaptation, which complicates those goofy adventures considerably, will remind you that this concept worked better in 5-minute doses. Some terrific animation, good gags, and cute characterizations don’t quite offset the general lack of excitement and jokes based on stale internet memes. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Robert Ker) MY NEIGHBOR TOTORO A rabbit-like spirit enters the lives of two young girls in rural Japan and comforts them while their mother recovers from serious illness. Despite the fact that the girls are introduced to mortality and death, Totoro is nonetheless a gentle affair that is magical, meditative, and sweet.

Hayao Miyazaki wrote, directed, and conceived the film’s visuals with a big heart. 11 a.m. Saturday and Sunday, March 15 and 16, only. Rated G. 86 minutes.

Dubbed in English. Center for Contemporary Arts, Santa Fe. (Robert Ker) 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. The film’s black-and-white photography, brings out the lonely feeling of an era and a generation

spicy

medium

bland

heartburn

mild

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disappearing into the past. Rated R. 115 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) NON-STOP An ordinary trans-Atlantic flight is terrorized by someone who threatens to kill all the passengers on board. Fortunately, one of those passengers is a federal air marshal. Unfortunately, the terrorist has a vendetta against this marshal.

Fortunately, the marshal is played by Liam Neeson.

Go get ’em, Liam! Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who takes on a human-interest story by bringing an Irish woman ( Judi Dench) to America to find her long-estranged son. The film is marketed as a lighthearted, 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 unpredictable and often rewarding turns, we’ve pondered aging, forgiveness, and the existence of God. Rated PG-13. 98 minutes.

Regal DeVargas, Santa Fe. (Robert Ker) RIDE ALONG Kevin Hart plays a wise-cracking young punk who joins an older, hard-case cop (Ice Cube) on a ride-along. And then things get crazy.

Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) SON OF GOD Diogo Morgado plays Jesus Christ in this biopic, which covers everything from Christ’s birth to death in epic, action-movie style. This movie attracted controversy during production, when it was discovered that they cast a man who looks very much like the current president of the United States as Satan (the character was since removed). Some afternoon screenings at Regal Stadium 14 are dubbed in Spanish. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 3 DAYS TO KILL Kevin Costner attempts to reinvent his career as an action star the same way Liam Neeson did with Taken. He plays a spy who speaks in a gravelly voice and really loves his daughter. He also has a fatal disease and is offered an assignment to take out a terrorist with the promise that if he kills it, a cure will come. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 300: RISE OF AN EMPIRE In the years since the 2006 blockbuster 300, there’s been no shortage of movies attempting to copy that film’s distinct visual

style and Roman-era subject matter. So, finally, here is an official follow-up — but without Zack Snyder as director (he co-writes and produces) or star Gerard Butler, is this still Sparta? The plot centers on greased-up, shirtless men waving swords and shouting. Rated R. 103 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) 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.

The film won the Academy Award for Best Picture; supporting actress Lupita Nyong’o took home an Oscar as well. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE WIND RISES Japanese animation master Hayao Miyazaki opens his latest film with a dream: a slumbering boy in the 1920s has a vision of one day designing planes. As the boy grows to a man (voiced

by Joseph Gordon Levitt) and meets his goals, the film passes like a dream, placing audiences in a painterly reverie that lets the eyes wander to background characters, clouds, and blades of grass. The criticisms that the film whitewashes Japanese wartime atrocities is somewhat fair, but it also misses the heavy anti-war message of the moving third act. The Wind Rises is a life-spanning epic in the tradition of David Lean, and the latest masterpiece in a directorial career that’s contained little else. Dubbed in English.

Rated PG-13. 126 minutes. Regal Stadium 14, Santa Fe. (Robert Ker)

other screenings Jean Cocteau Cinema 11 p.m. Friday & Saturday, March 14 & 15: Liquid Sky. Regal Stadium 14 2 p.m. Sunday, March 16; 2 & 7 p.m. Wednesday, March 19: The Grapes of Wrath.

7 & 9:50 p.m. Thursday, March 20: Muppets Most Wanted.

8 p.m. Thursday, March 20: Divergent. ◀

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

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org The Art of the Steal (R) Fri. 1:45 p.m. Sat. and Sun. 11:45 a.m. Wed. and Thurs. 12:30 p.m.

Bethlehem (NR) Fri. to Sun. 5:45 p.m. Mon. to Thurs. 2:45 p.m.

The Great Beauty (NR) Wed. and Thurs. 1 p.m.

My Neighbor Totoro (G) Sat. and Sun. 11 p.m.

Tim’s Vermeer (PG-13) Fri. to Sun. 1 p.m., 3 p.m., 3:45 p.m., 8 p.m. Mon. to Thurs. 4 p.m., 6 p.m., 8 p.m.

Walking the Camino: Six Ways to Santiago (NR) Fri. 5 p.m., 7 p.m. Sat. and Sun. 1:45 p.m., 5 p.m., 7 p.m. Mon. to Thurs. 5 p.m., 7 p.m.

JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com Game of Thrones (NR) Mon. 7 p.m.

Liquid Sky (R) Fri. and Sat. 11 p.m.

Love and Air Sex (NR) Fri. and Sat. 4:15 p.m., 8:30 p.m. Sun. 8:30 p.m. Tue. to Thurs. 8:30 p.m.

The Secret of Kells (NR) Sat. 12 p.m.

Sun. 4:15 p.m. Wed. and Thurs. 4:15 p.m.

Xingu (NR) Fri. to Sun. 2 p.m., 6:20 p.m.

Tue. 6:20 p.m. Wed. and Thurs. 2 p.m., 6:20 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10:05 p.m. Sun. to Thurs.

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

American Hustle (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m.

Gloria (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m.

Her (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:10 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m.

Nebraska (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m.

Philomena (PG-13) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:50 p.m., 10:15 p.m. Sun. to Thurs.

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

REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com 3 Days to Kill (PG-13) Fri. to Wed. 12:25 p.m., 5:20 p.m., 10:20 p.m.

300: Rise of an Empire (R) Fri. to Sun. 12:30 p.m., 3 p.m., 5:30 p.m., 8 p.m., 10:30 p.m. Mon. to Wed. 12:30 p.m., 3 p.m., 5:30 p.m., 8 p.m., 10:30 p.m.

300: Rise of an Empire 3D (R) Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10 p.m.

Divergent (PG-13) Thurs. 8 p.m.

Frozen (PG) Fri. to Wed. 12:55 p.m., 4:20 p.m.

Grapes of Wrath (NR) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

Gravity 3D (PG-13) Fri. to Wed. 3 p.m., 8 p.m.

The Lego Movie (PG) Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:40 p.m., 10:10 p.m.

The Monuments Men (PG-13) Fri. to Wed. 1:05 p.m., 4:30 p.m., 7:25 p.m., 10:10 p.m.

Mr. Peabody & Sherman (PG) Fri. to Sun. 12:05 p.m., 12:20 p.m., 2:50 p.m., 5:05 p.m., 5:15 p.m., 7:35 p.m., 7:45 p.m., 10:15 p.m. Mon. to Wed. 12:05 p.m., 12:20 p.m., 2:50 p.m., 5:05 p.m., 5:15 p.m., 7:35 p.m., 7:45 p.m., 10:15 p.m.

Mr. Peabody & Sherman 3D (PG) Fri. to Wed. 2:35 p.m., 10:05 p.m.

Muppets Most Wanted (PG) Thurs. 7 p.m., 9:50 p.m.

Need for Speed (PG-13) Fri. to Wed. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10:15 p.m.

Need for Speed 3D (PG-13) Fri. to Wed. 1 p.m., 4 p.m., 7 p.m., 10 p.m.

Non-Stop (PG-13) Fri. to Wed. 12:10 p.m., 2:45 p.m., 5:20 p.m., 7:50 p.m., 10:25 p.m.

Ride Along (PG-13) Fri. to Wed. 7:05 p.m., 9:30 p.m.

Son of God (PG-13) Fri. to Wed. 12:50 p.m.

Spanish dubbed Fri. to Wed. 4:05 p.m., 7:10 p.m., 10:20 p.m.

Tyler Perry’s The Single Moms Club (PG-13) Fri. to Wed. 1:30 p.m., 4:25 p.m., 7:20 p.m., 10:10 p.m.

The Wind Rises (PG-13) Fri. and Sat. 12:40 p.m., 4:10 p.m., 7:15 p.m., 10:15 p.m. Sun. 7:15 p.m., 10:15 p.m. Mon. and Tue. 12:40 p.m., 4:10 p.m., 7:15 p.m., 10:15 p.m. Wed. 10:15 p.m.

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Afternoon of a Faun:Tanaquil Le Clercq (NR) Fri. 12:30 p.m. Sat. and Sun. 11 a.m. Mon. to Thurs.

12:30 p.m.

Child’s Pose (NR) Fri. 2:30 p.m., 5 p.m. Sat. and Sun. 7:30 p.m. Mon. and Tue. 2:30 p.m., 7:30 p.m.

Wed. and Thurs. 2:30 p.m.

Generation War: Part One (NR) Fri. 7:30 p.m.

Sat. and Sun. 1 p.m. Mon. to Thurs. 5 p.m.

Generation War: Part Two (NR) Sat. and Sun. 3:30 p.m. Wed. and Thurs. 7:30 p.m.

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 300: Rise of an Empire (R) Fri. 4:45 p.m., 7:25 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:25 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:45 p.m., 7:25 p.m.

Mon. to Thurs. 4:45 p.m., 7:25 p.m.

300: Rise of an Empire 3D (R) Fri. and Sat. 7:25 p.m., 9:45 p.m. Sun. to Thurs. 4:25 p.m.

The Lego Movie (PG) Fri. 4:40 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:05 p.m.

Mon. to Thurs. 4:40 p.m., 7:05 p.m.

Mr. Peabody & Sherman (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.

Mr. Peabody & Sherman 3D (PG) Fri. 4:30 p.m.

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

4:30 p.m.

Need for Speed (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m.

Mon. to Thurs. 4:25 p.m., 7:10 p.m.

Need for Speed 3D (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m.

Non-Stop (PG-13) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:20 p.m.

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

Ride Along (PG-13) Fri. 5 p.m., 7:30 p.m., 9:40 p.m.

Sat. 2:30 p.m., 5 p.m., 7:30 p.m., 9:40 p.m. Sun. 2:30 p.m., 5 p.m., 7:30 p.m. Mon. to Thurs. 5 p.m., 7:30 p.m.

Son of God (PG-13) Fri. 4:40 p.m., 7:35 p.m.

Sat. and Sun. 1:45 p.m., 4:40 p.m., 7:35 p.m.

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

PASATIEMPOMAGAZINE.COM

37

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

A course in the classics

L’Olivier

229 Galisteo St., 505-989-1919 www.loliviersantafe.com Lunch Tuesdays-Saturdays 11:30 a.m.2 p.m.; dinner Mondays-Thursdays 5:30 p.m.-9:30 p.m., Fridays-Saturdays 11:30 a.m.-2 p.m., 5 p.m.-10:00 p.m.; closed Sundays Vegetarian options Takeout available Patio dining in season Noise level: subdued conversation Wine & beer Credit cards

•

The Short Order The building on the corner of Alameda and Galisteo Streets has seemed like a cursed space for the last decade or so — a variety of businesses have set up shop there, but none has lasted. However, the arrival of L’Olivier, the creation of former Ristra chef Xavier Grenet, may break the curse for good. The menu includes many classic French dishes, handled creatively, many giving a nod to the Southwest. Staff members — including Grenet’s gracious wife, Nathalie — are polite, professional, and attentive without being obsequious.

Recommended: moules frites, duck confit salad, asparagus salad, escargot, arugulafig salad, scallops appetizer, coq au vin, vegetable pithivier, beef short ribs, chocolate soufflé, crème caramel, and île flottante.

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.

38

PASATIEMPO I March 14 -20, 2014

Every city seems to have at least one cursed restaurant space.

The building on the corner of Alameda and Galisteo Streets was a bar the first time I set foot in it. Since then, a variety of businesses have set up shop there, including a couple of restaurants, but none has lasted. The arrival of L’Olivier, the creation of former Ristra chef Xavier Grenet, may break the curse for good.

In the dining room, warm colors — a light dusty mustard, a dark leafy green, and a rich rusty red — suggest the earthy rusticity of the French countryside. Quirky chartreuse accents — a t-shirt here, a tie or a vest there — might make you think of the tender green shoots of spring. Staff members — including Grenet’s gracious wife, Nathalie — are polite, professional, and attentive without being obsequious. The pacing is thoroughly unrushed.

L’Olivier has a strong but unintimidating and well-priced wine list as well as a selection of fun aperitifs, like the gorgeously pink rosé pamplemousse — a blend of rosé crémant and grapefruit juice. The mood (and noise level) can differ widely from day to evening and from night to night. On a noontime visit, the vibe was busy but reserved — a “ladies who lunch” scene. Some evenings things are subdued, ideal for a quiet conversation. On others, the feel can be festive, with large parties lingering at the table, finishing that bottle of wine while chatting and letting loose an occasional burst of laughter.

In the daytime there are tender, sweet pink mussels, the golden broth giving off intoxicatingly savory steam. Don’t let that beautiful liquid go to waste — dunk a few golden frites, and then spoon up the rest. Languishing on an impressive mound of arugula is a tender, moist confit duck leg, slivered almonds and dried cranberries strewn around it. L’Olivier’s croque monsieur doesn’t have that dish’s typical “crunch” (croquer means to crunch in French), but it’s a sturdy, satisfying sandwich.

The kitchen rarely stumbles. One day’s carrot-ginger soup was gorgeously orange but tasted more of vegetable stock than its namesake components. Über-fresh pale green bibb lettuce leaves beg for something mild, but lightly grilled sweet pear, clouds of ricotta, and a vanilla-bean vinaigrette made my appetizer taste like dessert. Too-thick slices of underripe tomato seemed woefully out of place on a couple of salads.

At night, soft, jammy fig halves lurk among a giant tangle of arugula, the fig vinaigrette sweetly taming the greens’ peppery bite. Surrounded by a moat of creamy, light-coral sauce, the rich, bright lobster salad is a tower of yielding but firm shellfish, crunchy-tart apple, and avocado hunks. Asparagus creates a welcome vegetal contrast to the nuttiness and salinity of its companions — toasted almonds, jamón serrano, and manchego. Appropriately chewy escargot is served in a small, beautifully flaky puff-pastry bucket. L’Olivier’s tuna tartare is a gorgeous circle of chilled ruby fish topped with a silky avocado mousse, with crunchy, salty potato gaufrettes looking like waffle-patterned wings. Each of the two expertly cooked, well-seasoned scallops wears a crispy kale headdress as it sits on its own pillow of slightly bland cauliflower puree.

Evening entrees include classic dishes you would hope for and many with a timeless, rustic quality. There’s a paradigmatic coq au vin, the meat nearly as moist and rich as a

confit; the occasional bitterness of a crunchy-firm Brussels sprout offsets the richness. Our suckling pig, while juicy and exceedingly tender, was too sweet overall. Briny green olives balance the rich gaminess of juicy roast duck, although the apple-cider sauce was a touch too sweet as well. The meat of the short ribs is rich and tender, easily forked off its stubby bones, the resultant sauce balancing sweetness and salty depth. The vegetable pithivier stuffs an earthy mélange of vegetables in a circular case of buttery puff pastry and rings it with a sweet, slightly tangy pale-red tomato sauce. A Jengalike stack of asparagus on top offered visual appeal, but the spears were tough, their flavor unpleasantly bitter.

Classicism continues during dessert. L’Olivier’s chocolate mousse is a layered trio of dark, milk, and white chocolates.

I practically had to pry it out of my dining companion’s hands. “Next time,” he huffed, “I’m ordering my own!” Airy île flottante is two clouds of sweetened whipped egg whites floating in a pond of intensely vanilla crème anglaise. The crème caramel, France’s flan, combines a supremely smooth custard and toasty-sweet caramel. The chocolate soufflé is as temperamental and decadent as it should be — hot and airy then intense and rich. The only flop was the poire belleHélène. Even a dunk in the finest deeply dark chocolate can’t redeem tough, crunchy, underripe pear.

By the way, l’olivier is the French name for the olive tree.

According to Greek mythology, Athena, the goddess of peace, wisdom, and triumph, gave man the olive tree, and it became a symbol of all that she stood for. This building has had a difficult history, but very good things are happening there now. I’d say it’s finally due for a triumph. ◀

Lunch for three at L’Olivier: Cup, carrot-ginger......................................................... $ Bibb salad...................................................................... $ Moules frites................................................................. $ Duck confit salad.......................................................... $ Croque monsieur.......................................................... $ Chocolate mousse......................................................... $ Two glasses, rosé pamplemousse................................... $ TOTAL...........................................................................$ (before tax and tip)

4.50 9.50 12.50 11.50 9.50 7.00 18.00 72.50

Dinner for two, another visit: Lobster salad................................................................. $ 18.00 Tuna tartare................................................................... $ 16.00 Glass, 2011 Cleebourg pinot gris.................................. $ 10.00 Glass, 2012 La Chenille “Picarela” picpoul de pinet..... $ 7.00 Short ribs....................................................................... $ 28.00 Vegetable pithivier......................................................... $ 18.00 Glass, Cercius Côtes du Rhone..................................... $ 9.00 Two cups, coffee............................................................ $ 5.00 TOTAL.......................................................................... $111.00 (before tax and tip)

ask us about Lecture & Workshop Donald Kalsched, Ph.D.

Jungian analyst practicing in Albuquerque

Lecture: Images of the Lost and Recovered Soul in the Psychotherapy of Early Trauma

Friday, March 21st 7-9pm $10 2 CEUs In this slide-illustrated lecture, Dr. Kalsched will describe a series of dramatic moments in the psychotherapy of trauma survivors where a breakthrough occurred in the client’s access to dissociated feelings. These moments usually occurred when “transitional space”–long since foreclosed by trauma–was re-opened between therapist and patient, and the psyche’s mythopoetic matrix re-potentiated. One sign of this “re-potentiation” is the vivid dreams that often occur at such moments–dreams in which a lost or abandoned “child” appears–often menaced by the psyche’s repressive powers. The speaker will then show the parallels between these dreams and those ancient myths that describe the birth and trials of the archetypal Hero–the one who always carries a dual destiny–part human, part divine.

Workshop: The Soul in Hell and its Liberation: Reflections on Clinical Depression in Light of Dante’s Divine Comedy

Saturday, March 22nd 9am-4:30pm $80 6 CEUs Trauma survivors often report that their lives are a “living Hell.” This pathological situation is created by the psyche’s archetypal defenses and their depressive power over what one psychoanalyst called “the lost heart of the self,” with its desire for love and intimate relationship. Psychotherapy of this condition involves what the medieval theologians called a “Descendit ad Infernos”–a harrowing descent into all the hellish unremembered pain of the patient’s early life. Dante’s Divine Comedy gives us a beautiful literary example of such a companioned descent, as Virgil and Dante descend into the nether regions in order to heal the poet’s mid-life depression. Following Dante and his guide down to their confrontation with the “dark Lord” of Hades, Dr. Kalsched will show in this slide-illustrated lecture how depth psychotherapy in conjunction with affective neuro-science, and the findings of attachment theory and relational theory all lead toward answers of the central question posed by both the clinical and literary material: how can the otherwise sealed crypt of Hell be opened and its occupants be liberated?

Both events take place at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe

fashionable healing for women & men

Fri. lecture tickets at the door. For Sat. workshop pre-registration call Jerome Bernstein, 505-989-3200 For expanded program details go to www.santafejung.org

THE BOSS IS AWAY SALE

Up to 70% off All Winter Fashions Extra 15% off at the register

White & Warren

PASATIEMPOMAGAZINE.COM

39

Anniversary Sale

Friday, March 14-Sunday, March 16

2 541 W. Cordova Rd. Mon.-Sat., 10-6 Sunday, 11-5 780-8975

All proceeds benefit the Santa Fe Animal Shelter

Coming to the JEAN COCTEAU CINEMA March 14th

Fr o m t he p rod uc e rs of CI TY OF GOD

Based on a TRUE STORY

“Handsom... Stirring” -Variety

40

PASATIEMPO I March 14 - 20, 2014

pasa week Friday, March 14

Café Café Trio Los Primos, Latin favorites, 6 p.m., no cover.

Cowgirl BBQ Michelle McAfee and David Jacob Strains, folk/pop/blues, 5 p.m.; cover band Chango, 8:30 p.m.; no cover.

Duel Brewing Alternative band TV Killers, 7-10 p.m., no cover.

El Farol John Kurzweg Band, rock, 9 p.m., call for cover.

Evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover.

Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda Danny Duran and Slo Burning, country licks, 8-11 p.m., no cover.

Lodge Lounge at The Lodge at Santa Fe Pachanga! Club Fridays with DJ Gabriel “Aztec Sol” Ortega spinning salsa, cumbia, bachata, and merenge, dance lesson, 8:30-9:30 p.m., call for cover.

Palace Restaurant & Saloon C.S. Rockshow with Don Curry, Peter Springer, and John Elias, classic rock, 9:30 p.m., call for cover.

Pizzeria da Lino Accordionist Dadou, European and American favorites, 6-9 p.m., no cover.

Second Street Brewery Irish-pub tunes with Clancy, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Alto Street Band, 7-10 p.m., no cover.

Shadeh DJ Flo Fader, 9 p.m.-4 a.m., call for cover.

Tiny’s Acoustic guitarist Chris Abeyta, 5:30 p.m.; Sister Mary Band, R & B, 8:30 p.m.; no cover.

Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

GALLERY/MUSEUM OPENINGS

Axle Contemporary Mobile gallery, 505-670-7612 or 505-670-5854.

Excavations, installation by Laurie Ann Larimer, look for the van outside Ellsworth Gallery, 215 E. Palace Ave., reception 5-7 p.m., visit axle.com for locations through April 6.

Back Street Bistro 513 Camino de los Marquez, 505-982-3500.

Detailed Whimsy, Autumn Buddemeier’s oils; Airbrush Portraits, by Grant Kosh; reception 5:30-7:30 p.m.

David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Lineal Pathways, paintings by Julian Stanczak, reception 5-7 p.m., through April 19.

Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Mind Gears, paintings by Timothy Nero, artist talk 3 p.m., reception 5-7 p.m., through May 14 (See story, Page 30) LoneDog NoiseCat 241 Delgado St., 505-412-1797. Spring Forward, group show and sale of works by gallery artists, opens at 10 a.m., through Sunday.

Marigold Arts 424 Canyon Rd., 505-982-4142. Handwoven rugs

by Sandy Voss, reception 5-7 p.m., through April.

CLASSICAL MUSIC

TGIF recital Organist Bill Porter, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.

IN CONCERT

Yacouba Sissoko and Siya Master kora musician and his band, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

THEATER/DANCE

Les Liaisons Dangereuses Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 505-988-1234, final weekend.

Water by the Spoonful Teatro Paraguas presents Quiara Alegria Hudes’ drama, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601, teatroparaguas.org, final weekend.

BOOKS/TALKS

An Evening With Amy Goodman KSFR, KNME and KNUM Radio present the journalist, 7 p.m., the Lensic, $15, 505-988-1234, ticketssantafe.org, proceeds benefit the radio stations.

Pasa’s Little Black Book......... 42 Elsewhere............................ 44 People Who Need People..... 44 Under 21............................. 44 Pasa Kids............................ 44

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

15 Saturday Frank Stella: Ahab’s Leg, Zane Bennett Contemporary Art, 435 S. Guadalupe St.

The Making of Medieval Books A slide presentation by calligrapher Carol Pallesen, 7-9 p.m., Santa Fe Community College Board Room, 6401 Richards Ave., no charge, presented by Santa Fe Book Arts Group, santafebag.org.

Preserve; Session I, Fridays, March 14-28, 10 a.m.-noon; Session II, Saturdays, March 15-29, 11 a.m.-1 p.m., preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $20, 505-955-4047, chavezcenter.com.

OUTDOORS

NIGHTLIFE

Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin

In the Wings....................... 45 At the Galleries.................... 46 Museums & Art Spaces........ 46 Exhibitionism...................... 47

(See Page 42 for addresses) Bishop’s Lodge Ranch Resort & Spa Multi-instrumentalist Gerry Carthy, 7-10 p.m., no cover.

OPERA IN HD

The Met at the Lensic Werther by Massenet, 11 a.m., encore 6 p.m. the Lensic, $22-$28, 505-988-1234, ticketssantafe.org.

IN CONCERT

Eighth Annual Spotlight on Young Musicians Youths 6 to 19 years old, with special guest Dave Grusin, 7 p.m., Scottish Rite Center, 463 Paseo de Peralta, $10 in advance and at the door, discounts available, Santa Fe Youth Symphony Association, 505-467-3770, sfysa.org, proceeds benefit music education for youth. ▶▶▶▶▶▶▶▶

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 505-820-0803. 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 505-986-3019; 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

41

High Desert Harp Ensemble St. Patrick’s Day celebration, 2-4:30 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226.

Music on the Hill Elevated The jazz series continues with pianist Larry Ham and saxophonist Woody Witt, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $25, 505-984-6118.

THEATER/DANCE

Les Liaisons Dangereuses Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 505-988-1234, final weekend.

Water by the Spoonful Teatro Paraguas presents Quiara Alegria Hudes’ drama, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, teatroparaguas.org, 505-424-1601, final weekend.

Dance Together 2014!

Student showcase, 7 p.m., Capital High School, 4851 Paseo del Sol, $5 at the door, 505-467-1124.

BOOKS/TALKS

I Mattered, memoir-writing workshop Led by Pamela Boyd, 1-3 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, $20, call 505-316-1521 to register.

Nancy King The author of Changing Spaces discusses The Healing Power of Stories: Reconnecting with the Disconnected Self, 4:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321.

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge un Agoyo Lo a on the Alamed 505-984-2121 303 E. Alameda St., nt & Bar Anasazi Restaura Anasazi, the of Inn d Rosewoo e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra Bishop’s Lodge Rd., 505-983-6377 1297 Bishops Lodge Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón es M El ¡Chispa! at e., 505-983-6756 Av ton ing ash W 3 21 Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r ate 132 W. W Dinner for Two , 505-820-2075 106 N. Guadalupe St. Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e El Cañon at th 88-2811 5-9 50 , St. al ov nd Sa 100

42

PASATIEMPO I March 14-20, 2014

Opera Breakfast Lecture The series continues with Tom Franks’ discussion of Werther by Massenet, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation, 505-988-4226.

OUTDOORS

Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, Fridays, March 14-28, 10 a.m.-noon; Session II, Saturdays, March 15-29, 11 a.m.-1 p.m., preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $20, 505-955-4047, chavezcenter.com.

Shark’s Tooth Ridge outing Geologist Patrick Rowe leads a group to the area near Cabezon, New Mexico, in search of fossilized sharks’ teeth. Meet at 8 a.m. to carpool, Pajarito Environmental Education Center, 3540 Orange St., $10, 505-662-0460, programs@pajaritoeec.org.

EVENTS

Cathy Faber’s Swingin’ Country Band Water and light snacks provided, free two-step lesson 6 p.m., dance 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $15 at the door.

Santa Fe Farmers Market Local goods sold weekly on Saturday; this week’s live music by jazz saxophonist Brian Wingard, 8 a.m.-1 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com.

NIGHTLIFE

(See addresses below) ¡Chispa! at El Meson Pianist Bert Dalton’s jazz trio, 7:30-10:30 p.m., no cover.

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 5-9 208 Galisteo St., 50 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 , ne La er Sil 2811 Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , 1600 Lena St. Junction , 505-988-7222 530 S. Guadalupe St.

La Boca 5-982-3433 72 W. Marcy St., 50 ina nt Ca na La Casa Se 505-988-9232 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 e Ave., lac Pa E. 0 33 a and Sp 505-986-0000 g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc

Bishop’s Lodge Ranch Resort & Spa Multi-instrumentalist Gerry Carthy, 7-10 p.m., no cover.

Café Café Contemporary-Latin guitarist Ramón Bermudez, 6 p.m., no cover.

Cowgirl BBQ Santa Fe Chiles Dixie Jazz Band, 2-5 p.m.; Americana Band Boris & The Salt Licks, 8:30 p.m.; no cover.

Dinner for Two Anderson, Snyder & Wynn Jazz Band, 8-10:30 p.m., call for cover.

Duel Brewing Anthony Leon and Joe West, honky-trash indie rock, 7-10 p.m., no cover.

El Farol Controlled Burn, rock band, 9 p.m., call for cover.

Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda Danny Duran and Slo Burning, country licks, 8-11 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., call for cover.

Mine Shaft Tavern Gonzo-roots band Imperial Rooster, 8 p.m., call for cover.

Pranzo Italian Grill David Geist and Julie Trujillo, piano and vocals, 6-9 p.m., call for cover.

Second Street Brewery Blues singer Alex Maryol, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Irish-pub tunes with Clancy, 7-10 p.m., no cover.

Shadeh DJ Flo Fader, 9 p.m.-4 a.m., call for cover.

Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover.

Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 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 N.M. 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 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705

16 Sunday CLASSICAL MUSIC

Schola Cantorum of Santa Fe Echoes of Ireland, medieval chants and choral music, 7 p.m., concert preview 6:30 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20 in advance and at the door, discounts available, 505-474-2815, schola-sf.org.

The Variation Trio Violinist Jennifer Koh, violist Hsin-Yun Huang, cellist Wilhelmina Smith; featuring pianist Benjamin Hochman, 3 p.m., 2 p.m. talk with Thomas O’Connor, Santa Fe Pro Musica music director, and John Clubbe, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, discounts available, santafepromusica.com, 505-988-4640, or ticketssantafe.org, 505-988-1234.

IN CONCERT

Gerry Carthy Traditional Irish ballads, 3-5 p.m., O’Shaughnessy Performance Space, SFUA&D, 1600 St. Michael’s Dr., $10 at the door, 505-473-6196.

THEATER/DANCE

Les Liaisons Dangereuses Christopher Hampton’s adaptation of the novel about seduction and revenge, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 505-988-1234.

Water by the Spoonful Teatro Paraguas presents Quiara Alegria Hudes’ drama, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601, teatroparaguas.org.

Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Shadeh Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285, 505-455-5555 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008

BOOKS/TALKS

Friends of the Wheelwright Book Club Join in a discussion of Kathryn Gabriel’s Marietta Wetherill: Life With the Navajos in Chaco Canyon, 1:30 p.m., LaFarge Branch Library, 1730 Llano St., no charge, 505-471-4970.

Lannan Foundation In Pursuit of Cultural Freedom series Photographer Trevor Paglen discusses his work, followed by a conversation with author Rebecca Solnit, 7 p.m., the Lensic, 211 W. San Francisco St., $6, 505-988-1234, ticketssantafe.org. (See story, Page 16) Santa Fe Opera Guild talk Opera Southwest artistic director Anthony Barrese discusses “Amleto”: The Discovery of an Amazing Opera Rarity, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, 505-629-1410, Ext. 109.

Billy the Kid in the Movies New Mexico History Museum marks the closing of Cowboys Real and Imagined with an illustrated talk by historian Baldwin G. Burr, 2 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., by museum admission, 505-476-5200.

Environmental Change: Art, Science, and Activism A panel discussion with Bill Gilbert, Michelle Laflamme-Childs, Signal Fire, and others, 2 p.m., Center for Contemporary Arts Living Room, 1050 Old Pecos Trail, call 505-216-0672 for details.

Journey Santa Fe Presents A conversation with local author Mark Cross on the forces that made New Mexico what it is and the challenges and possibilities for its future, 11 a.m.-1 p.m., Collected Works Bookstore, 202 Galisteo St., 505-989-4226.

OUTDOORS

EVENTS

Gentle walk One- to two-mile walk along a relatively flat trail, 9:15 a.m. Meet at Los Alamos’ Pajarito Environmental Education Center, 3540 Orange St., no charge, 505-662-0460, programs@pajaritoeec.org.

Railyard Artisan Market Weekly event with live music, entertainment, and local artists; this week’s musicians, Mito de Soto and Seth Hoffman, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, artmarketsantafe.com.

EVENTS

NIGHTLIFE

(See Page 42 for addresses) Cowgirl BBQ Neil Young tribute band Drastic Andrew & The Cinnamon Girls, noon-3 p.m.; Pray for Brain, Mustafa Stefan Dill on guitar and oud, Jefferson Voorhees on drums, and Chris Nelson on bass, indofunk/sufisurf fusion, 8 p.m.; no cover.

Duel Brewing Roaring Jelly, Balkan/Scottish contra-dance band, 4-7 p.m., no cover.

El Farol Latin chanteuse Nacha Mendez, 7:30 p.m., call for cover.

La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover.

17 St. Patrick’s Day BOOKS/TALKS

Santa Fe Photographic Workshops Instructor Image Presentations Open conversation and slide presentation of works by Jeff Lipsky, Jay Dickman, Carlan Tapp, and Deanne Fitzmaurice, 8-9 p.m., Immaculate Heart of Mary Retreat and Conference Center Sunmount Room, 50 Mount Carmel Rd., no charge, 505-983-1400, Ext. 11.

The Wonder of Nature: Rachel Carson The New Mexico Humanities Council chautauqua series presents Ann Beyke on the marine biologist known for her book Silent Spring, 2:30-3:30 p.m., Bureau of Land Management, New Mexico State Office, 301 Dinosaur Trail, no charge, 505-954-2000.

EVENTS

Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 473-0955.

NIGHTLIFE

(See Page 42 for addresses) Duel Brewing James Baker, Delta blues, 6-8 p.m., no cover.

Tiny’s Great Big Jazz Band, 7-9 p.m., no cover.

Turner Carroll Gallery, 725 Canyon Rd., shows paintings by Hung Lui

Vanessie American JEM, Jay Cawley, Ellie Dendahl, and Michael Umphrey, guitars and vocals, 6-8 p.m., call for cover.

18 Tuesday CLASSICAL MUSIC

Curtis on Tour family concert Student ensemble from Philadelphia’s Curtis Institute of Music; 6 p.m., United Church of Santa Fe, 1804 Arroyo Chamiso, no charge, call Santa Fe Concert Association for details, 505-984-8759.

IN CONCERT

Sharon Jones and the Dap-Kings Soul and funk band; Valerie June opens, 7:30 p.m., Lensic Performing Arts Center, $34-$54, 505-988-1234, ticketssantafe.org.

(See story, Page 24) Ty Segall Garage rocker, with Meatbodies and Alamo Sun, 8 p.m., High Mayhem Emerging Arts Studio, 2811 Siler Lane, $10 at the door, highmayhem.org.

BOOKS/TALKS

Digest This! Celebrating Family Cooking & Some Like It Hot: The History and Hospitality of New Mexico Chile SITE Santa Fe’s weekly series continues with Lynn Walters of Cooking With Kids and author Carmella Padilla; a green-chile stew taste-off provided by local restaurants follows, 6 p.m., SITE Santa Fe, 1606 Paseo de Peralta, $10, 505-989-1199.

EVENTS

International folk dances Weekly on Tuesdays, 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.

Making Art Inspired by Place Painting and mixed-media workshop inspired by the exhibit Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures; led by Helene Pfeffer; materials supplied, 6-8 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., $8, 505-946-1039.

NIGHTLIFE

(See Page 42 for addresses) Cowgirl BBQ Gerry Carthy, traditional Irish ditties, 8 p.m., no cover.

El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover.

Zia Diner Weekly Santa Fe bluegrass jam, 6 p.m., no cover.

19 Wednesday GALLERY/MUSEUM OPENINGS

Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338.

Catchment, outdoor sculptural installation

by Cheri Ibes, through March 25.

CLASSICAL MUSIC

Curtis on Tour Student ensemble from Philadelphia’s Curtis Institute of Music; music of Mozart, Barber, and Katerina Kramarchuk, 7:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, ticketssantafe.org, 505-988-1234.

BOOKS/TALKS

American Master Robert Henri The docent-led Artist of the Week series continues, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075.

The Wall That Heals A replica of the National Vietnam Veteran’s Memorial Wall in Washington, D.C., on view at no charge 24 hours a day from 4 p.m. today through Sunday, March 23, Ft. Marcy Ballpark, 490 Bishops Lodge Rd. Welcoming ceremony at 11 a.m. Thursday, March 20; call 505-986-8484 for information about other events.

NIGHTLIFE

(See Page 42 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover.

Cowgirl BBQ You Knew Me When, folk-rock, 8 p.m., no cover.

El Farol Nacha Mendez and Santastico, 8 p.m., call for cover.

Junction Karaoke Night hosted by Michelle, 10 p.m.-1 a.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 Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover.

The Pantry Restaurant Gary Vigil, guitar and vocals, 5:30-8 p.m., no cover.

20 Thursday BOOKS/TALKS

Ancient Jewelry: Egypt and Mesopotamia A Renesan Institute for Lifelong Learning lecture; with gemologist Barbara Weber Yoffee, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 505-982-9274, renesan.org.

Nuclear Hot Spots Siegfried S. Hecker of Stanford and LANL looks at India, Pakistan, North Korea, and Iran, 5-7 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20, contact Santa Fe Council on International Relations for more information, 505-982-4931, sfcir.org. ▶▶▶▶▶▶▶▶

PASATIEMPOMAGAZINE.COM

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EVENTS

Art+Ice Pecha Kucha Artists’ presentation with SCUBA, Cedra Wood, Marietta Leis, and Cheri Ibes, Q & A session follows, 7-10 p.m., Muñoz Waxman Gallery, Center for Contemporary Arts Living Room, 1050 Old Pecos Trail, $10 suggested donation, 505-982-1338.

The New Milky Way Learn about our galaxy during the second part of the public program at SFCC Planetarium, 7-8 p.m., Santa Fe Community College, 6401 Richards Ave., $5 at the door, discounts available, 505-428-1744.

NIGHTLIFE

(See Page 42 for addresses) ¡Chispa! at El Mesón Pianist John Rangel, 7-9 p.m., no cover.

Cowgirl BBQ The Bus Tapes, folksy rock, 8 p.m., no cover.

El Farol Guitarras con Sabor, Gypsy Kings style, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 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.

Pizzeria da Lino Accordionist Dadou, European and American favorites, 6-9 p.m., no cover.

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

Tiny’s Classic-rock band Controlled Burn, 8 p.m.-midnight, 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.

Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

▶ Elsewhere ALBUQUERQUE

Outpost Performance Space concerts Singer/songwriter Max Gomez, 7:30 p.m. Saturday, March 15, $10 and $15; tenor saxophonist Donny McCaslin’s trio, 7:30 p.m. Thursday, March 20, $15 and $20; 210 Yale Blvd. S.E., 505-268-0044, outpostspace.org.

Chatter Sunday The ensemble performs music of Ravel and Dahl, followed by poet Michelle Otero reading from her collection, 10:30 a.m. Sunday, March 16, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org.

Juilliard String Quartet Music of Jesse Jones, Bach, and Schubert, 3 p.m. Sunday, March 16, Simms Performing Arts Center, 6400 Wyoming Blvd. N.E., $30 and $40, chambermusicalbuquerque.com. (See Listen Up, Page 26)

LOS ALAMOS

Mathematician’s Delight A lecture for all ages by UNM professor emeritus Reuben Hersh, noon-1 p.m. Friday, March 14, Bradbury Science Museum, 1350 Central Ave., no charge, 505-667-4444, lanl.gov/museum.

44

PASATIEMPO I March 14-20, 2014

Yolanda Kondonassis and Jason Vieaux perform Sunday, March 16, at Duane W. Smith Auditorium in Los Alamos.

Yolanda Kondonassis and Jason Vieaux Harp and guitar recital, 4 p.m. Sunday, March 16, preconcert conversation with the artists 3 p.m., Duane Smith Auditorium, 1300 Diamond Dr. $30, 505-988-1234, ticketssantafe.org.

TAOS

Taos Chamber Music Group The 21st season continues with French Danish, music of Fauré and Ravel, pianist Robert McDonald, cellist Sally Guenther, flutist Nancy Laupheimer, and violinist L.P. How, 5 p.m. Saturday and Sunday, March 15-16, Harwood Museum of Art, 238 Ledoux St., $20 in advance, $22 at the door, discounts available, 575-770-1167, taoschambermusicgroup.org.

Seventh Annual Taos Shortz Film Fest Meet industry professionals at parties, panel discussions, and award ceremonies during the event showcasing more than 120 international films, daily from Thursday, March 20, through Sunday, March 23, visit taosshortz.com for tickets and schedule of events.

Taos Town Hall 400 Camino de la Placita, 575-751-2017. Group show of handwoven textiles, through March 28, for more information call 575-779-8579, no charge.

▶ People who need people Artists

42nd Annual Girls Inc. Arts & Crafts Show Application forms for the Aug. 2-3 event are available online at girlsincofsantafe.org; apply by March 31; 505-982-2042, acshow@girlsincofsantafe.org.

Call for artists and fashion designers Santa Fe Arts Commission Community Gallery seeks apocalypse-themed works for its November exhibit End of Days; submit portfolios (5-10 images, artist statement, and/or bio) no later than Friday, March 14, to Rod Lambert, Community Gallery, P.O. Box 909, Santa Fe, NM, 87504-0909; santafeartscommission.org, 505-955-6705.

Call for sculpture One-inch-high sculptures sought for The Royal Breadshow; sculptures will be exhibited and then baked into breads; March 31 deadline; see theroyalbreadshow.com or axleart.com for submission guidelines.

MasterWorks of New Mexico 2014 Open to all New Mexico artists; accepting miniatures, pastels, watercolors, and oils/ acrylics; miniatures must be shipped by Saturday, March 15, or hand-delivered by Saturday, March 22; for prospectus and information visit masterworksnm.org.

Santa Fe Public Libraries 2014 public-art program Artists may submit applications during a meeting held at 2 p.m. Wednesday, April 2, at the main branch, 145 Washington Ave.; download application forms online at santafelibrary.org; for more information call 505-955-2824 or 505-955-6781.

Filmmakers/Performers/Writers

Santa Fe Playhouse: 93rd season Accepting proposals from local directors for fall 2014-summer 2015 season; any genre (no original plays considered); 505-988-4262, March 31 deadline, santafeplayhouse.org.

Volunteers

American Cancer Society Training offered in support of the Cancer Resource Center at Christus St. Vincent Cancer Center; various shifts available during business hours Mondays-Fridays; call Geraldine Esquivel for details, 505-463-0308.

Bollywood Club Invasion Dance Party Call Deepti, 505-982-9801, to donate your time during this annual Amma Center of New Mexico benefit; held Saturday, March 22, at the Scottish Rite Center.

Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 505-428-1353.

Food for Santa Fe The nonprofit needs help packing and distributing groceries between the hours of 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600.

The Hospice Center Assist in the office entering data for the volunteer program for a limited number of hours either weekly or biweekly; basic computer skills required; call Mary Ann at 505-988-2211.

Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for more information or to schedule an interview.

People for Native Ecosystems Join the feeding team for prairie dogs two-three hours weekly; call Pat Carlton at 505-988-1596.

Santa Fe Humane Society and Animal Shelter Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128.

Santa Fe Stories Project The Santa Fe V.I.P. seeks material on the post-World War II era in Santa Fe; to submit stories or images, visit santafestories.com; submissions accepted through March.

St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.

▶ Under 21 UNDER 21

Hard-rock concert Exalt, Almost a Lie, and Choking on Air, 7 p.m. Friday, March 17. Warehouse 21, 1614 Paseo de Peralta. $5 at the door, 505-989-4423.

▶ Pasa Kids Parent/child craft times Make a Bird, in celebration of the annual spring migration, 10 a.m.-noon Fridays through March, Bee Hive Kids Books, 328 Montezuma Ave., no charge, 505-780-8051.

Leis, a family program Make a necklace of flowers in the Hawaiian tradition, 9:30-11:30 a.m. Saturday, March 15, Georgia O’Keeffe Museum, 217 Johnson St., no charge, 505-946-1000.

Musical story time Geared toward ages 2 and up, 11 a.m.

Saturday, March 15, Bee Hive Kids Books, 328 Montezuma Ave., no charge, 575-758-5826.

Gran Mary’s Place Storytelling program; Emmett “Shkeme” Garcia, 2 and 3 p.m. Sunday, March 16, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, by museum admission, 505-476-1269.

Children’s Story Hour Readings from picture books for children up to age 5; 10:45-11:30 a.m. weekly on Wednesdays and Thursdays. Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226.

Santa Fe Children’s Museum Weekly events including an open art studio, drama club, jewelry-making club, and preschool programs, 1050 Old Pecos Trail, by museum admission, 505-989-8359, visit santafechildrensmuseum.org for ongoing programs and special events. ◀

In the wings MUSIC

Serenata of Santa Fe Spring for Mozart, music of Pärt, Schnittke, and Mozart, 7 p.m.

Friday, April 11, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org.

Neko Case Singer/songwriter, with The Dodos, 7:30 p.m. Monday, April 14, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$44, 505-988-1234, ticketssantafe.org.

The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $27 in advance, 505-988-1234, ticketssantafe.org, $35 at the door.

Perla Batalla Singer/songwriter, 7:30 p.m. Monday, May 5, the Lensic, $15-$35, ticketssantafe.org, 505-988-1234.

Santa Fe Opera 2014 Festival Season The season opens with a new production of Bizet’s Carmen and includes the American premier of Dr. Sun Yat-sen by Huang Ruo, as well as returning presentations of Donizetti’s Don Pasquale and Stravinsky’s Le Rossignol, June 27-Aug. 23, 505-986-5900, schedule of community events available online at santafeopera.org.

THEATER/DANCE

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, the Lensic, $25-$72, 505-988-1234, ticketssantafe.org, April 19 encore.

Southwest Irish Theater Festival Theaterwork presents four plays and a concert, March 21-30, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., call for reservations, 505-471-1799.

HaMapah/The Map Dancer Adam McKinney’s multimedia performance, 7:30 p.m. Saturday, 2 p.m.

Sunday, March 22-23, The Dance Barns, 1140 Alto St., $20, discounts available, 505-988-1234, ticketssantafe.org.

The Lyons Santa Fe Playhouse presents Nicky Silver’s comedy, 7:30 p.m. Thursdays-Saturdays, 4 p.m. Sundays, March 28-April 13, final dress rehearsal/sneak preview March 27, 142 E. De Vargas St., gala opening $30; general admission $20; discounts available, 505-988-4262.

Flamenco Fiesta! 2014 Dancer Juan Siddi, choreographer/dancer Mina Fajardo, guitarist Chuscales, percussionist Alejandro Valle, and singer Vicente Griego, 6 p.m. Thursday and Friday, March 27-28, Teatro Paraguas Studio, 3205 Calle Marie, $20, 505-424-1601.

The Guru of Chai Jacob Rajan’s one-man portrayal of modern India, 7:30 p.m. Tuesday, April 1, the Lensic, $15-$35, 505-988-1234, ticketssantafe.org.

When the Stars Trembled in Río Puerco Teatro Paraguas and Recuerdos Vivos New Mexico present a play by Shebana Coelho, 7:30 p.m.

Fridays and Saturdays, 4 p.m. Sundays, April 4-13, Teatro Paraguas Studio, 3205 Calle Marie, $15; discounts available; Sundays pay-what-you-wish; 505-424-1601.

27th Annual Choreographers Showcase Organized by New Mexico Dance Coalition; including Echo Gustafson, Monica Mondragon, Pomegranate Studios, and 3HC Holy Faith, 7:30 p.m. Friday and Saturday, April 4-5, Railyard Performance Center, 1611-B Paseo de Peralta, $10-$15 sliding scale, ages 12 and under $5, tickets available at the door.

Sharen Bradford

Round Mountain and Selkies Folk-rock duo Char and Robby Rothschild and the Celtic band celebrate St. Patrick’s Day, 3 p.m.

Saturday, March 22, Teatro Paraguas Studio, 3205 Calle Marie, $12, discounts available, 505-424-1601, teatroparaguas.org.

Beth Kennedy Jones Music from the Lena Horne Songbook, with the Bert Dalton Trio, 6 p.m. Sunday and Monday, March 23-24, La Casa Sena Cantina, 125 E. Palace Ave., $25, 505-988-9232.

Santa Fe Symphony Featuring violinist Clara-Jumi Kang; music of Bruch, Rachmaninov, and Borodin, 4 p.m.

Sunday, March 23, $22-$76; Steven Smith returns to lead the orchestra in Mahler’s Symphony No. 7, 4 p.m. Sunday, April 13, $22-$72; the Lensic, 211 W. San Francisco St., 505-988-1234, ticketssantafe.org.

Pierre Bensusan French-Algerian acoustic guitarist, 7 p.m.

Wednesday, March 26, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $25, brownpapertickets.com, 800-838-3006.

Sounds of Santa Fe Local musicians showcase series; featuring Luke Carr’s Storming the Beaches with Logos in Hand and Ben Wright’s iNK oN pAPER, 7:30 p.m. Friday, March 28, Lensic Performing Arts Center, 211 W. San Francisco St., $12, 505-988-1234, ticketssantafe.org.

Santa Fe Music Collective The jazz series continues with New York bassist Earl Sauls, joined by Brian Bennett on piano and John Trentacosta on drums, 7 p.m. Friday, March 28, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org.

Joe Ely Alt-country singer/songwriter, with David Ramirez, 8 p.m. Saturday, March 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $32 in advance, $40 at the door, 505-988-1234.

Santa Fe Men’s Camerata Journeys: Music of Scotland and America, directed by Karen Marrolli, 3 p.m. Sunday, March 30, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students under 18 no charge, 225-571-6352.

Vadym Kholodenko 2013 Van Cliburn Piano Competition winner, music of Schumann, Brahms, and Chopin, 7:30 p.m. Tuesday, April 1, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, for tickets call the Santa Fe Concert Association, 505-984-8759, or ticketssantafe.org, 505-988-1234.

Fourteenth Annual Nuestra Musica Celebrating New Mexico’s diverse musical heritage, 7 p.m. Friday, April 4, the Lensic, 211 W. San Francisco St., $10, discounts available, ticketssantafe.org, 505-988-1234.

Awna Teixeira and Dan Bern Singer/songwriters, 7 p.m. Saturday, April 5, Gig Performance Space, 1808-H Second St., $25, brownpapertickets.com.

The Mavericks Veteran country/rock/Tex-Mex-fusion band, 7:30 p.m. Monday, April 7, the Lensic, $36-$54, 505-988-1234, ticketssantafe.org.

UPCOMING EVENTS

Aspen Santa Fe Ballet performs March 21-22 at the Lensic; shown, rehearsal of choreographer Nicolo Fonte’s work.

Luma Experimental-light theater performance, 2 and 7 p.m. Sunday, April 6, the Lensic, $15-$35, discounts available, 505-988-1234, ticketssantafe.org.

Louder Than Words Belisama Dance and Moving People Dance Theatre present a student concert, 7 p.m.

Friday and Saturday, April 11-12, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, children $10, 505-988-1234, ticketssantafe.org.

Left to Our Own Devices: Staying Connected in the Digital Age Just Say It Theater presents a collaborative performance by students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7 p.m. Thursday-Saturday, 2 p.m. Sunday, April 24-27, Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112.

HAPPENINGS

Sixth Annual Bollywood Club Invasion Dance Party DJ-driven dance rhythms, Indian-dance class, Indian bazaar, and food, 7 p.m.-12:30 a.m. Saturday, March 22, Scottish Rite Center, 463 Paseo de Peralta, $15, ages 11 and under $7, 512-694-4375, proceeds benefit Amma Center of New Mexico.

Tenth Annual Japanese Cultural Festival Folk dances; kite-making demonstrations; live entertainment, including singer Madi Sato and drum ensemble Smokin’ Bachi Taiko, 10 a.m.-5 p.m. Saturday, March 22, Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., $3 at the door, ages 12 and under no charge, for more information visit santafejin.org.

Advanced kite making Led by Mikio Toki; in conjunction with the exhibit Tako Kichi: Kite Crazy in Japan, 11 a.m.-3:30 p.m. Sunday, March 23, Museum of International Folk Art, 706 Camino Lejo, Museum Hill, $30 includes materials, lunch, and lecture, preregister with Stephanie Riggs, 505-476-1215.

SFAI 140 Twenty short talks by artists-inresidence and community members; refreshments served, 7 p.m. Thursday, March 27, Santa Fe Art Institute, SFUA&D, 1600 St. Michael’s Dr., no charge, 505-424-5050.

The Art of Systems Biology and Nanoscience Annual exhibit of watercolors, illustrations, and videos by UNM and LANL researchers, 4:30-8 p.m. Friday, 10 a.m.-7:30 p.m.

Saturday, March 28-29, 333 Montezuma Arts, 333 Montezuma Ave., visit stmc.health.unm.edu for reception reservations and details, no charge.

Paper Dosa Collaborative event between the owners of the San Francisco restaurant Dosa and the local art collective SCUBA in support of the CCA; sample South Indian fare on handmade plates, 7-10 p.m.

Saturday, March 29, Center for Contemporary Arts, 1050 Old Pecos Trail, $50, 505-982-1338, ccasantafe.org.

LitQuest 2014 Partners in Education Foundation gala; dinner, dancing, and silent and live auctions; invited writers include Carmella Padilla, Arthur Sze, and Don Usner, salon and saloon 5 p.m. Saturday, March 29, party 6 p.m., Buffalo Thunder Resort & Casino, 30 Buffalo Thunder Trail, $125 party only, $250 salon, saloon, and party, advance tickets available online at litquestgala.org.

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AT THE GALLERIES

ESPAÑOLA

Bond House Museum and Misión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; visit plazadeespanola.com.

Charlotte Jackson Fine Art 554 S. Guadalupe St., 505-989-8688.

Unidentified Floating Objects, work by painter Ronald Davis, through March.

Counter Culture 930 Baca St., 505-995-1105. Photographic montage by Melvin Duncan, through March 27.

A Gallery Santa Fe 154 W. Marcy St., Suite 104, 505-603-7744.

A Life in Art, high-relief sculpture by Tom Morin, through March 24. (See review, Page 28) Richard Long Fine Art 715 Canyon Rd., 505-913-9762. Mountain Landscapes, bas reliefs by Long, through March.

Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. New works

by Rex Ray and Hung Liu, through Saturday, March 15.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. View/ Review: Contemporary Masters, including works

by Robert Motherwell (1915-1991), Ellsworth Kelly, and Pierre Soulages, through March 22.

MUSEUMS & ART SPACES SANTA FE

Center for Contemporary Arts 1050 Old Pecos Trail, 505-216-0672. Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective SCUBA, Muñoz Waxman Gallery • All the News That’s Fit to Print, group show, Spector-Ripps Project Space, both shows through March 30. Open Thursdays-Saturdays; visit ccasantafe.org.

Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Celebrate Creativity: Artwork From the Georgia O’Keeffe Museum’s Pre-K Programs, through Monday, March 17 • Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs by O’Keeffe in the permanent collection. Open daily; visit okeeffemuseum.org.

Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1666. Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; visit iaia.edu/museum.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269.

Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection. Closed Mondays through Memorial Day; visit indianartsandculture.org.

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.

Closed Mondays; visit internationalfolkart.org.

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PASATIEMPO I March 14-20, 2014

LOS ALAMOS

Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits.

Open daily; visit lanl.gov/museum.

Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Exhibits on area geology, early homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School.

Visit losalamoshistory.org; open daily.

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.

Closed Sundays; visit pajaritoeec.org.

TAOS

The exhibit Cowboys Real and Imagined closes Sunday, March 16, New Mexico History Museum; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Neg. HP.2007.20.915.

Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226.

Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, latecolonial-period re-creation. Closed Mondays; visit spanishcolonialblog.org.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Cowboys Real and Imagined, artifacts and photographs from the collection, through Sunday, March 16 • Transformed by New Mexico, Mezzanine Gallery exhibit of work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; visit nmhistorymuseum.org.

New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Focus on Photography, rotating photography exhibits: Beneath Our Feet, photographs by Joan Myers; Grounded, landscapes from the museum collection; Photo Lab, interactive exhibit explaining the processes of color and platinumpalladium printing, through August • 50 Works for 50 States: New Mexico, through April 13.

Closed Mondays; visit nmartmuseum.org.

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. Closed Mondays; visit pvmiwa.org.

SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, through May 18.

Closed Mondays-Wednesdays; visit sitesantafe.org.

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 daily; visit wheelwright.org.

ALBUQUERQUE

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255.

Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings

by New Mexico African American artists, through May 4. Closed Mondays; visit cabq.gov/culturalservices/albuquerquemuseum/general-museum-information.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays; visit nationalhispaniccenter.org.

New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. Timetracks, core exhibits offer a journey through billions of years of history, from the formation of the universe to the present.

Open daily; visit nmnaturalhistory.org.

UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001.

Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, etchings by the late artist • The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Closed Sundays and Mondays; visit unmartmuseum.org.

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques.

Open daily; visit taoshistoricmuseums.org.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010, drawings by the late artist • Charles Mattox: Poetry in Motion, works on paper from the 1970s • Art for a Silent Planet: Blaustein, Elder and Long, works by local artists Jonathan Blaustein, Nina Elder, and Debbie Long, exhibits up through May 4 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Visit harwoodmuseum.org; Closed Mondays.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945.

Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, and Carson memorabilia. Open daily; visit kitcarsonhomeandmuseum.com.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000.

One of the few Northern New Mexico-style, late-Spanish-colonial-period “great houses” remaining in the American Southwest.

Built in 1804 by Severino Martin. Open daily; visit taoshistoricmuseums.org.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary jewelry.

Closed Mondays through March; visit millicentrogers.org.

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

Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Open 10 a.m.-4 p.m.

Visit taosartmuseum.org; closed Mondays.

EXHIBITIONISM

A peek at what’s showing around town

Sho Sho Esquiro: Bull Bear, 2013, acrylic on canvas. LoneDog NoiseCat Gallery (241 Delgado St.) presents Spring Forward, an exhibit of contemporary art by indigenous artists including Tom Haukaas, Sho Sho Esquiro, and Marcus Amerman. The artists work in a variety of mediums such as painting, jewelry, sculpture, and ledger art. The show contains abstractions, landscapes, and portraiture and is open during gallery hours beginning Friday, March 14, through Sunday, March 16. Call 505-412-1797.

Squeak Carnwath: Still Happy, 2003, cotton Jacquard tapestry. Turner Carroll Gallery (725 Canyon Road) presents Woven, an exhibit of Jacquard tapestries by artists Deborah Oropallo, Hung Liu, Chuck Close, and others. The Jacquard loom combines thousands of threads into elaborate images capturing minute details even in photorealist works like those by Close. The show is on view starting Monday, March 17. There is a 5 p.m. reception on Friday, March 21. Call 505-986-9800.

Lee Marmon: Santo Domingo Potter, Santana Melchor, 1984, silver gelatin print. Native Portraits: Points of Inquiry continues at the Museum of Indian Arts and Culture (710 Camino Lejo on Museum Hill) and includes historical and contemporary portraits by Native and non-Native photographers such as Lee Marmon, Will Wilson, Carl Moon, and Edward S. Curtis. Historic works are from the collection of the Palace of the Governors Photo Archives and focuses on photographers active from the post-Civil War period through 1935. Native visitors can bring heirloom photographs to the exhibit to be scanned and added to a community gallery that runs the duration of the show, through January 2015. Call 505-476-1250. Édouard Boubat (1923-1999): Espagne, 1951, gelatin silver print. On View, an exhibition of historic photography, continues at Scheinbaum and Russek (812 Camino Acoma) through March and includes work by Paul Caponigro, Edward Weston (18861958), Eugène Atget (1857-1927), and Minor White (1908-1976).

Scheinbaum and Russek is open by appointment. Call 505-988-5116.

Julian Stanczak: Reversal Pair Blue Plus Green, 2006, acrylic on canvas. Julian Stanczak explores color relationships in geometric abstractions and uses series of parallel lines arranged on the canvas to give the illusion of undulating forms. Lineal Pathways, an exhibition of his paintings, opens at David Richard Gallery (544 S. Guadalupe St.) on Friday, March 14, with a 5 p.m. reception. Tickets, $80, for a private dinner with the artist at 6 p.m. on Saturday, March 15, are available by calling the gallery at 505-983-9555. Proceeds benefit Santa Fe Gallery Association’s Art Matters program.

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