Pasatiempo, March 8, 2013

Page 1

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture March 8, 2013

“My kitchen is a

mystical place...


where the sounds and odors

– Pearl Bailey




carry meaning that

transfers from the past and bridges to the future.”



Julia Staab Historic hostess and former owner of the property that is now La Posada

The Ar t of Fine Dining Upcoming Events

“Whites of Burgundy” Wine Dinner - Saturday, March 16 Enjoy a four-course dinner with fine White Burgundies from “Julia’s Cellar”. Evening includes commentary by our award-winning chef and a guest wine expert. $225 per person*

“Flamenco en Fuego” Dinner Show - Saturday, March 23 Three-course Flamenco dinner show. $48 per person*

Easter Brunch - Sunday, March 31

An extravagant Easter buffet with both traditional and new favorites, a Bloody Mary bar and more. Handcrafted baskets for the children. $55 for adults; $25 for children 12 and under* *plus tax and gratuity

526 Galisteo Street • 820.0919

“A Luxury You Can Afford!” This Week’s 3 – Course Dinner Special - $35/ per person

Reservations: 505-954-9670 or visit 330 E. Palace Avenue, Santa Fe •

Nature's Art and Functionals.

1st Course Soup du Jour or Organic Baby Greens w/Olive Oil & Lemon Entree Beef ‘Tinga’: Mexican Pulled Braised Beef & Chorizo (spiced w/ Mexican Oregano, Cumin, Chipotle & Honey) served on Housemade Herbed Linguine or Roasted Poblano Chile Relleno w/Wild Mushrooms, Quinoa & Chipotle Cream Dessert Dulce De Leche Cheesecake w/ Candied Chimayo Red Chile Pecans & Pink Fleur de Sel

Ongoing: Happy Hour Special

After Work | After Session | Après Ski 50% off OUR FAMOUS ‘CLASSIC’ APPETIZERS: CALAMARI, DUMPLINGS & SPRING ROLLS Wines by the glass, ‘Well’ Cocktails & our House Margarita! $5.00 each

Monday thru Friday from 4:00 - 6:00pm Full Bar with Wi-Fi Visit us online Instant Gift Certificates Recipes & Reservations OPEN EVERYDAY LUNCH from $9.50 | DINNER from $19.00

231 Washington Ave | Santa Fe, NM | 505 984 1788


March 8 -14, 2013


s e q u o ia s a n t a f e


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


Prep means Prepared. Ready for Anything.

Mike Multari Director of Admissions 505 795 7512


b o t w i n

e y e s Cartier Chanel Chrome Hearts Anglo American Anne et Valentin Beausoleil Lunettes Dolce & Gabbana Etnia Barcelona FACEaFACE Ronit Furst Gotti i.c!berlin Lindberg Denmark Oliver Peoples RetroSpecs Loree Rodkin Theo 2.5 Eyephorics‌

e y e

g r o u p

o p t i c s s a n ta

f e

Dr . M a r k bot w i n Dr . Jonath an bot w i n Dr . J e r e M y bot w i n

Optometric Physicians

444 St Michaels Drive

5 0 5 . 9 5 4 . 4 4 4 2 PASATIEMPO





The Santa Fe Concert Association


Fiddler on the Roof


— Beyond Compare!


• Companion Care • Alzheimer’s/Dementia Care • Personal Care • Hospital to Home Transitional Care

(505) 982-1298

1301 Luisa St. Ste. C • Santa Fe, NM 87505

©2013 CK Franchising, Inc. Each office independently owned and operated.


Come see how

Ukrainian Easter Eggs

are made FREE demonstration Saturday, March 9th • 1-4 P.M.

St. Francis Hotel • 210 Don Gaspar • Santa Fe Sponsored by

See it for the first time, see it again, or better yet, introduce a member of the next generation to the glorious

TrAdiTion! SundAy, MArCh 10, 2013 • 7:30 The Lensic Performing Arts Center • $20 - $55 Lensic box office: 988.1234

Free People Frye Joe’s Jeans Michael Stars Velvet And... Contemporary Clothing for Women

The Santa Fe Concert Association 321 West San Francisco Street, Suite G Santa Fe, New Mexico 87501 Phone: 505.984.8759


March 8 -14, 2013

Fax: 505.820.0588


De Bella Collectibles Your Personal Jeweler



♦ .60 carat Round ♦

I color VS clarity $1,860

.83 carat Round G color VS clarity $4,050

♦ 1.09 carat Round

H color SI1 clarity $7,000

♦ 1.25 carat Round

I color VS clarity $8,000


1 OF 3

.70 carat Marquise F color VS clarity $3,200

♦ .60 carat Princess

I color VS clarity $1,380

This is only a sampling of the available inventory. Please contact me for a private appointment: Joe De Bella, Graduate Gemologist at 505.231.5357 or


MUSTANG MADNESS GivEAwAyS will bE hElD oN MARCh 16, 23 & 30. Qualifying drawings at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm.

At 10:30 pm all the qualifiers will spin the prize wheel to see who will drive home in a brand new Mustang!

Make all your wedding dreams come true at our

First Annual Wedding Fair

Saturday, March 23rd • 12 P.M. - 5 P.M.

Player receives one entry for every 30 points earned on their Lightning Rewards card, March 1 through March 30, 2013. Drawings will be simulcast at Cities of Gold. Management reserves all rights.

Wedding dresses by Laura Sheppherd, Atelier Designers and Conscious Clothing. Jewelry by Jewel Mark and Jacqueline’s Place. Catering by Caffé Greco. Live music by DJ Zion and wedding cake tasting.

We will help you create your perfect wedding day. Fine Jewelry The Mark of Distinction Established 1987

OPEN EVERY DAY 10-6 • 505.820.6304 233 Canyon Road •

8 7 7 - T h u n d er




March 8 - 14, 2013

On the cOver 32 niche market: Alcove 12.9 Works by Teri Greeves and four other artists are featured in Alcove 12.9, the final entry in the series of mini shows that began in March 2012 at the New Mexico Museum of Art. Pieces by Joanne Lefrak, Jeff Deemie, Mary Tsiongas, and James Marshall join Greeves’ work in enlivening the interstices of the museum’s gallery space. On the cover is Greeves’ Sunboy’s Women, a 2011 piece with glass beads, wood beads, crystals, and raw silk; courtesy New Mexico Museum of Art/Jane Sauer Gallery; photo Daniel Barsotti.


mOving images

12 in Other Words The life of Tim Hetherington 14 Barbara ehrenreich Downward mobility

48 Pasa Pics 52 56 Up 53 Oz the Great and Powerful

PUeBlO migratiOns


16 On the road Archaeologist Rory Gauthier

56 Pasa Week

mUsic and PerfOrmance 18 20 22 24 27 42 46 63


adrian legg A different minstrel Pasa reviews Brentano Quartet terrell’s tune-Up Churchwood Pasa tempos CD Reviews Onstage this Week Tina & Her Pony highland fling Black Watch Pipes & Drums In the Time of the Butterflies Teatro Paraguas sound Waves iNK oN pAPER returns

9 mixed media 11 star codes 54 restaurant review

art and PhOtOgraPhy 28 Photo synthesis Looking at Ansel Adams 36 Bare essentials Nudes at Photo-eye 40 art of space Art packing and storage, plus karate

advertising: 505-995-3819 ad deadline 5 p.m. monday

Pasatiempo is an arts, entertainment & culture magazine published every friday by The New Mexican. Our offices are at 202 e. marcy st. santa fe, nm 87501. editorial: 505-986-3019. fax: 505-820-0803. e-mail: PasatiemPO editOr — kristina melcher 986-3044, ■

art director — marcella sandoval 986-3025,

assistant editor — madeleine nicklin 986-3096,

chief copy editor — Jeff acker 986-3014,

associate art director — lori Johnson 986-3046,

calendar editor — Pamela Beach 986-3019,

staff Writers michael abatemarco 986-3048, rob deWalt 986-3039, James m. keller 986-3079, Paul Weideman 986-3043,

cOntriBUtOrs Jon Bowman, laurel gladden, Peg goldstein, robert ker, Bill kohlhaase, Jennifer levin, adele Oliveira, robert nott, Jonathan richards, heather roan-robbins, casey sanchez, steve terrell, khristaan d. villela

PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

Robin Martin Owner

Ginny Sohn Publisher

Coming soon:

advertising directOr Tamara Hand 986-3007

marketing directOr Monica Taylor 995-3824

art dePartment directOr Scott Fowler 995-3836

graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

advertising sales mike flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Rob Dean editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

Santa Fe Community Orchestra


Oliver Prezant, Music Director 2012-2013 Concert Season

Comprehensive .Compassionate .Patient Centered Health Care

Mid-season Concert

Family Physician | Board Certified ABFM In Santa Fe since 1987


W.A. Mozart: Symphony #35 in D

530-A Harkle Road

Samuel Barber: Violin Concerto, Op. 14

David Felberg, Violin

$50 Credit On Initial Visit With This Ad

Side-by side: Mr. Felberg & Capital H.S.

No longer accepting insurance, but reasonable fees.

string players play various pieces

Einar Englund: Symphony #3 (Santa Fe Premiere)


March 10th

2:30 pm

St. Francis Auditorium, 107 W. Palace Ave. Free admission Donations appreciated Sponsored in part by: The Flea and Stephen Ross

Make your garden GROW!

Gardening 101: The Basics of Gardening in Santa Fe Santa Fe Center for Spiritual Living Saturday, March 16; 9 am to 3:30 pm 505 Camino de los Marquez You’ll learn essential skills for ornamental, fruit, and vegetable gardening success.

Instructors: Tracy Neal and Jannine Cabossel. Course fee: $45. Space is limited.

REGISTER NOW at A community service of

SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodger’s Tax.

Gardening Hotline (505) 471-6251



“The Mortgage Experts”


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

The Santa Fe Concert Association

Scott RobinSon


5 0 2 W. C o r d o v a R d , S u i te B • S a n ta Fe • 4 2 8 - 0 3 3 1

Implant Dentistry of the Southwest If you are missing one or more teeth, why not be a part of a study or clinical research? Replace them and save money.

Dr. Burt Melton

2 Locations

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

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

Join us for a BEEr DiNNEr


Tuesday, March 19th at 6:00pm with Chama river Brewery

The Pipes & Drums of the



Monday, March 11, 2013 7:30pm 7:30pm The Lensic Performing Arts Center $20 - $55 Lensic box office: 988.1234

Chef Gharrity is featuring a four course menu paired with beers from

For a complete menu visit For reservations call 505.988.9232 Open Daily 11:00am until 10:00pm

The Santa Fe Concert Association 321 West San Francisco Street, Suite G Santa Fe, New Mexico 87501 Phone: 505.984.8759


March 8 -14, 2013

Fax: 505.820.0588

125 East Palace, Santa Fe, New Mexico 87501 (505) 988-9232 | complete menu at

MIXED MEDIA Madame Butterfly

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


Photos courtesy Santa Fe Opera

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

Ken Howard

(505) 989-3435

The Marriage of Figaro

Silks and satins: opera costumes Lots of aficionados attend the opera for the arias, but visual details, particularly costuming, can be equally enthralling. “You Are What You Wear: Costume and Character in Opera,” a presentation of the Santa Fe Opera Guild, examines the ways in which costume influences performance. The event features costumes from several operas, including Faust and The Marriage of Figaro. “Until very recently, people didn’t understand how much clothing says about culture, and it sets the whole tone of a show,” said Dorothy Baca, the head of design for performance in the Theater and Dance Department at the University of New Mexico. “Really good costuming allows you to escape to the world the opera is set in.” Some of the costumes featured are from Madame Butterfly, which is set in early-20th-century Japan. “Costumes convey character,” said Emilee McVey Lee, the costume stock coordinator at the Santa Fe Opera. McVey Lee presents the program with Baca. “In Madame Butterfly, they went for a pretty realistic look — the director wanted to focus on the American influence coming into Japan, and you can see that in the costume Madame Butterfly wears. In Act 1, she wears a traditional kimono. Then she dons a more Western appearance for the second act, when she becomes a Christian.” In smaller groups, participants will examine costume undergarments, such as corsets, bustles, and panniers. “We’ll talk about the process of design,” Baca said. “What makes a successful costume and what does the audience learn from that?” The program runs from 9:30 a.m. to noon on Saturday, March 9, at Stieren Hall on the grounds of the Santa Fe Opera (seven miles north of Santa Fe on U.S. 84/285). Tickets are $10; reservations are required. Call 629-1410, Ext. 100, or visit — Adele Oliveira




Comfy, Citron, Komarov, Cashmere, even the Tony Malmed Jewelry

EVERYTHING 108 Don Gaspar 505-988-9558 open daily


Astrology Santa Fe

Week Days are named after the 7 planets.

Monday- Moon Tuesday – Mars Wednesday – Mercury Thursday – Jupiter Friday – Venus Saturday – Saturn Sunday – Sun

March 9 & 10

Come and find out where your strengths are

10 - 5 Sat • 10 - 4 Sun Tickets $5.00 Santa Fe Community Convention Center Come View Remodelers Showcase Inaugural Santa Fe Community College Design Competition

Bina Thompkins

Call for Appointments 505 819 7220




T BOOS iness

Your Bus

Upcoming Workshops: • Effective Use of Social Media

For More Workshops Visit Our Website

Sold out

Saturday, 03/09/13 - 9:00am-Noon

• Record Keeping & Organization Sch. C Tuesday, 03/12/13 - 6:00pm-9:00pm

Get Your Tickets Today • 505 982 1774

2013 Remodelers Showcase Excellence in Remodeling Awards being presented Saturday at 1:00 PM by

Joe Diaz KOAT Chief Meteorologist

Sponsored by:

• Understanding Contracts

Saturday, 03/16/13 - 9:00am-Noon TO REGISTER: Call 424-1140 or SCORESEMINARS@HOTMAIL.COM

Santa Fe Business Incubator, 3900 Paseo del Sol (Off Airport Blvd.) •


The Santa Fe Conservation Trust and The Lensic are proud to host


2012 2013


SFCC Design Competition Winners announced Sunday on the

March 18–19 7 pm

Rey Post Show 1260 AM KTRC

$16 one night $28 both nights

Raffle: $8000 GE Monogram 54” Outdoor Cooking Center


Ten $100 Cash Door Prizes Thank you to our Sponsors:

Proceeds benefit the Santa Fe Conservation Trust and The Lensic

Tickets: 505-988-1234 t h e l e n s i c i s a n o n p r o f i t, m e m b e r - s u p p o r t e d o r g a n i z at i o n


March 8 -14, 2013


STAR CODES Heather Roan Robbins This week comes in like a lamb and goes out like a lion. The mood is soft as it begins — it’s a good time for puttering around, but our minds can feel like pencils that won’t sharpen. Concentration and energy levels fluctuate while confusion affects the schedule with five planets in sensitive, amorphous Pisces. The first blast of spring enthusiasm kicks in next week as motivating Mars and a mood-creating moon enter brave, headstrong Aries. As the weekend begins, we wonder if we have what it takes; we can be productive in the short term but may feel uncertain about the long haul as retrograde Mercury trines Saturn and they both sextile Pluto. Over the weekend, we feel awash and need extra sleep. It’s time to explore what makes us feel vulnerable as the moon joins the sun, Venus, Mars, Chiron, and Neptune retrograde Mercury in creative, watery, permeable Pisces. It’s a fine time to meditate. Do not, under any circumstances, make someone pay for showing their soft side — it will really cause trouble by the end of the week. Gumption returns on Tuesday. We’re not going to take it anymore and can feel a wave of new activism kick in. If we’ve felt wronged recently, watch out. Our energy level amps up as Mars and the moon enter fiery Aries and lower our impulse control while revving our engines. We have to provide the wisdom to guide this momentum; with Mercury still retrograde we can accidentally drive off a cliff if we’re not careful. We need to watch where we’re going. Now some impulses may be divinely inspired. Wait five minutes if such lightning strikes, and see if all parts of the soul agree. Friday, March 8: Talk over a sore point, and see what can be healed as Mercury conjuncts Chiron. A generous, inclusive morning becomes an opinionated afternoon as people attempt to get organized while the collaborative Aquarius moon squares structured Saturn. Evening has a positive if disconnected vibe. Saturday, March 9: Enjoy sociable, talkative connections as Mercury squares Jupiter. Relax and let the opinions flow. Midday has edgy moments; if we wonder whether we have enough or are enough, bring in the focus and deal only with what is on the front burner. The evening grows mushy, emotional, and indulgent as the moon enters Pisces. Sunday, March 10: Keep the agenda low, sweet, and sacred. Ask what needs forgiveness and release as the moon conjuncts Neptune and Mercury in Pisces. Natural adjustments can be made to changed circumstances — although we’re flexible, don’t push; abuse will not be forgotten. Monday, March 11: The mood is squishy and aware, our thinking circuitous but profound. Make it safe to be soft under this new moon in Pisces. Prepare for tomorrow — repair relationships, create visions, and give positive feedback. There’s warmth tonight as the moon cozies up to Venus. Tuesday, March 12: The lion roars in as Mars and the moon enter Aries; energy increases, but wisdom does not. Feel the courage. We’re not interested in continuing dysfunction but may not have a clear alternative. Tempers spike hot and brief. Freedom calls tonight as the moon conjuncts Uranus. Wednesday, March 13: Early discontent triggers changes that take concerted effort. Don’t walk out; speak up and put enthusiasm and rebellion to good purpose. Bear honest witness, and stay out of the middle of other people’s fights. Thursday, March 14: The mood is disjointed but determined; mistakes are made when we push. Energy settles into a new flow as the beautiful crescent moon enters steady Taurus this afternoon. If doubts abound, let them guide, not stop, progress. ◀

Unforgettable Special Events Join us for upcoming special events that are perfect for your next night on the town. Don’t miss our first Meet the Artist Event, held monthly, that features the incomparable Sara Shawger, with a complimentary reception.

Irish Whiskey Seminar at AGAVE Lounge March 14, 2013 4:00pm - 7:00 pm Learn all about Irish Whiskey at this complimentary seminar while you enjoy Irish Whiskey drink specials.

St. Patrick’s Day Weekend at AGAVE Lounge

March 15 - 17, 2013 All Day Celebrate the luck of the Irish with great drink specials at the AGAVE Lounge!

Meet the Artist Event Featuring Sara Shawger at The Gallery at Eldorado March 21, 2013 4:30pm - 6:30 pm We’ve partnered with Beals and Abbate Gallery to celebrate the work of Sara Shawger with a complimentary reception. Please call 505.995.4502 to make reservations.

Easter Brunch

at Eldorado March 31, 2013 10:00am - 2:30 pm

Enjoy an Easter Brunch abundant in culinary specialties sure to please the entire family. $49 Adults; $39 Seniors, $25 Kids; Children 5& under eat free.

Please call 505.995.4508 to make reservations.

Located at Eldorado Hotel & Spa 309 W. San Francisco Street PASATIEMPO


In Other wOrds Here I Am: The Story of Tim Hetherington, War Photographer by Alan Huffman, Grove Press, 256 pages Tim Hetherington was a tall, handsome Englishman who made friends wherever he went, and he went a lot of places. He went into the places most people were trying to get out of. He was a war photographer. He worked under fire, getting as close to the danger and the reality of war as he could. In July 2010 he stood on the stage of the Lensic Performing Arts Center and talked about Restrepo, the Oscarnominated documentary he made with his friend Sebastian Junger about a company of U.S. soldiers in a remote outpost of Afghanistan. Nine months later he was dead in a dirty little street in a city in Libya that almost no one had ever heard of. In Here I Am: The Story of Tim Hetherington, War Photographer Photographer, journalist Alan Huffman starts with the sudden, shocking end of this story and then goes back to show us how Hetherington got there. War photographers are a strange breed: men and women who live on the edge, waving a red flag at death as they record the horrors and the hyperaction and the boredom and the humanity of young men killing one another in the name of one cause or another. In a sense, soldiers and journalists are often drawn by the same adrenaline-pumping excitement. “They were all looking for a sense of purpose,” Huffman writes, “which the extremes of war gave them, and which created a bond between those who shared it.” Toting a camera provides a passport for people who are attracted to the danger of life on the front lines but who lack the stomach for the killing that is the endgame of the soldier’s job. Hetherington thought a lot about this. “On the one side,” he once observed, “you have the adrenaline side that makes it all quite exciting, and on the other side you’re seeing that it’s pretty appalling. The range of emotions that washes over you, I suppose now in some ways you sort of feel ashamed. Ashamed — that’s not the right word, but … something.” Being torn between doing a job that desperately needs to be done, bringing home the reality of what goes on in the wars that we send young people out to fight, and feeling that there’s something queasily inappropriate about it sometimes haunted Hetherington. As Junger says, “I think he had a sense that there was a somewhat vulture-like aspect to journalism. It’s


March 8 -14, 2013

book reviews unavoidable. God forbid these stories not get covered. There’s no good alternative to journalism, but it does leave you feeling slightly impure.” But Hetherington was not one to remain simply an observer. Huffman paints a scene in the Liberian civil war in which Hetherington intervened to save the life of a civilian doctor threatened with execution by a rebel soldier. Unusual for this breed that gets the story and moves on to the next hot spot, Hetherington settled in Monrovia for several years after the end of that conflict. His work there helped the United Nations track down human rights criminals. He sponsored the travel of a choir from a deaf school. When Hetherington’s driver’s daughter got into nursing school, he paid half her tuition. “Tim was universally loved,” says a fellow photographer. “I’ve never really met anybody who said they didn’t like Tim.” If one characteristic surfaces most, it’s Hetherington’s desire to understand the relationship of young men to war. He saw how they imitate movies and TV, which feed their dreams, just as young men a thousand years ago must have built their self-image upon heroic ballads and tales told around the fire. Hetherington had a ball at the Oscars, describing them as “one of the highlights of my life so far.” On the red carpet, a movie star came up to one of the Restrepo soldiers and gushed, “Hey man, I saw Restrepo, just incredible. I love your work!” “Pemble [the soldier] came up to me after that,” Junger reports, “and he was like, ‘Love my work?’ What’s he mean? Does he realize Restrepo is a documentary?” Hetherington thought about death, including his own. He reflected on times when he found himself in “a situation where you think, like, ‘This is it. I’ve gone too far now. My family’s going to be so angry with me.’” After a brush with death, when he was back in what even he might call normal life, Hetherington would promise his friends and family that he would not go on taking such chances, that he would stay well away from the front. On that last trip back to Libya, he was going to focus on portraits, away from the action. But then he got there, and the old adrenaline craving kicked in. Huffman’s book sometimes feels rushed.Conversely, particularly in the early chapters, he is prone to meander, drifting into details that feel irrelevant. But he’s at his riveting best in his description of the battle for Misrata, which puts the reader as close as most of us ever want to get to the absolute hell of chaotic urban war. It ends, as we know it will, with the tall, handsome Brit, the extraordinary artist and friend, in the back of a pickup as it races toward a hospital through rubblestrewn alleys dodging mortar shells, bleeding to death from a wound that could have been stanched if his pals had known how to properly apply pressure to it. — Jonathan Richards

SubtextS Born in a small town “Crazy ideas are the only kind that seem to work here,” says Dave Daly, a citizen of the tiny fictional New Mexico town that’s the setting for Robert Julyan’s 2011 novel, Sweeney (University of New Mexico Press). Dave and his fellow Sweeney-ites need a truly crazy idea to save their dried-up, withering husk of a hometown. What happened to Sweeney? Once a bustling ranching center, it now has a population of 856 — a third of what it was in the town’s heyday. High school graduates, business owners, and bored citizens are fleeing for greener pastures with better, more exciting personal and professional opportunities. While Sweeney may not actually exist, there are towns like it all across New Mexico (and the U.S., for that matter). Julyan discovered that firsthand while working on one of his previous nonfiction books, the well-researched Place Names of New Mexico. In it, Julyan delivers this sort of factual account: “Eventually Kingston had 7,000 people, 22 saloons, three hotels, and three newspapers. But when the ... price of silver dropped, Kingston became a shadow of its former self.” Sweeney allows Julyan to take a comic approach to this touchy, unpleasant topic, and his sense of humor sets the novel apart. No portrait of small-town Americana would be complete without some colorful characters, of course. Julyan creates not corny, quirky stereotypes but individuals who are strong and endearing — and OK, maybe a little crazy, too. They give an otherwise boring, unremarkable town an interesting identity. The New Mexico-Arizona Book Association awarded Sweeney the 2012 Tony Hillerman Award for Fiction. At 6 p.m. on Tuesday, March 12, Julyan reads from and signs copies of his novel at Collected Works Bookstore (202 Galisteo St., 988-4226). Special guest Anne Hillerman introduces the author. — Laurel Gladden

Photo Credit: Jill Wiseman Kumihimo Beyond the Basics

Make your garden GROW! You’ll learn essential skills for ornamental, fruit, and vegetable gardening success.

Instructors: Tracy Neal and Jannine Cabossel. Course fee: $45. Space is limited.


Friday, 3/15


Sunday, 3/17



Redeem this coupon to save $10 off a 4-day shopping pass. You pay just $5!

View the workshops and learn more at


expo hours

Saturday, 3/16 (505) 471-6251

march 14-17, 2013

Find all the beads, gems, finished jewelry and jewelrymaking supplies you need to create stunning projects. Then try a workshop for new skills and inspiration!


A community service of

Gardening Hotline

201 w. marcy street

150 booths & tables • 90 workshops

Thursday, 3/14


santa fe community convention center

Lensic Presents

Shop for all your jewelry supplies!

Gardening 101: The Basics of Gardening in Santa Fe Santa Fe Center for Spiritual Living Saturday, March 16; 9 am to 3:30 pm 505 Camino de los Marquez



PARK March 22 & 23 Directed by Fred Franklin

Friday 8 pm Saturday 2 pm & 8 pm $20–$40/$10 students

A wickedly funny, fiercely provocative play about race, real estate, and the volatile values of each. Winner: 2011 Pulitzer Prize for Drama, 2012 Tony Award for Best Play

FUSIONTheatre Company Tradition // Innovation // Excellence

Tickets: 505-988-1234


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



Jennifer Levin I For The New Mexican


Nickel and Dimed: On (Not) Getting By in America, an exposé about minimum-wage workers, propelled author Barbara Ehrenreich to The New York Times bestseller list and planted her in the American imagination as an advocate for the poor and working class. Ehrenreich’s prose is invitingly direct and often witty. A tone of biting satire permeates her writing, especially when she points out the obvious to people who are oblivious to the reality of true financial struggle. She has written along these themes in numerous other books, including Fear of Falling: The Inner Life of the Middle Class (1990), Bait and Switch: The (Futile) Pursuit of the American Dream (2005), and This Land Is Their Land: Reports From a Divided Nation (2008). Her most recent book, Bright-Sided: How Positive Thinking Is Undermining America (2009), challenges the wisdom of enforcing a cheery outlook in all spheres, from cancer treatment to being laid off from your job. Her new endeavor, with the Institute for Policy Studies, is the Economic Hardship Reporting Project, which pays out-ofwork journalists to write about economic issues and helps them place the articles in major media outlets. Ehrenreich talks about her work on Wednesday, March 13, at the Lensic Performing Arts Center. The presentation is part of the Lannan Foundation’s In Pursuit of Cultural Freedom series. Following her presentation, Ehrenreich joins in conversation with David Barsamian, a frequent Lannan host and founder of Alternative Radio. Ehrenreich spoke with Pasatiempo in advance of her visit. Pasatiempo: In This Land Is Their Land, which came out prior to the last presidential election, you ask for the public conversation around economic inequality to be revived — and it has been, to some extent. What do you think of the Occupy movement? Do you have thoughts on Mitt Romney’s “47 percent” remarks? Barbara Ehrenreich: I have quite a few thoughts. The Occupy movement was — and still is, in a less visible way — an expression of frustration over the huge inequality in this society. I was fascinated by the way the encampments brought together people of very different backgrounds — people who were already homeless and joined encampments because it was a better place to sleep and people who were the stereotypical 24-year-olds with huge student debt and no jobs. Not to mention laid-off blue-collar workers. I was just amazed at how all these different groups came together. As for Romney, I’m glad he made those remarks. It was one of the things that sunk him. The 47 percent was mostly a reference to people on Social Security and people who use Medicare, but it got conflated in his remarks, giving the sense that 47 percent of Americans are welfare bums. I don’t have any problem with welfare myself — I wish we had more of it — but he was applying the stigma


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Hardship Reporting Project. One of the things that most disturbs and obsesses me right now are all the ways in which once you start falling down economically in society, you fall faster and faster. There are all these traps. For example, credit becomes more expensive if you are already kind of poor, or the fact that a lot of employers don’t want to hire people who are unemployed, which is a total joke. It’s now virtually illegal to be homeless in America because anything people do in public spaces has been made illegal. You can’t sleep; you can’t sit down. Suppose one of your headlights goes out in your car and you can’t afford $100 to fix it. So you get stopped and fined more than $100. You can’t pay that either, so you get in arrears with the court, and a warrant is issued for your arrest. Prisoners in some county jails are now being charged for their room and board. Obviously, you can see the spiral down. If you get out after just a few weeks in jail and you owe X number of dollars for your stay, there’s no hope, no end to that cycle. ◀

details ▼ Barbara Ehrenreich speaks with Alternative Radio host David Barsamian, part of the Lannan Foundation’s In Pursuit of Cultural Freedom series ▼ 7 p.m. Wednesday, March 13 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 students & seniors; 988-1234,

© Sigrid Estrada

that’s usually attached to the very poor who turn to the government for aid when they are desperate, the mythical “welfare queens,” to everyone who depends on Medicare or Social Security. That certainly backfired for him. Pasa: What did you make of the seemingly endless “rape gaffes” made by Republicans during the election season? Ehrenreich: I’m just speculating, but there does seem to be a lack of biological knowledge. When someone thinks that women can’t get impregnated through rape, you have to straighten that guy out. What happened in his high school biology class? But there is vindictiveness, a punitive tone, in the increasing abortion restrictions — like requiring invasive ultrasounds when the procedure doesn’t require any ultrasound. That really took me aback. There was no way I was going to vote for Romney against Obama, but I began to get really bent out of shape when there was one so-called “rape gaffe” after another. Why were these guys so damn concerned about the possible future of their sperm in all situations? Pasa: What do you think about fetal personhood laws? Ehrenreich: I have some formal education in biology, and I keep an eye on this stuff. We’re getting to the point technologically where we can take any body cell, like a skin cell from the inside of my mouth, and put it in a culture and get a whole new Barbara out of it. At the point where this becomes more feasible, every cell in your body is a potential new person. Are we going to prosecute people who pick their pimples? And we should address the fact that most fertilized eggs, zygotes, do not implant. They’re flushed away in the monthly menstrual flow, which makes me think that we should require women to save their used tampons so we can culture all the potential babies that might be in them. The whole idea of personhood has gotten so totally compromised by the idea that corporations are people too. Philosophically, if a corporation is a person, I suppose the cells at the end of your fingertips are people too. Pasa: Are you aware that Santa Fe has one of the highest living wages in the country? Ehrenreich: I am not only aware, but I will take one little molecule of credit for it. I came to Santa Fe at the behest of the Living Wage Committee to speak at an event. I met with different groups who were supporting the living wage. Pasa: Many chain stores closed after passage of the living wage ordinance, but Wal-Mart, where you worked during your Nickel and Dimed research, is still here. Do you think a living wage would change the experience of working there? Ehrenreich: That would have to be determined empirically. I’d like to talk to Walmart workers receiving Santa Fe’s living wage. Right now the organization OUR Walmart is focused not on the wage issue but on control of one’s schedule, to have input into when you are scheduled to work, what your hours are. Pasa: What will you discuss in your presentation here? Ehrenreich: I’m going to talk about some themes that have emerged in my recent years of reporting and now working with younger journalists on the Economic

Barbara Ehrenreich

David Barsamian



Paul Weideman I The New Mexican

Paul Weideman I The New Mexican



BANDELIER ARCHAEOLOGIST RORY GAUTHIER ON MIGRATING POPULATIONS one time, about 600 years ago, there were a lot of people living on the Pajarito Plateau, many of them on land that today is within the borders of Bandelier National Monument. By the mid-16th century, they had moved away, but their presence can be read at Bandelier’s tens of thousands of archaeological sites. Rory Gauthier, the park’s staff archaeologist for the past 13 years, goes into detail about these people in a Monday, March 11, talk titled “Archaeological Site Intrusions and Pueblo Migrations: A View From Pajarito Plateau Coalition Era Sites (1175-1325 C.E.).” The presentation is part of the Ancient Sites and Ancient Stories lecture series presented by Southwest Seminars. A Los Alamos native, Gauthier attended the University of New Mexico and started doing archaeology work in Northern New Mexico in 1973. He was employed at Bandelier in the 1980s and then again from 2000 to the present. In the interim he worked at Chaco Culture National Historical Park, El Malpais National Monument, and El Morro National Monument in New Mexico and at Glen Canyon National Recreation Area in Arizona and Utah. In his lecture, Gauthier addresses a long-standing dispute among anthropologists: Did the Pueblo communities such as the one that once existed on the Pajarito Plateau naturally increase in population, or were they bolstered by immigration from the Four Corners region? “We have had people in the Río Grande valley for 10,000 years,” he said in an interview at his office in one of the old Civilian Conservation Corps-constructed buildings at Bandelier. “We have Clovis points [spear points of the type first 16

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found near Clovis in the 1930s] from very early people, including on the Pajarito Plateau. But looking at later populations, I’m working on a group of archaeological sites across the plateau that I think offer prime evidence showing that people did move in here.” He showed a series of maps developed by the Center for Desert Archaeology (now Archaeology Southwest) in Arizona in 2004 that depict the changes in population concentrations in the Southwest. They show a large cluster in the Four Corners at the end of the late Developmental Period (900-1200) that just disappears in the middle of the Coalition Period (1175-1325), with a similar reduction to the south on the Mogollon Rim and in northern Mexico. As those populations decline, that in the northern Río Grande valley grows — dramatically. “In 1150 A.D. we have just a smattering of sites across the plateau. Then when you get into the Coalition Period, there’s an explosion of sites. In Bandelier, which is not quite 34,000 acres, there are close to 400 Coalition Period pueblos, averaging 20 rooms each. You also see lots of new features, like the big earthworks called platform mounds. We don’t know what those were used for, but we do know they’re similar to what we see in the Four Corners.” There is also an ancient constructed road in Bandelier — another artifact that points to similar engineering feats at Mesa Verde, 150 miles to the northwest as the crow flies. If the mass-migration theory is true, why did so many people come to this plateau, which could perhaps have qualified as the definition of “the middle of nowhere”? Gauthier believes it’s the pumice-rich soil. “People in the Four Corners area were experts in dryland farming. Most of the time they weren’t irrigating, and they weren’t using springs. The bean farms you can see around

Cortez and Dolores [in southwestern Colorado] were huge dry farms. Here they were hunting for a certain kind of soil, so the same strategy you’re using to survive up in Mesa Verde country would also work here.” That special soil boasts a high percentage of pumice from the El Cajete eruption on the Valles Caldera. This wasn’t the mega-eruption a million years ago of the supervolcano now known as the Valles Caldera, which covered the landscape for miles around with deposits of the whitish Bandelier tuff. The El Cajete was the most recent eruption, about 40,000 years ago. “Probably by 1150 all the really prime farmland in the Río Grande valley was being used. Then somebody figured out that this pumice soil here was very good for farming, for growing corn, beans, and squash,” Gauthier said. Evidence of the ancestral Puebloans has not often been found in the higher elevations at the northwest portion of the park — except for dozens of “lithic scatters” near the Valle Grande. These are places where the people fashioned tools and projectile points from obsidian ejected from the supervolcano. But in the main section of Bandelier, archaeologists have identified nearly 34,000 prehistoric sites. “There are [remnants of] 12 major pueblos here, but the most common site is what we call a field house, which is just a one- or two-room structure,” Gauthier said. “Those were just used during the growing season and probably were occupied by kids or grandparents watching the corn grow and chasing away rabbits.” Data on all those archaeological sites came out of a series of surface surveys begun more than 25 years ago by Robert P. Powers. Now retired from the Park Service, Powers was the editor of the 2005 book The Peopling of Bandelier: New Insights From the Archaeology of the Pajarito Plateau, in which Gauthier co-wrote the chapter “Why Would Anyone Want to Farm Here?” “Bob surveyed approximately half of the park between 1985 and 1992, and since 2000 I’ve been trying to finish that up,” Gauthier said.” The survey is a systematic canvassing of the landscape, with crews made up of archaeologists and archaeology students. But that takes money, and these are tough times for the national parks, which have seen a decline in visitors in the last decade or two. Fewer families are heading out to the parks for vacations, and the average age of visitors has risen, demonstrating a diminishing interest by young people. Gauthier hopes to get the Bandelier survey completed, but he acknowledged, “The big challenge is finding funds to pay people, and it’s getting harder and harder every year.” He had crews out last year, but their work was all related to the 2011 Las Conchas Fire, which burned 60 percent of the park. “Things are changing fast here. Ponderosa pines and other plants are shifting to higher elevations, and in 2002 we lost almost 95 percent of our mature piñons, our 400-year-old trees, to higher temperatures, drought, and then bark beetles. “We have over 1,000 sites that were burned in the last fire [there was also the La Mesa Fire in 1977, the Dome Fire in 1996, and the Cerro Grande Fire in 2000], but most of the sites are in pretty good shape. A lot of that is because Bandelier has had a very active fire-control program. There’s nothing we can do if there’s heat damage to the site, but if we have fire-killed trees, we need to cut them down. If we don’t, every time one falls over it will pull up a huge root ball and can bring up subsurface artifacts and expose them to erosion and loss.” Displacement of artifacts is another undesirable possibility in erosion. If archaeologists find something way down the drainage from its original location, it messes up the story, the record of who was where when. To prevent such things, Gauthier and his crews place the logs of cut trees diagonally along slopes to slow and catch surface runoff, and they place slash over bare areas to encourage new grass and shrub growth. In areas that have lots of artifacts on the surface or that are in immediate danger of eroding, the workers lay down jute erosioncontrol cloth. Wild burros have been a problem in the park, at least in the past. “The burros are gone now, but we do have a problem with feral cows. They can damage archaeological sites, and they can be dangerous. These are not your gentle, domestic cows.” Large animals, including native elk, can cause damage, not only because their hard hoofs stir up the soil and leave it vulnerable to erosion but also because they may directly disturb the park’s prehistoric architectural features, including room-block ruins and kivas. Gauthier said the kiva features in Bandelier appear somewhat like — but not exactly like — those in the Four Corners. “We have kivas that look like they’re one generation removed from Mesa Verde. Something we wrestle with is that we don’t

A cavate (cave room excavated out of the tuff) constructed during the late Coalition period; top, excavated Coalition Period site at Bandelier National Monument; opposite page, a group of cavates located below a plaza pueblo site north of Los Alamos

have definite Mesa Verde artifacts down here. We don’t have Mesa Verde black-onwhite pottery, we don’t have T-shaped doorways, we don’t have kivas with pilasters. So we need to examine this question: When people move into a new area, what do they discard and what do they keep? Certain things you keep, and that included the kiva. But they’ve been modified. I don’t have the answer to that.” ◀

details ▼ Lecture by Bandelier National Monument archaeologist Rory Gauthier: “Archaeological Site Intrusions and Pueblo Migrations: A View From Pajarito Plateau Coalition Era Sites (1175-1325 C.E.)” ▼ 6 p.m. Monday, March 11 ▼ Hotel Santa Fe, 1501 Paseo de Peralta ▼ $12 at the door; 466-2775



Bill Kohlhaase I For The New Mexican


ow to describe guitarist Adrian Legg? Celebrated as a distinctive stylist with a lush, melodic sound, he’s something other than the usual guitar hero. He records infrequently — his last release was a greatest-hits collection — and spends much of the year on the road performing solo in the U.S., Europe, and occasionally, more exotic locations, such as Singapore. His music draws from country, bluegrass, Celtic, and Cajun styles, with a healthy dose of the blues, a touch of pop, and a hint of Baroque and Spanish classical traditions. His traveling guitar was specifically designed to fit in a commercial aircraft’s overhead bin, and his finger-style means of play, sometimes involving manipulation of the tuning pegs for effect, is uniquely, and sometimes painfully, his own. The labels troubadour or wandering minstrel seem to fit his on-the-road lifestyle. But unlike minstrels and troubadours, he doesn’t sing — except, he confided, privately to his grandchildren. Yet he does have a way with words. Between songs, he’s known to spin stories that are part observation and part confession, and for a time he recorded a humorous on-air diary for National Public Radio’s All Things Considered. For a brief while, he experimented with MIDI systems to electronically enhance his sound but is now totally dedicated to an amplified acoustic approach. In a sense he’s old-fashioned, but in another sense what he does is decidedly new.

I’d steal licks from my colleagues, who had stolen the licks from someone else, and then figure out my own way to play them. And we’d all end up sounding differently from each other because of the way we failed to capture those licks. But it ended up being a wonderful-sounding difference.

How did this London-born musician, who studied oboe during childhood, emerge as a guitarist treasured by other guitarists? “I just started out a little in the background,” he said in a phone call from a stop in Northern California. “I saw the guitar from 6,000 miles away some 50 years ago, filtered through Radio Luxembourg. What I heard was American guitar, and isn’t that really the instrument’s home? But I never distinguished between the different schools. I could see the woods but not the trees. [Folk guitarist] Elizabeth Cotten and The Ventures were always the same thing to me.” When he was a youngster, all of his musical training was pointed in a single direction. “Everything was classical — the church choir, the orchestras I played in. I came to hate it but later realized that it was a wonderful grounding. It informs my thinking to this day. I learned the language of harmony and melody just as I had learned to speak English.” An unhappy childhood and repressive home life led to his striking out on his own at 15. “The guitar came in fits and starts after that. I didn’t even pick it up until I reached Liverpool and accidentally joined a country-western band. I thought I was going to become a guitarist and meet girls and all that stuff. The blues boom had started, fortunately. I’d thought in rather clumsy classical terms up until then; hadn’t thought pentatonically yet.” Most of his knowledge came from listening to others, no matter the school, and finding his own way to execute what he heard on his instrument. “I didn’t have a radio 18

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[after leaving home] or a record player. I picked up everything secondhand, listening to people play in the folk tradition or whatever tradition, like a child regurgitating all the words he’s heard before. I’d steal licks from my colleagues, who had stolen the licks from someone else, and then figure out my own way to play them. And we’d all end up sounding differently from each other because of the way we failed to capture those licks. But it ended up being a wonderful-sounding difference.” Legg’s musical influences were varied. “Most people are lucky to study with someone who comes out of a certain tradition, so they can acquire the knowledge of that tradition. I was always outside any of those traditions. I was just trying to make an impression that would work musically.” This blending of styles can make his music hard to categorize. “They never knew what to do with me in the record stores, so they just ended up throwing me in the New Age bin.” But listeners may be reminded of virtuoso finger-picking guitarist Leo Kottke (who does sing on occasion) or the dense 12-string sound of contemporary jazz musician Ralph Towner. Legg said that his compositions all emerge in a second-nature fashion. “When I was studying classical music, I learned harmonic and melodic structure in such a way that now I don’t have to think about it. It’s a natural progression. Nothing exists in isolation when performed by a choir. Everything has harmonic implications and someplace for the voice to fit.” Legg doesn’t claim to be a jazz musician, despite his prodigious technique. “If you hear what you think is some improvisation going on, well, then I’ve just gone off completely wrong and am trying to recover,” he laughed. He said that he doesn’t know where his compositions come from, but there’s one important component to the process. “I like silence; I need it to write. I think one of the more important things that influenced music before we had stereos and radios and televisions and earphones and all the electronic devices — before recording — was silence. You didn’t get to hear music often, and then when you heard it at church or some social gathering, you wouldn’t hear it again. What happened was the thing you heard had time to germinate in your memory, and it grew and became something else. I need that silence now when I write. It’s important. Without it I can’t function.” For a time, Legg had a parallel career as a journalist and writer. He wrote columns for the now-defunct British Guitar Player magazine. For All Things Considered, he delivered humorous, tongue-in-cheek accounts of his travels with traditional British reserve. A segment from 2004 describes an ultrasound treatment he received in Tennessee for a sore forearm, caused by his “unorthodox [playing] technique,” from a woman who didn’t believe in evolution. “The money was always terrible,” Legg recalled of his writing days, “and they kept cutting the space, so there wasn’t room for a beginning, middle, and end. There’s really no market left for that kind of thing now. As a writer, I’m like a farmer who’s lost his crops.” He prefers to perform live in part because of the state of modern recording. “Recording is dead and gone,” he declared. “It used to be that if you were doing a studio recording for a label, you had a budget that at least gave you a little to live on while you were doing it. Now that’s gone. If I’m doing it myself, I have to do it at home or find another inexpensive way to do it, and I’m terrible at the technical side of it. I’m not good at editing, and so I have to do a piece over and over until I get it right. It’s really hard to know when you’ve come up with something nice. I thought all along that [recording] was something of a perversion, a commodification of music. That’s what destroyed it.” And touring? “I’m doing it less now that I’ve acquired more grandchildren. But performing in front of an audience is absolutely my favorite thing. Doing a live show is a collaboration. Everyone is involved: the audience, the performer, even the promoter. Everybody has to make some effort and invest something, even if it’s only bringing themselves there. A live performance is a beautiful human activity. There’s nothing like it.” ◀


Santa Fe Community Orchestra Oliver Prezant, Music Director

New Works by New Mexico’s Composers Readings of Works by

Brenda Covington-Noonan Kim Schilling JayChristopher Williams Friday, March 15, 6:00 pm Stieren Hall at The Santa Fe Opera Free admission, Donations appreciated Call 466-4879 for more information or to submit works for consideration

SFCO’s New Works by New Mexico’s Composers program is sponsored by a generous grant from The Mill Foundation.

details ▼ Guitarist Adrian Legg ▼ 8 p.m. Tuesday, March 12 ▼ Garrett’s Desert Inn, 311 Old Santa Fe Trail, 982-1851 ▼ $20 at the door;

This and other SFCO projects made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the Santa Fe Arts Commission and the 1% Lodger’s Tax.




Brentano String Quartet St. Francis Auditorium, March 1

Consoling harmony




Publishing Saturday, April 6 Promote your child or family related business or activity to Santa Fe’s families with the 2013 KIDS Summer Activity Guide. Space Res/copy deadline:

This 24-page guide features all there is for kids to do in and around Santa Fe for the summer —the perfect place to promote camps and summer activities!

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Wednesday Deadline Ex March 13

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or the Brentano String Quartet, the act of playing music has beauty as its goal. In the course of the group’s splendid concert on March 1, at St. Francis Auditorium (presented by Santa Fe Pro Musica), not a measure was less than gorgeous. The ensemble’s default timbre is warm and velvety, and although the players may depart from that standard for special effects, they seem eager to get back to their essential sound — and who can blame them? This celebration of elegance stood them in good stead indeed for their program opener, Haydn’s beloved Quartet in E-flat Major, the second from his groundbreaking op. 33 set first published in 1782. The piece adroitly earns its nickname, the “Joke” Quartet. Musical humor infuses many of its pages long before it reaches a conclusion that has ever so much trouble figuring out when to actually end. The second-movement scherzo (literally meaning a “joke”) was paced on the leisurely side here, but that allowed the first violin’s portamenti in the still-more-relaxed trio section to sway in woozy inebriation. This polished reading was somewhat marred by a curious decision that surfaced at several spots in the first and third movements: after building up to an imposing chord, all the instruments released their notes, but the cello’s tone continued to reverberate very audibly. This had the effect of smoothing over moments in which the composer surely intended a dramatic silence. Haydn wrote rests in those places, and strings can be damped. The Brentanos’ genteel disposition continued even in Bartók’s Quartet No. 4, a work famous for its fractured phrases and overall spikiness. An archetypal interpretation of this work was promulgated in 1963 through a swashbuckling recording by the Juilliard String Quartet and maintained to a considerable degree by the Emerson String Quartet. But a softer, gentler approach proved also effective on this evening (and not just in the entrancing “night music” movement in the middle), even if the Brentanos’ interpretation did not reveal quite the fierceness one might have wanted in the final movement. Still, it’s easy to understand why a quartet that has the honor of playing on two Stradivari violins, an Amati viola, and a Goffriller cello — legendary instruments all — might not choose to leap into the Bartókian fray with unbridled muscularity. Brahms’ String Quartet No. 2 can be a forbidding piece, and one applauds the foursome for assuming that the audience was willing to join them in confronting its serious demands. The slow movement is the friendliest expanse of this piece, and the group’s reading was engrossing. In the third movement, quaintly titled Quasi Minuetto, the ensemble again created a sort of “night music,” creeping on little cat feet before leaping at some prey in the excited trio section. The most passionate playing of the evening came in the finale of the Brahms, and its searing outcry led to soul searching of supremely Brahmsian depth, suggestive of St. Jerome sitting in his study morosely pondering a skull. For lovers of classical music, its effect was no doubt amplified by a week in which the field had lost so many eminent and beloved figures: pianist Van Cliburn, organist Marie-Claire Alain, conductor Wolfgang Sawallisch, oboists William Bennett and Washington McClain, and music journalist David Hamilton. Brahms, as channeled through the Brentanos’ silken tones, provided a balm for saddened souls. — James M. Keller

Theater Grottesco and The Center for Contemporary Arts present


a series of cutting edge performances

luggage • bags • accessories

328 S. Guadalupe, Santa Fe • • 986.1260

Theater Grottesco exquisite absurdity March 15 – April 7 Lisa Fay/Jeff Glassman Duo

Depth of a moment: in four parts

April 11 – 14

Sandglass Theater

d-generation: an EXALTATION of larks

April 18 – 21

Faustwork Mask Theatre

the mask messenger



April 25 – 28


Cole Bee Wilson

and guests: H thunderb0lt

May 3

CHERYL tHE BIG HOOt May 4 All Performances will be at the CCA’s Munoz–Waxman Gallery

1050 Old Pecos Trail, Santa Fe, NM 87505 Thursdays - Saturdays at 7pm; Sundays at 4pm Ticket prices: $10-$25, discounts for CCA members. Opening Night Gala: Friday, March 15

catered champagne reception 6pm performance 7pm • after party • tickets $100 All Thursdays are Pay What You Wish. Tickets available on a first-come first-served basis beginning 1 hour before the show at the theater. Full price tickets available in advance.

GROTTESCO presents :

Call 505.474.8400 or visit CCA presents : Call 505.982.1338

or visit

This project is made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; the city of Santa Fe Arts Commission and the 1% Lodgers Tax; and The McCune Charitable Foundation. D-Generation: An Exaltation of Larks is funded in part by the NEFA National Theater Project with lead funding from the Andrew W. Mellon Foundation and the NEA.




Blues busters Coming straight from the deep Euphrates — actually Austin, Texas — is the nonslumping sophomore effort by the band known as Churchwood. The CD, called 2, appropriately enough, proves that the group’s self-titled first album was no fluke. Both albums are steeped in the blues. Churchwood is tight and capable, but nobody is going to confuse the band with the generic Texas Stevie Ray Vaughanabe groups. “Saving the blues from the blahs” is a motto found on Churchwood’s ReverbNation page, but that barely scratches the surface. Fronted by singer Joe Doerr, whose day job is English professor, Churchwood has a definite literary edge. The first words Doerr sings on the opening track, “Duende,” tip you off to that. “Coming straight from the deep Euphrates/Orfeo’s gift from the realm of Hades/Don’t look back, baby, take his hand/Gonna lead us all to the promised land,” Doerr shouts over jungle drums and a guitar riff that lands somewhere between Howlin’ Wolf and Nirvana’s “Serve the Servants.” Don’t think these guys are all that highbrow. For instance, on one verse of “Weedeye,” Doerr declares, “Mushroom tea, razor blade, I’m going down to Mississippi ’cause I gotta get laid.” The refrain of the song is “We don’t have to anything ’cept live ’til we die,” an expression Doerr says he picked up from his dad (whenever his mom told him he had to do something). Writing about the origins of Churchwood on The Rock Garage website, Doerr says longtime Austin-band veteran guitarist Bill Anderson — with whom he played in a couple of groups in the ’80s — approached him in 2007 about starting a new band. “Bill envisioned taking Captain Beefheart’s Spotlight Kid/Clear Spot as a point of departure and using it as a means of exploring the musical and lyrical interests that he and I have shared for the past 25 years or so: blues, punk, country, psychedelic, and so on.” (Anderson, by the way, works by day for the Texas Legislative Council, a job this political reporter can relate to. He was also a member of The Meat Purveyors, one of the coolest country/punk bands ever — something I can relate to even more.) Fortified by a second guitarist, Billysteve Korpi, and an explosive rhythm section (Adam Kahan on bass and drummer Julien Peterson), Churchwood is an authentic threat. While blues is the band’s foundation, Churchwood subtly branches out on 2. On “Aranzazu,” the musi-


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Unlike The King Khan & BBQ Show, The Copper Gamins have not yet discovered the magical joys of doo-wop. cians drop hints of a lilting jam-band vibe. “You Be the Mountain (I’ll Be Mohammad)” is funkified in a swampy kind of way (including some Princely falsetto vocals). “A Message From Firmin Desloge” and “Money Shot Man” feature a guest horn section, giving the former song a soul sheen and the latter an early Boz Scaggs feel. Then there’s “Keels Be Damned,” on which the band displays a Threepenny Opera cabaret influence. Gogol Bordello could get away with playing this one. The song advises against accepting the official version of anything. “I just can’t see what’s mad in asking proof of what we’re told/So I’ll be hangin’ here with minds that cannot be controlled.” Check out Churchwood yourself. You might start with Also recommended: Los Niños de Cobre by The Copper Gamins. In reviewing the five-song self-titled debut EP of this hopped-up punk-blues duo from the mountains of Mexico last year, I said that it sounded like it was recorded “in an abandoned gas station.” That basically holds true for this, the Copper Gamins’ first full-length album (17 songs, 55 minutes). And once again the lo-fi music is so loud I’m not sure how that gas station is holding up. The Gamins — singer/guitarist José Carmen and drummer Claus Lafania — follow a line of blues-bashing twosomes, going back to the Flat Duo Jets through early Black Keys and White Stripes on up through The King Khan & BBQ Show. The lads from Mexico are less slick than any of those bands — far less slick than what the Stripes or Keys eventually evolved into, and unlike KK & BBQ, the Gamins have not yet discovered the magical joys of doo-wop. For those who heard the EP, there are no huge surprises on Los Niños de Cobre. It has the same basic sound, but in a handful of tracks, the group shows some healthy restlessness by expanding its sound. For instance, toward the end of “Silver Monkey,” Carmen plays a strange-sounding organ. It’s downright refreshing. But the biggest surprise is “Angelitos Negros,” the title song of the 1948 Mexican movie starring silver-screen lothario Pedro Infante. I hope on the group’s next album the musicians incorporate more sounds from their native land. Technically this album won’t be available commercially until March 19, but you can hear three cuts at thecoppergamins. ◀




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BarBara EhrEnrEich with David Barsamian

WEDnEsDay 13 march at 7pm LensIC PerFormIng Arts Center Barbara Ehrenreich, writer and long time political activist, is the author of 21 books including New York Times best sellers Nickel and Dimed: On (Not) Getting By in America (10th anniversary edition issued 2011 with a new afterword) and This Land is Their Land: Reports from a Divided Nation. In may 2012 she founded, with the Institute for Policy studies, the economic Hardship reporting Project, a website designed to place the U.s. crisis of poverty and economic insecurity at the center of the national political conversation. So what is the solution to the poverty of so many of America’s working people? Ten years ago, when this book first came out, I often responded with the standard liberal wish list—a higher minimum wage, universal health care, affordable housing, good schools, reliable public transportation, and all the other things we, uniquely among the developed nations, have neglected to do . . . Maybe, as so many Americans seem to believe today, we can’t afford the kinds of public programs that would genuinely alleviate poverty — though I would argue otherwise. But at least we should decide, as a bare minimum principle, to stop kicking people when they’re down. — From Nickel and Dimed: On (Not) Getting By in America by Barbara ehrenreich © 2011.

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album reviews

Skyfall Lusine Original Motion Picture The Waiting Room (Ghostly international) Jeff McIlwain, a Soundtrack (sony Classical) Texas-born electronic musician who now Since its first appearance in 1962 on the lives in Seattle, has made music under the soundtrack from Dr. No, Monty Norman’s guise of Lusine (sometimes L’usine or Lusine “James Bond Theme” (deliciously orchesICL) since the late 1990s. He’s stretched out trated by John Barry, who went on to do a into subgenres ranging from house to techno number of Bond soundtracks) has granted to downtempo while earning a reputation as an element of consistency to the franchise, a jack of all trades and a master of none; as well as a certain standard of excelhe’s undeniably skilled and accomplished, lence. Bond soundtracks follow a formula, yet he lacks a defining sound or work. The Waiting Room isn’t that integrating variations on the original theme while supplying ear elusive classic, but it could win over fans who are sneaking in from candy that meshes with car chases, insinuations of evil, and glamorous bedroom-based synth pop or the massive EDM trend. The album settings. Thomas Newman’s Skyfall soundtrack follows the formula more travels the middle of those roads in a way that won’t alienate anyone — cleverly than most. Newman plays hide-and-seek with various elements the beats are strong, the melodies passable — but it also won’t inspire much of familiar themes, stating them outright in a piece titled “Breadcrumbs,” passion. Several songs, such as “Get the Message,” are throwbacks to the which doesn’t shy away from that tingling surf-guitar line, or dropping hints gooey electronic ballads that arrived in the wake of Moby’s Play in the early of them into otherwise exotic and unusual passages. Newman isn’t timid about 2000s. They’re fine enough tracks, lifted by sonics more than songusing cultural musical forms and orchestration, and the pieces that writing, but they make the album work best in the background, suggest location carry a sort of cosmopolitan world-beat cool. But where McIlwain’s expressive beats can percolate in your the main attractions are orchestral. Strong brass exclamations subconscious without causing much fuss. I prefer the songs and sinuous string passages provide tension and definitive in which the vocals are downplayed, whether drowned resolution. Newman mixes tabla, cymbals, hand drums, timWhile violinist out (as on the glitchy, sample-based “Without a Plan”) pani, and nervous triangle figures to play against sustained, or absent (as on the deep-house track “First Call”). By strangely harmonized string passages. The rhythmic pulses Catherine Manson’s album’s end, he’s entirely in infectious house mode, and used to establish motion and tension are resolved with the album finally demands the foreground. — Robert Ker sudden, sometimes violent authority. Adele’s dramatic exacting approach can be “Skyfall” theme isn’t included here, an omission that may JOHAnn seBAsTiAn BACH Six Sonatas for disappoint her fans but seems appropriate considering justified at every turn by Harpsichord and Violin (Challenge Classics) Your Newman’s ambitious instrumental tone. — Bill Kohlhaase reaction to this two-CD collection of Bach’s remarkable historical understanding, sonatas for harpsichord and violin will depend on how closely sid HempHiLL The Devil’s Dream (Global Jukebox) it often seems distant. you welcome current assumptions regarding historically The Mississippi Delta may be famous for giving birth to the informed performance. Practically no violinist today would blues, jazz, gospel, and even rock and roll, but the region consider aping the heart-on-sleeve approach that was common has also fostered several black country musicians working among such past titans as (to pull a name out of the hat) violinist inside the twang-filled vernacular of banjos, fiddles, and the cane panpipes known locally as quills. For the first half of the 20th David Oistrakh, abetted by his cohort Lev Oborin — at a grand century, bandleader Sid Hemphill presided over square dances, picnics, piano, of course. Musicology has taught us much in the intervening and weddings, performing a rollicking American roots music derived equally decades, and even “mainstream” violinists are likely to uphold many statutes defined by the historical crowd. The violinist in this set is Catherine Manson, from blues and bluegrass. Recorded by Alan Lomax in 1942 and transferred a greatly respected citizen of the early-music world, and she is so unyielding from brittle acetate disks, these songs have been remastered and speedin her adherence to performance-practice doctrine that she may set corrected. From “Hog Hunt” to “Keep My Skillet Good and Greasy” to “Boll listeners on edge. Her tone can be pure to the point of astringency, rarely Weevil,” these breakdowns and square-dance tunes carry the feel of the enlivened by vibrato, and while her exacting approach can be justified riotous rural jamborees they once inspired. Hemphill’s voice is striking. at every turn by historical understanding, it often seems distant. He uses his low gravelly baritone to deliver call-and-response lyrics, pitched halfway between the voice of a More vivid is the harpsichord playing of sonorous carnival barker and the improvised Ton Koopman, who also follows the rules scat singing of Cab Calloway. The second devotedly yet manages to infuse greater disk of this set includes several instruwarmth and excitement into his playing. They combine to make some magical moments — mental marches that remain impressive the opening of the Fourth Sonata seems for their martial drum lines and flourishes stunned in its grief — but on the whole of flute. Despite the hiss-filled patina of they may leave listeners respecting the seven decades, the musical power and state of the art without relinquishing social fraternity of these songs the pleasures of past memories. come stomping through. — James M. Keller — Casey Sanchez


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Final W beFore eek! Tour A world premier documentary theater piece

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Conceived and directed by PAD faculty member Victor Talmadge, the play is part of a series of original documentary theater pieces about New Mexico. It tells the rich survival story of the village of Aqua Fria, and the ups and downs of villagers of the greater Santa Fe community living with and without the abundance of water. Celebrating their everyday courage and constructed entirely from interviews and found material, the story reflects universal themes over the struggle for water. OYSTER PERPETUAL MILGAUSS

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ON STAGE Fisk and foremost: William Porter on organ

One of America’s most respected organists, William Porter has served on the faculties at various schools of higher education that qualify as organ hotbeds: Oberlin, Yale, the New England Conservatory, and the Eastman School of Music, where he continues to teach part time as professor of harpsichord and organ. As a leading proponent of historical approaches to musical performance, he is widely associated with Baroque music. Nonetheless, when he performs on the C.B. Fisk organ at Santa Fe’s First Presbyterian Church (208 Grant Ave.) at 5:30 p.m. on Friday, March 8, he will steer clear of the Baroque. Instead he offers French repertoire from the period 1870 to 1930 by CharlesMarie Widor, Louis Vierne, Joseph-Ermend Bonnal, and Henri Mulet along with the Pièce sonatique by the contemporary Swedish composer Fredrik Tobin and concluding improvisations. No tickets are required; donations appreciated. For information, call 982-8544. — JMK

Hoof it to the Cowgirl for Tina & Her Pony

At 8 p.m. Sunday, March 10, Tina & Her Pony, aka Tina Collins and Quetzal Jordan, bring self-styled “bad-ass ladygrass” to the Cowgirl BBQ (319 S. Guadalupe St., 982-2565). Frequently switching stylistic gears with the help of banjo, ukulele, cello, and guitar, the band grounds its sound in the traditional music of Appalachia but adds a clever dose of queer radicalism to its lyrics. Collins and Jordan’s sweet, haunting vocal harmonies are classic bluegrass and old-time country, but their progressive messages are decidedly contemporary. Formed in 2009 in Asheville, North Carolina, the duo now calls Taos home and names Santa Fe’s Zach Condon of indie band Beirut as one of its major influences. There is no cover for the show. — RDW


Wild west show: a concert of cowboy songs

Everyone loves a cowboy, either for his (or her, in the case of the cowgirl) mystique or for the romance behind the legends. Beginning on April 14, the New Mexico History Museum hosts a new exhibit called Cowboys Real and Imagined Imagined. Music from the range is an intrinsic part of the cowboy’s appeal, and in a special performance for the upcoming exhibit, Don Edwards performs at the NMHM Auditorium (113 Lincoln Ave.) at 2 p.m. Sunday March 10. Edwards is a time-honored Sunday, name in American music. During his long career as an actor, musician, and historian, he has carved a niche for himself performing cowboy songs and ballads. Tickets for the performance can be purchased for $25 at the museum shop (982-9543) and from — LEG

Raise the roof: Fiddler soars again

Among the interesting facts conveyed by Michael Kantor’s documentary Broadway Musicals: A Jewish Legacy, which aired recently on PBS, here’s one that’s startling: although Jewish composers, lyricists, producers, singers, and actors had been central to American musical comedy for decades, a major musical on an explicitly Jewish theme didn’t find a place on Broadway until 1964, with the opening of Fiddler on the Roof. It ran for 3,242 performances, for nearly 10 years held the record as the longest-running musical in Broadway history, and probably has been playing somewhere in the world almost every night since. Why such a hit? Because every culture has to grapple with how to balance tradition with modernity. On Sunday, March 10, at 7:30 p.m., a national touring company brings Fiddler on the Roof to the Lensic Performing Arts Center (211 W. San Francisco St.) courtesy of Santa Fe Concert Association. Tickets ($20 to $55) can be purchased by calling 988-1234 or from — JMK



Paul Weideman I The New Mexican



March 8 -14, 2013

Cour tesy Alan Ross



Ansel Adams and Andrea G. Stillman

Ansel Adams in the Southwest Š 1947 Beaumont Newhall, Copyright 2013 the Estate of Beaumont and Nancy Newhall. Permission to reproduce courtesy of Scheinbaum & Russek Ltd., Santa Fe

ome of the best moments in Andrea G. Stillman’s Looking at Ansel Adams: The Photographs and the Man surface in reproductions of proof sheets. They offer fascinating details about famous photographs like Moon and Half Dome; Yosemite National Park, California, 1960, and Georgia O’Keeffe and Orville Cox, Canyon de Chelly National Monument, Arizona, 1937, as well as insight into the artist’s choices. Another proof sheet comes from the camera of renowned photographer Dorothea Lange. It pictures Adams interacting with his tripodmounted view camera at a Southwestern locale. Other high points in the new book come from former Adams assistants — Stillman, who gives wonderful first-person details about his masterful printing techniques; John Sexton, whose series of photos of Adams in the darkroom are reproduced; and Alan Ross, who recounts the photographer’s work one morning in 1948, when he made a stunning sunrise portrait of sand dunes in Death Valley National Park in California. The photo required an arduous climb on the dunes, but in this and other finished images, that part of the photographic process is often not obvious. Consider the differences between two of Adams’ most famous images: Monolith, the Face of Half Dome, Yosemite National Park, California, 1927, and Clearing Winter Storm, Yosemite National Park, California, circa 1937. Adams climbed

to a granite spur 3,500 feet above the floor of Yosemite Valley, lugging his view camera, a dozen glass plates, two lenses, and a wooden tripod to make Monolith. By contrast, Clearing Winter Storm, an equally dramatic image, was taken from a drive-up vantage point — although Adams did make many visits over more than a decade to get the picture of Yosemite Valley that he wanted. Looking at Ansel Adams opens with a very handy “cast of characters,” short biographies of three dozen people who figure in Adams’ story, among them the photographer’s wife, Virginia Best Adams, and his allies in the art world, including Beaumont and Nancy Newhall, Alfred Stieglitz, Georgia O’Keeffe, John Marin, Imogen Cunningham, Mabel Dodge Lujan, Paul Strand, Lange, and Edward Weston. At the end of the book, a chronology and glossary provide insights into traditional-photography arcana such as “intensification” and “spotting.” For the main part of the book Stillman selected 20 Adams photographs and gave each one a chapter. “One of the subjects I hoped to explore was the difference in the way Ansel printed a negative over the course of his lifetime,” she writes in the introduction. “He said that every time he went into the darkroom to print a negative, he tried to relive the experience of standing out of doors with continued on Page 30

Ansel Adams: Clearing Winter Storm, Yosemite National Park, California, circa 1937 PASATIEMPO


Ansel Adams, continued from Page 29

Copyright John Sexton

his camera. Naturally, his interpretations changed over time, influenced by his mood, how he was feeling physically, and also by his materials (principally the photographic paper available).” For Adams, the darkroom was the center of the house, but besides being a photographer and darkroom technician par excellence, he served on the Sierra Club board for more than 30 years. He loved people and was routinely the life of the party, and he was a music lover and a pianist. He often compared photography and music, saying, “The negative is the equivalent of the composer’s score, and the print is the performance.”

He said that every time he went into the darkroom to print a negative, he tried to relive the experience of standing out of doors with his camera. — author Andrea G. Stillman

His most famous subject was the natural grandeur of the American West, especially Yosemite and the High Sierra, where he backpacked and donkeypacked “unimaginable miles of rocks and roughness” as a young photographer. Early photos such as Lodgepole Pines, Lyell Fork of the Merced River, Yosemite National Park, California, 1921, were uncharacteristically small and romantically gauzy, the result of using a soft-focus lens. During a 1928 trip to the Southwest, Adams and writer Mary Austin collaborated on a limited-edition book about Taos Pueblo. Adams shot there in 1929 and then embarked on the daunting project of making 108 prints of each of the 12 photographs he selected for the book. He wrote to Beaumont Newhall that he achieved that goal by limiting himself to straight prints, with none of the retouching techniques that he usually used. This also was his last project before he “changed his style from Pictorial to direct techniques,” he said. Another significant page in Adams’ technical history is detailed in the chapter about Still Life, San Francisco, California, 1932. Here he engages in a style that emphasizes simple subjects and great clarity. In 1932 he and a few other camera workers — including Cunningham and Weston — founded Group f/64, named after the lens setting that offers the greatest depth of field for works in this vein, which basically represented the photographic evolution from Pictorialism to modernism. The cold, austere, and beautiful image Frozen Lake and Cliffs, Sierra Nevada, California, 1932, approaches abstraction. It was difficult for Adams to manage the extreme tonal range between the deep shadows in the cliffs and the glaring sun and snow. A print that he made of the negative 43 years later is more contrasty; his preference seemed to go toward darker, more vibrant versions of images as he aged. He complained in the 1970s that the newer photographic papers didn’t allow for the subtleties of the older papers. Stillman pulls off a wonderfully multidimensional portrait of her subject, not least because of the wealth of photos (besides the famous Adams landscapes) reproduced. Examples are candid shots of Stieglitz and Nancy Newhall in conversation and of Beaumont and Nancy Newhall in their New York apartment, with Adams prints hung on the wall behind them. Other gems are his portraits of Lange, a picture of Adams photographing President Jimmy Carter and first lady Rosalynn Carter, and snapshots that Adams and Weston took of each other goofing around. Three of the chapters illuminate Adams’ New Mexico photographs. The chapters about Moonrise, Hernandez, New Mexico, 1941, and Aspens, Northern New Mexico, 1958, will be revelations for collectors and photographers. ◀ “Looking at Ansel Adams: The Photographs and the Man” by Andrea G. Stillman was published by Little, Brown & Company in 2012. Left, Ansel inserting the negative for Clearing Winter Storm into his enlarger, Carmel, California, circa 1982, photo by John Sexton; below, Adams: Anchors, Fisherman’s Wharf, San Francisco, California, 1931

AN ADAMS MUSEUM IN SANTA FE Prints by Ansel Adams have long been the emphasis at Andrew Smith Gallery in Santa Fe. In 2008, the photography dealer moved from his longtime location on West San Francisco Street to a circa-1910 house at 122 Grant Ave. Smith is now in the middle of a business shift. He’s transitioning to “a combination museum/gallery, with a focus on the David H. Arrington Collection of Ansel Adams photographs,” he said. “We’re cutting down our representation of a lot of people. The other photographers we’re keeping are Lee Friedlander, Ray Metzger, Jerry Uelsmann, Paul Caponigro, Eliot Porter, and a few others. “We’ll have things for sale — we will still sell original prints by Ansel Adams, Edward Weston, William Henry Jackson, and others — but they’re not going to be priced. If you’re a gallery or client, you get in free, and if you’re not, you have to pay admission.” 30

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Smith is setting up separate rooms for several categories of Adams’ work, some carrying the names of previous exhibitions. The Moonrise Room features an evolution of prints of Moonrise, Hernandez, New Mexico, 1941, as well as other classic images. On Closer Inspection includes details of wood, stone, lava, and other subjects. The Georgia O’Keeffe/Alfred Stieglitz Room exhibits photos of other artists made by Adams. Other rooms include the Sierra Club Photographs, Gems of New Mexico, and Trees. At least one of these mini-exhibits will be on the newly opened third floor of the house. That floor will also hold a reading room/artifact room with Adams’materials. The new business model also includes iPad presentations, tours and workshops by former Adams assistant Alan Ross, and traveling exhibitions. Smith said he expects to have the reworked exhibition spaces ready this month. — PW

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CLOSES OUT A YEAR OF MINI MUSEUM SHOWS fter a yearlong series of alcove shows in the first-floor galleries of the New Mexico Museum of Art, the experiment in quick changeovers — with each exhibit running just five weeks — comes to an end with the ninth installation. The shows were numbered sequentially beginning with Alcove 12.1, which opened in March 2012 and featured work by five contemporary artists. Five has been the magic number for all subsequent shows, including Alcove 12.9 which opened earlier this month. The number of artists matches the number of available alcoves, which are essentially large niches. Each artist is given his or her own alcove to exhibit a selection of work. Alcove 12.9 includes art by Joanne Lefrak, Jeff Deemie, Mary Tsiongas, James Marshall, and Teri Greeves. Like the previous shows, it features an eclectic mix of mediums and themes. Tsiongas uses new media to explore the relationships of people to the natural world. Her work in Alcove 12.9 includes lithographs, photographic prints, and two videos. “I did a project a few years ago with the Tamarind Institute,” Tsiongas told Pasatiempo. “The series is called No Time for Trees. It was inspired by my work with tree rings and dendrochronology.” In the lithographs, which hang together as a diptych, Tsiongas includes the silhouettes of several figures — a child on a swing, birds, soldiers, and others — over the image of concentric tree rings. “I often come to the information I find in a poetic way. When I was doing research about time and tree rings, I was finding out that they record certain information, but we all live with trees in our backyard and trees all around us. What about the human moments that are lost and not really recorded? The thought, initially, was interspersing these moments that the tree may have witnessed and not recorded. The images seemed to tell a story that was pretty open-ended, perhaps a life lived in the past.” One of the two videos, Calliope’s Rings, was compiled from moments in the life of Tsiongas’ daughter (whose middle name is Calliope). The video presents only incomplete views of these moments, arranged, as with the tree rings, in concentric circles. Each ring is a separate component of video. “You don’t really see the full picture,” Tsiongas said. “Video as a medium changes form all the time and also deteriorates, and so we lose information. Unless you’ve transferred them to a more stable medium, they kind of fall apart. The piece is also about the medium I’ve worked with for over 20 years and how it’s changed over time and how it’s always a struggle to keep it archivally intact. So the work is also referencing the ephemeral quality of video.” Her other video work in the show is Vanish III, which depicts the small human figure embedded in Thomas Cole’s 1835 painting A Tornado in the Wilderness. Except for the figure moving within it, the landscape is still. Tsiongas includes a wooden frame to heighten the effect of looking at a painting. Deemie’s photographs document the impact of the oil industry on the culture and environment in West Texas and New Mexico. Oil pumps mar the terrain at a highway rest stop; pipelines snake through sand dunes and scrub like an invasive species. In Deemie’s photographs, evidence of the deleterious effects of industry is everywhere in what would otherwise be a series of starkly beautiful landscapes. Native artist Greeves includes a series of beaded silk portraits that merge Kiowa tradition with contemporary concerns. The figure in Greeves’ War Mother dons a battle dress unique to the Kiowa, but her lance is “decorated with the colors of Iraq war service,” she says in a statement. A diptych called Sunboy’s Women fits together to form the complete image of a large hand. Within the outline of the hand are two figures: one is Sunboy’s mother, killed by his father, the sun, who abandoned Sunboy as a child. The other figure is Spider Woman, who became Sunboy’s grandmother. Sunboy’s Women references a reality of many contemporary families, in which children grow up fatherless or motherless and are often cared for by their grandparents. Another textile work, She Loved Her People, is inspired by a story told to Greeves by her mother about a young Cheyenne woman who fought at Little Bighorn after surviving atrocities committed by Custer and his soldiers. The textile depicts the young woman with sword in hand. All the faces in Greeves’ works in the show are featureless, under scoring the pieces’ nonspecificity, conflating historical events and mythic narratives with the present.

Jeff Deemie: Rest Area, Eddy County, New Mexico, 2012, digital pigment print; below, Oil Collection Lines, View 2, Eddy County, New Mexico, 2013, digital pigment print; both courtesy the artist; opposite page, James Marshall: Orange #364, 2012, glazed ceramic; courtesy Winterowd Fine Art

continued on Page 34


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Alcove 12.9, continued from Page 32


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Office Hours: Monday–Friday 9–5 34

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Marshall’s ceramic sculptures are bold monolithic pieces, minimalist in their inception and given a slightly textured glazed surface. The glaze drips and runs over each sculpture, not messily but uniformly. Small ocular holes and slits in the pieces lend them an almost anthropomorphic quality. Each sculpture commands the space around it, and though they stand less than 3 feet in height, they seem larger. The work of Lefrak is based on a maritime ghost story about the 18thcentury pirate Blackbeard (Edward Teach), who allegedly abandoned one of his many wives in the Isles of Shoals off the coast of Maine and New Hampshire. Lefrak works with light and shadow. She etches imagery onto Plexiglas, which is mounted an inch or so from the surface of the wall. Shadows created by light passing through the Plexiglas add definition and detail to the etched imagery, making it pop. Lefrak has three pieces in the exhibit. The largest, He Will Come Again, depicting a small ghostly figure on the coastline, is 8 feet long. “It’s the largest Plexiglas piece that I’ve shown in New Mexico,” Lefrak said. “There’s something visceral about the experience of the shadow, but then to make it a larger scale really places you in the environment. I wanted to make it really feel like the viewer is in the landscape.” The story goes that Blackbeard left that wife with the intention of returning. “It ends up being a tragic story because he dies off the coast of the Carolinas after that,” Lefrak said. “The ghost story is that if you walk along the shoreline, you can hear someone saying, ‘He will come back’ or ‘He’ll come again’ — that sort of thing. People have said they can see the figure of a woman on the shoreline, waiting. My challenge, rather than to depict the residue of something tragic, was to depict hope or longing.” Lefrak includes an audio component recorded on location in the shoals. “There are multiple tracks that have been put together to compose a piece. The layers are the foghorn, bell buoys, seagulls, and the sound of the ocean. There’s even a little bit of the ghost in there.” Lefrak began visiting the shoals as part of an educational program during grade school. “It’s part of my own childhood memories. I think fictional stories, or mythological stories, can inform our human experience of a place as much as the actual things that happened there. With this piece, in a way, I had to be more inventive. I wasn’t just copying a landscape; I was creating something more interpretive than that.” ◀


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Mary Tsiongas: No Time for Trees #1, 2009, three-color lithograph; courtesy Richard Levy Gallery

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Santa Fe Institute Community Lecture How Social Media Might Help You Survive the Next Big Disaster Thursday, March 14, 7:30 p.m. Greer Garson Theater 1600 St. Michaels Dr. Santa Fe Lectures are free and open to the public. Seating is limited.

When a wildfire, earthquake or hurricane strikes, people typically seek information from authorities. Today, through social computing and networking technology, victims, observers, even “citizen-responders” are innovating ways they can participate in disaster response. Leysia Palen will describe these emergent socio-technical phenomena and, using examples from events over the past few years, will discuss the implications for emergency response and society at large. Leysia Palen is an associate professor of computer science and project director for the ConnectivITy Lab at the University of Colorado, Boulder. Support for SFI’s 2013 lecture series is provided by Los Alamos National Bank.

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Above, left to right, Karin Rosenthal: Source, 1998, gelatin silver print Bear Kirkpatrick: All the Links Rattled at Once, 2010, archival inkjet print Patti Levey: Vallecitos, 1991, toned gelatin silver print Below, Jock Sturges: Eva, Le Porge, France, 2003, archival pigment ink print

Michael Abatemarco I The New Mexican

bare essentials Photo-eye Gallery celebrates the nude 36

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ew Hampshire-based photographer Bear Kirkpatrick’s Hierophanies series places naked models into dark, moody nighttime landscapes. The images, some of which are included in Photo-eye Gallery’s exhibition The Nude — Classical, Cultural, Contemporary, convey a sense of animalistic, instinctual activity. In the world Kirkpatrick envisions, the human figures are small and fragile, moving in a realm of limited visibility, at the mercy of the unseen. Most of the light is artificial, illuminating the immediate foreground, while features of the landscape quickly disappear in the enveloping night. “Backgrounds that fade into darkness sort of scare me a bit,” Kirkpatrick told Pasatiempo. “The light only goes so far. It’s symbolic of the light of our own intellect, our own knowledge, even our own insight. That only gets you so far. There’s a lot of blackness out there.” Kirkpatrick shoots deep in swamps and forests, transforming natural landscapes into nocturnal scenes at once magical and mysterious. “The primary starting point I had in making them was because I liked the way landscapes changed when you altered the light on them. Certain places in the woods or in the marshes, the grass, or the trees are predominantly shaped to your eye by the way the sun moves across them. I started using light from different angles, trying to bring out a hidden landscape within that landscape, a kind of face you normally wouldn’t see and that struck me. I had to wait until the sun went down or mostly down, so it was dark enough that the flashes were stronger than the ambient light.” Kirkpatrick’s shooting time — about 15 or 20 minutes, before it became too dark to shoot — meant photographer and model had to work fast. “It was almost like a forced difficulty,” he said, “to make yourself come to a place where you didn’t know what to do next. You only had a few minutes to do something, and you knew you were not going to come back there;

you were not going to get that model there again. What are you going to do? You had to move quickly. That often gave us the most interesting stuff. A lot of the images were mistake images. I just shot as much as I could. The mistakes, the unplanned kind of stuff, were often the most interesting.” Kirkpatrick is not the only photographer in the exhibit who places his subjects in outdoor settings. In Santa Fe-based photographer Patti Levey’s Vallecitos, for instance, a reclining nude in the foreground of a majestic vista settles into the landscape, becoming a natural extension of it. Levey’s photographs, like those of Neil Craver, whose work is also included, hark back to the Symbolist work of early-20th-century photographers such as Anne Brigman. Photo-eye discovered Craver, along with Kirkpatrick, Evan Baden, and Karin Rosenthal, on the newly launched Art Photo Index (, a comprehensive online database of contemporary fine-art and documentary photographers. The site launched in December 2012, with more than 3,000 vetted photographers. Baden takes amateur photos as his starting point. Recreating self-shot nude images found on the internet, he establishes a dialogue between professional and amateur photography. He elevates the self-shot nude photograph from the titillating realm of pornography to that of fine art and places the viewer in the role of voyeur, glimpsing private bedroom moments. He duplicates all the domestic details for each image. Santa Fe-based photographer Jo Whaley also stages elaborate sets before shooting. Her Birth of Venus presents its subject, a young woman, in a continued on Page 38 PASATIEMPO


“Holding your hand through the entire process”

The Nude, continued from Page 37

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Joey L: Photograph of Rufo, 2008, archival inkjet print

classic pose that references Sandro Botticelli’s 1486 painting of the same title. Whaley places her nude amid a pile of trash and rubber tires, a sharp contrast to the mythic world envisioned by Botticelli. The classical nude is a primary reference point for several of the photographs on display at Photo-eye. Peter Ogilvie, Carla van de Puttelaar, and Rosenthal, for instance, emphasize the aesthetic beauty of the human form. Although the majority of the work is contemporary, two exceptions are Imogen Cunningham’s Phoenix Recumbent, a 1968 female nude, and a number of Chris Enos’ nudes from the late 1960s and 1970s. Joey L’s luminous portraits of Ethiopian tribal peoples give us pause to consider ideals of beauty and nudity in non-Western cultures. His Photograph of Rufo is a serene, sun-drenched image of a young woman bedecked in ornamental jewelry and textiles. Jock Sturges’ intimate photographs of Eva, a young model with whom he has an ongoing professional relationship, are captivating images of feminine beauty. Sturges is known for his nudes of adolescent girls and young women, controversial shots that explore burgeoning sexuality. According to a statement Sturges wrote for Photo-eye’s blog, the model is from a family of French naturists. His Eva, Le Porge, France shows the young woman partially submerged in a canal. Images of nudes in or near water are common in the exhibit. In addition to Craver’s black-and-white nudes and Sturges’ portrait of Eva, Rosenthal’s Love Knot and Source depict bodies in embrace in shallow waters. Here, nudity is suggested but not explicit. The images convey a sense of pure intimacy, and the waters serve as the primordial wellspring of love. Yet it’s Kirkpatrick’s provocative work that approaches the archetypal most powerfully. As a device, his small window of time for shooting ideally allows him to capture essential, innate qualities in his models. “The body is going to move in a way you haven’t thought of beforehand. That may reveal things about the body and the way it moves in the world,” he said. “We didn’t have time to think of a storyline or what this meant or whether this is referring to Edward Weston’s nudes or some other photographer. You had to move, almost in desperation, and hope that something is revealed in that, some older, primal thing.” ◀

details ▼ The Nude — Classical, Cultural, Contemporary ▼ Through April 20 ▼ Photo-eye Gallery, 376-A Garcia St., 988-5152


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Yom Limmud:

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Paul Weideman

hat is that orange building with the interesting yellow awnings over on Railfan Road in the Baca Street area of the Santa Fe Railyard? Since the spring of 2012, there have usually been one or two examples of outdoor sculpture in front of the building, visible to drivers on Cerrillos Road. But the signage is approaching invisibility, limited to three small placards on the three front doors, labeled “Level,” “Rising Sun,” and “Martial Arts Training Center.” Henry Muchmore’s Level Fine Art Services and Rose and John Utton’s Rising Sun Fine Art Storage are companion businesses. Canace Monteil’s martial arts business, Forward Moving Shotokan Karate, has the westernmost suite in the old warehouse, which was redone by Rose Utton. “It was all one space, an 11,700-square-foot warehouse. I have heard it was once a 7Up bottling plant,” Utton said. “It was a lot of work, not just creating the various spaces for these three businesses, but we redid everything inside, including all the walls in order to add insulation.” The branchlike yellow awnings on the facade were designed by architect Tom Easterson-Bond of WoodMetalConcrete Architecture. “We can tell people we’re the orange building with yellow awnings, and you cannot miss us,” Utton said. “We wanted to be in context but also bring the project to a happy place.” Level Fine Art Services works with galleries, museums, and collectors to coordinate exhibition

movements. It also organizes and inventories artworks and antiques for estate distribution and storage. “A lot of what I do is taking galleries to art fairs,” Muchmore said. He stood in the company’s front viewing room amid boxes destined for transportation to the Metro Show in New York City. Alexis Jagger, his operations manager, said the company helps client galleries with art fairs just about every month. In January, Level organized, packed, crated, and transported artworks to the Art Los Angeles Contemporary show. Among the other big shows are the Palm Springs Fine Art Fair, the San Francisco Fine Art Fair, Art Santa Fe, Expo Chicago, and Art Basel Miami Beach. Level’s clients have included Charlotte Jackson Fine Art, David Richard Gallery, Zane Bennett Contemporary Art, James Kelly Contemporary, and the Georgia O’Keeffe Museum. “When a gallery has an art fair, we move it and install it and then bring it back, intact,” Jagger said. “Also, when people buy works of art, we do transportation and install it at their homes. And we have a symbiotic relationship with Rising Sun. We do all the moving for them.” Level also builds pedestals for works of sculpture. “The gallery typically gives us the dimensions and weight of the piece and a very specific idea about what they want. They’re usually white or black.” Muchmore has his own woodworking shop and works with a metal fabricator. “We do pretty much

everything that needs to be done to get art moved and installed,” he said. “We’re going to Dallas this weekend to move a 9,000-pound marble sculpture.” Level also works directly with artists to fabricate base structures for artwork. Micaela Butts, a director at Rising Sun Art Storage, said the firm works hand in hand with Level. Rising Sun operates 19 large storage units, custom-built to the needs of galleries, collectors, or individuals who manage collections. “We have a climate-controlled space, with air conditioning, heating, and humidity systems to keep conditions stable for the artwork,” she said. The tenants hold the code for the keypad locks on their units. One important client is Charlotte Jackson Fine Art, which celebrated its 25th anniversary in February and counted more than 9,000 visitors entering the front door last year. The Uttons are also landlords of Charlotte Jackson Fine Art and its neighbors Tai Gallery, James Kelly Contemporary, David Richard Gallery, and William Siegal Galleries. “We have always had off-site storage, even with this bigger space since we moved over from our longtime gallery on Marcy Street,” Charlotte Jackson said. “We were storing somewhere else, but Rose Utton is just amazing. She is very supportive of all of us in the Railyard. Tai and Jim and I are all in the old Sears warehouse, and when Rose took over the lease, the architect Devendra Contractor redid the building, but he and Rose were very sensitive to its

Forward Moving Shotokan Karate


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history. They left the guts, so we have the old beams. People love it when they come in. “Rose is a real friend of RAD, the Railyard Art District. When she and I talked about the storage idea, I said I’ll sign up. Most of us in the Railyard are using it. It’s climate-controlled, with state-of-the-art security. And Level is there. I had been using them for several years before they opened [on Railfan]. We all use Henry because he does the trucks to all the art fairs for us and he installs for us. It was a marriage made in heaven when the two of them got together in the same building.” The front viewing room at Level is one of Jackson’s favorite features. “If I have something in storage and I have someone interested and I don’t want to move it over here, I can call and they’ll set it all up for the client to go view it.” Muchmore is proud of the fact that works of art have been sold at his facility. Jackson said she isn’t going to do Art Basel Miami Beach in 2013, but her own big show, Art Santa Fe, happens in July. “I hire Level, and they do all my drayage. They handle all the art moving and installation. It’s really kind of a family thing, if you will.” ◀

Right, lockers at Rising Sun Fine Art Storage; center, Level Fine Art Services’ viewing room; below, the colorful low-lying building on Railfan Road

Rising Sun Fine Art Storage

Level Fine Art Services



Rob DeWalt I The New Mexican

HigHland fling Pipes and Drums of the Black Watch


uring World War I, German fighters along the Western Front gave the soldiers of the 3rd Battalion of the Royal Regiment of Scotland a nickname — Die Damen aus der Hölle (the Ladies from Hell), a reference to their fierceness and dedication on the battlefield and to their traditional Scottish kilts. That studied aggression and steadfastness have been at the core of the main operational mission of the regiment — also known as the Black Watch — since it first saw action at the Battle of Fontenoy in 1745, a defeat for the British in the end but a battle that prompted one French officer to describe the Black Watch as “Highland furies who rushed in on us with more violence than ever did the sea driven by tempest.” The regiment’s motto, Nemo me impune lacessit, which translates into English as “Touch me not with impunity,” is certainly fitting. But luckily, when the Pipes and Drums of the Black Watch visit the Lensic Performing Art Center on Monday, March 11, at the invitation of


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the Santa Fe Concert Association, its members will be wielding musical instruments and not their usual military armaments (with the exception of perhaps a sword or two). A confluence of pageantry and patriotism are commonplace among nations with standing armies, but few battalions measure up to the standards set by the Black Watch several centuries ago. The regiment’s drums, bagpipes, tartans, plume insignia, crests, feathered caps, and scarlet doublet jackets all have deep historical and symbolic significance and speak to centuries of tradition. Maj. Andrew Halliday, commanding officer of the Pipes and Drums of the Black Watch, is a native South African who entered the Royal Military Academy at Sandhurst in 2007. He was inspired by the service of his grandfather, a member of the Cape Town Highlanders and the Transvaal Scottish Regiment, which fought alongside the Black Watch during World War II. Halliday, who has been deployed twice to Afghanistan and in 2009 was awarded a Mention in Despatches (a military citation) for gallantry for his actions in combat there, spoke to Pasatiempo from San Diego on the outset of the California leg of the Black Watch’s 2013 North American tour.

continued on Page 44

Rob Howe (U.N.I. Photography), Mick Pudsey (Scots Guards) & Media Ops (London District)

Pasatiempo: Besides music, what are the functions of the Pipes and Drums of the Black Watch? Andrew Halliday: We are all front-line, operational, active infantry soldiers — what you would call light role, meaning we can deploy by helicopter, by sea, by land, and by foot. We just got back from Afghanistan last year. We’ve been hopping back and forth from the U.K. to Afghanistan for the past four or five years. Our primary function is to carry the fight wherever it’s needed in the world, with an emphasis on machine-gunning. Pasa: Has there ever been an occasion where you had to drop everything, close up a tour, and deploy? Halliday: No. This three-month period — January, February, and March of 2013 — represents the first time we have been free to bring the Black Watch on tour in about seven years. Since 2006, the professional soldiering side of things has very much dominated our existence. The decision was made the last time we went back to Afghanistan, after taking stock in the number of troops there, that there was a window of opportunity to safely tour without endangering our troops and other allied forces on the ground in Afghanistan. And touring like we’re doing here in the U.S. is not something the Black Watch would routinely do in the U.K., because our guys are very much professional soldiers first. There are many machine-gun specialists within the ranks. I look after about 100 guys, and 25 of them are specialist-weapons trained: machine guns, heavy machinery, antitank weaponry — that’s the skill set that we bring and that I am tasked to provide. When we’re not touring, we’re in the U.K. training for another deployment. Pasa: How would you describe the relationship between the military training and the music within the 3rd Battalion? Halliday: We were first raised [organized] in 1725. In those days the pipes and drums were used as practical means of communication on the battlefield. I suppose you could say that the sound of the bagpipes also inspired a bit of fear in the hearts of the enemy. Things like the drums and the bugle were used to send messages and to regulate movements of men across the battlefield. Pasa: But it doesn’t happen, in practical terms, during warfare anymore. Halliday: I’m sure you can imagine flying into battle in the middle of the evening with night-vision goggles on — you wouldn’t want or need the bagpipes. But this is a part of our history that stretches back some

275 years. It’s something we maintain. When we deploy now, sadly, music takes very much a back seat. Having said that, the pipers will still take the bagpipes out there on deployment with them. And if we do get a period of rest and regeneration in a bigger, more secure place off the front line, like Kandahar Airfield or Camp Bastion in the Helmand Province, the men will get their pipes out. It’s not done with the thought of a musical performance behind it, though. It’s done because those instruments are part of our heritage, our psyche. It’s not a profession so much as a deep-seated love of the tradition and a way of identifying ourselves and our fighting spirit. Pasa: While on the road like this, are there any steps you all take to maintain battle readiness? Halliday: We can’t do the weaponry training, of course, but virtually every hotel we stop into has a gym or a pool. We call it cracking the phys out: going for a run, a swim. We’ll all catch up when we get back to the U.K. at the end of March. We’ll have a period of about four or five weeks of intensive military training to get the infantry up to speed with the other 75, who have been training for months. Pasa: In your experience, are there any glaring differences between American and British audiences? Halliday: You’ve hit on something that has affected me on a very personal level. I would say that American audiences are incredibly patriotic, optimistic, and enthusiastic. I find, and I think the guys find, that it’s



Rob Howe (U.N.I. Photography), Mick Pudsey (Scots Guards) & Media Ops (London District)


Black Watch, continued from Page 43

A contemplation of Spring by Billy Joe Miller with A Hawk and a Hacksaw, Twig Palace, Jordan O'Jordan, Danny Paul Grody, Pillars and Tongues, Hedia and others

Saturday, March 9 Reception: 6-8pm Concert: 8-10pm

Featuring Twig Palace, Jordan O'Jordan, and North America with food creations by Jesse Hasko $10 adults, $7 CCA members and students Show runs March 9-April 14 Regular gallery hours: Thursday-Sunday 12-5 1050 Old Pecos Trail Santa Fe 44

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really humbling. We’re better received here in the U.S. than we are in the U.K., and I don’t think anyone in the U.K. would begrudge me for saying that. It’s a great strength to me that you all honor your own military so deeply, and we only hope we can offer you something inspirational in return. Here’s a perfect example of how we have been treated in America. After a show in Newport News, Virginia, we went looking for a burger and a beer at about 11 p.m. and came across a sort of country bar. We showed our IDs to get in, and because it was all military ID, we were given free beers and burgers. We don’t get that kind of reception in the U.K. It may seem like a small gesture to people who live here, but it proved incredibly important to me and the guys. Pasa: What is the path of musical training for a new recruit in the 3rd Battalion? Halliday: All men who join the Black Watch join to become professional military soldiers. That is the endgame. But routinely I’ll get a young man who has gone through infantry training in the U.K. at a training center. Then he, along with us, will be deployed somewhere, such as Afghanistan. If during his training and deployment he shows a certain musical aptitude, I’ll get the pipe major and the drum major together, who will then evaluate the soldier’s musicality and decide if he belongs in drum or pipe training. Once that decision is made, and when time and circumstance allow, the soldier is sent off to drumming and piping school just outside of Edinburgh. After six months, he returns to me with a baseline of musical training and continues his mentorship with the pipe or drum major. Pasa: The music, pageantry, and military service of the Black Watch speak to the passing down of traditions from generation to generation. In this time of modern warfare, is there still a sense of family or generational legacy among those in the Black Watch? Halliday: There are circumstances where a soldier, 17, 18 years old, arrives and says he’s been playing the pipes for years because his father in Scotland also played. About 75 percent of the soldiers come untrained completely. About 20 percent have some base musical knowledge, but they will go through the same musical development nonetheless. There is indeed an aspect of family legacy that remains. The Black Watch has recruited from the same geographical area north of Edinburgh for more than 270 years. That cultivates a sense of brotherhood, one that is felt by everybody within the ranks. There’s a bond on the battlefield that cannot be trained into anyone, and the music serves to deepen that bond. ◀

details ▼ Pipes and Drums of the Black Watch, 3rd Battalion of the Royal Regiment of Scotland, presented by the Santa Fe Concert Association ▼ 7:30 p.m., Monday, March 11 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$75 (discounts available); 988-1234,

.com Coming Soon PASATIEMPO


IN THE TIME OF THE BUTTERFLIES Adele Oliveira I The New Mexican

ere’s the prison garb!” Nicole Phelps said excitedly as she held up an olive green jumpsuit during a rehearsal at Teatro Paraguas Studio last week. Phelps is director of In the Time of the Butterflies, which begins its run at the theater on Friday, March 8. During the rehearsal, the first two rows of seats were covered with costumes and props: full-skirted 1950s-style dresses, low-heeled T-strap shoes, fake flowers, and a Mason jar filled with artificial fluttering monarch butterflies. The incongruity of prison jumpsuits next to fancy dresses is integral to Butterflies, which is at once wrenching and spirited. Caridad Svich’s play is based on the novel of the same name by Julia Alvarez and tells the story of the Mirabal sisters: religious Patria, cautious Dedé, activist Minerva, and vivacious Antonia María Teresa, known as Mate. The sisters lived in the Dominican Republic during the dictatorship of Rafael Trujillo, whose rule lasted from about 1930 until he was assassinated in 1961. The sisters — particularly Minerva, who later studied law — became politicized when they went away to school as adolescents. (Although Minerva obtained a degree, Trujillo prevented her from practicing law.) All but Dedé became revolutionaries and plotted to overthrow the regime while in their 20s and 30s. Both Minerva and Mate spent time in jail, where they were repeatedly tortured and raped. The husbands of Patria, Minerva, and Mate were also imprisoned as punishment for their wives’ activities. On Nov. 25, 1960, on their way to visit their husbands in prison, the three sisters, along with their driver, Rufino de la Cruz, were stopped on the side of 46

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the road by members of Trujillo’s secret police. All four were beaten to death in the sugar-cane fields abutting the road. In 1999 the United Nations General Assembly designated November 25 as the International Day for the Elimination of Violence against Women in honor of the sisters. Both the novel and the play are structured around the memories of Dedé, the sole surviving Mirabal sister, who lives in the family’s house near Salcedo to this day. The play begins when the sisters are adolescents and follows them to their deaths. Scenes of life in the Dominican Republic under Trujillo are short, fragmented, and intercut with scenes in which a present-day Dedé tells her story to “the American woman,” a Dominican American writer. Before learning about Butterflies from Teatro Paraguas’ artistic director Argos MacCallum (who knows Svich), Phelps wasn’t aware of the Mirabals’ story. “What really grabbed me was the theme of violence against women,” she said. “The Mirabals decided to stand up and find power in a place and time when it was easy to feel powerless.” “Minerva is very nonconformist,” said Paola Martini of her character. “She’s progressive, forward-thinking, and wants to overthrow the dictator. It’s a lot of fun to play, partly because I’m one of four sisters in real life. And it’s eye-opening. Long ago, these women in a different country worked really hard to make a change. In this country, we had the ’60s and revolution and all of that, but this is different.” The rehearsal stalled around a pivotal scene in which the three eldest sisters (Minerva, Patria, and Dedé) attend a gala at Trujillo’s mansion in San Cristóbal. They’re dreading the party but go anyway; they know it will look bad if they

don’t. They also know that Trujillo — notorious for his affairs — has his eye on Minerva. The scene ends when Trujillo begins whispering lewd things to Minerva as they’re dancing, and she slaps him. “She publicly embarrassed him. Here’s this woman who spoke out — that’s when it starts going downhill,” Phelps said. The staging of this scene was tricky. It opens with the character of the DJ, played by Rick Vargas. The DJ functions as a sort of chorus in Butterflies; along with spinning swingy merengue, he uses sarcasm and innuendo to expose the treachery of Trujillo’s regime. Svich’s script dictates that one actor portray all the male roles in the play: the DJ, Trujillo, the revolutionary Lio Morales, and the chauffeur. As the DJ, Vargas must introduce the party scene before quickly transforming into Trujillo. “You get into character, and then you move on,” Vargas said of playing four very different men. He noted that the DJ character was the most difficult because he speaks in prose rather than straight dialogue. Trujillo is “omnipresent, even in the scenes he’s not in. Your choices are easy when you’re playing someone that powerful.” Before being cast in Butterflies, Vargas said, “I knew who Trujillo was, sort of, but I didn’t know the story of these girls and what they went through, especially during a time when women were supposed to be obedient and subordinate. That’s the beauty of being an actor. You’re forced to learn about something.” Despite Butterflies’ somber subject matter, Phelps hopes the story is uplifting. “I want people to learn about the lives of these extraordinary women. Dedé survived; she didn’t get involved. In hindsight, her path was to carry on the torch of what her sisters went through.” ◀

details ▼ Teatro Paraguas presents In the Time of the Butterflies ▼ 7:30 p.m. Friday & Saturday, March 8 & 9, 2 p.m. Sunday March 10; continues Fridays-Sundays through March 24 (March 9 performance benefits the Esperanza Shelter for Battered Families)

Friday through thurSday at 3:15 and 7:45

▼ Teatro Paraguas Studio, 3205 Calle Marie

Agros MacCallum

▼ $15, $12 seniors & students, Sundays pay what you wish at the door; 424-1601, for reservations

Fri, Sat & Sun at 1:15 and 6:00; Mon through thurSday 6:00 From left, Juliet Salazar, Roxanne Tapia, Cristina Vigil, and Paola Martini rehearse In the Time of the Butterflies; opposite page, Patria, Antonia María Teresa, and Minerva Mirabal

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— compiled by Robert Ker

installments on TV and appearing every seven years as an assembled film in the U.S. The series began in 1964, introducing 20 British children at age 7. Fourteen of them are still being profiled, and they are 56, and instead of sharing their dreams and aspirations for the future, they’re knocking on the door of old age and reflecting back on the sometimes-strange twists and turns that reshaped their lives and their expectations. That it’s still compelling is a testament to filmmaker Michael Apted, who has shepherded this hybrid TVcinema project for nearly half a century. Not rated. 138 minutes. The Screen, Santa Fe. ( Jon Bowman) See review, Page 52.

He took the midnight train goin’ everywhere: Arnel Pineda in Don’t Stop Believin’: Everyman’s Journey, at Center for Contemporary Arts in Santa Fe

opening this week DEAD MAN DOWN Niels Arden Oplev, who directed the Swedish film version of The Girl With the Dragon Tattoo, comes to American cinema and brings along Dragon star Noomi Rapace. She plays a woman who joins a man (Colin Farrell) in a mutual quest for revenge against a bad, bad guy (Terrence Howard). Expect much in the way of violence. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) DON’T STOP BELIEVIN’: EVERYMAN’S JOURNEY If ever a rags-to-riches rock ’n’ roll story was ripe for the documentary-film treatment, it’s the story of Arnel Pineda, the latest replacement lead singer for the iconic American classic rock band Journey. Discovered in 2007 on YouTube by Journey guitarist Neal Schon, Pineda was once a struggling homeless musician. Cover-band nightclub gigs in Hong Kong and his hometown of Manila were hardly enough


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to support him and his family, and Pineda soon found himself singing at funerals, simply hoping to be fed by mourning families. Director Ramona S. Diaz (Imelda) captures Pineda’s many struggles and triumphs without lionizing him. Unfortunately, Diaz spends too much time tracing Journey’s rise to fame before Pineda joined the band, making for a protracted narrative that barely justifies the running time. Not rated. 113 minutes. In English and Tagalog with subtitles. Center for Contemporary Arts, Santa Fe. (Rob DeWalt) EMPEROR Tommy Lee Jones plays Gen. Douglas MacArthur just as the man finds himself in charge of the American occupation of Japan. He assigns Gen. Bonner Fellers (Matthew Fox), an expert in Japanese culture, to figure out what to do with Emperor Hirohito (Takatarô Kataoka) — hang him as a war criminal or save him? In English and Japanese with subtitles. Rated PG-13. 106 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 56 UP Can you picture still watching the antics of Honey Boo Boo in 2062? That will give you some sense of the continuity and longevity of Britain’s Up series, broadcast there in

OZ THE GREAT AND POWERFUL If Wicked isn’t your cup of tea, try this flimsy prequel to the beloved 1939 classic. It opens in black-and-white Kansas, where seedy tent-circus magician Oscar ( James Franco, woefully miscast) breaks women’s hearts between shows. After his hot-air balloon gets caught in a twister, he lands in Oz, the image goes full-color, and he meets three witches (scenery-chewing Mila Kunis, ever-striking Rachel Weisz, and Michelle Williams, who does what she can with a sticky-sweet role). Local prophecy predicts that a wizard will save the kingdom and become its new ruler. Could it be Oscar? Problem is, it’s hard to care what happens to a guy who’s “weak, selfish, slightly egotistical, and a fibber” and his one-note sidekicks. To distract us from the lack of intelligent story and emotional depth, director Sam Raimi slings 3-D gimmicks and sets everything amid eye-popping CGI landscapes. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden). See review, Page 53.

now in theaters AMOUR This exquisitely crafted film is beautifully played by a couple of legends of French cinema. Jean-Louis Trintignant and Emmanuelle Riva portray retired musicians in their 80s. When she suffers a minor stroke and enters an inexorable decline after botched surgery, he honors his promise to keep her at home in their Paris apartment, coping as his beloved wife sinks into a living hell. Austrian filmmaker Michael Haneke turns his unsparing lens on the indignities, sufferings, and helplessness that can attend the end of a long life. Depressing but riveting. Winner of the Academy Award for best Foreign Language Film.

Not rated. 127 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe; Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052. (Jonathan Richards) ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming nail-biter that won the Oscars for Best Picture, Film Editing, and best Adapted Screenplay (thanks to writer Chris Terrio). In 1980, as the world watched the hostages in the U.S. embassy in Tehran, a small group of Americans were rescued by the CIA, who pretended to be making a sci-fi film and disguised them as members of a Canadian location-scouting crew. A terrific cast is headed by Affleck, Alan Arkin, and John Goodman. Rated R. 120 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) BEASTS OF THE SOUTHERN WILD Benh Zeitlin’s inventive and visually stunning debut feature transports viewers to a magical world conjured up by its 6-yearold heroine, Hushpuppy (Quvenzhané Wallis). She lives with her stern father in the Bathtub, a lowlying community in the Louisiana bayou that’s about to be slammed by a hurricane. The storm unleashes fears, emotions, and reveries for Hushpuppy, who clings to her dreams as the devastation mounts. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. ( Jon Bowman) BLESS ME, ULTIMA In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been cloyingly precious magical realism. But Bless Me, Ultima, directed by Carl Franklin, was shot in and around Santa Fe, which imbues the story of murder and witches in World War II-era Northern New Mexico with authenticity. Antonio (Luke Ganalon) is six years old when his grandmother Ultima (Miriam Colon), a curandera, comes to stay with his family. Performances are mostly strong, and the dialogue moves quickly, as does the action. Rated PG-13. 105 minutes. In English and Spanish without subtitles. DreamCatcher, Española. ( Jennifer Levin) DARK SKIES When aliens phone the home of a family (with parents played by Keri Russell and Josh Hamilton) and target them for invasion, their abode starts to resemble a house of the haunted variety. Spooky things start to happen and quickly get out of hand. The always-welcome J.K. Simmons costars. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

ESCAPE FROM PLANET EARTH This film about aliens who try to escape from an aggressive planet comes from Rainmaker Entertainment. The animation appears to be strong, but the jokes look to be the usual wisecracks and burps. Rated PG. 95 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) A GOOD DAY TO DIE HARD In 1988, Die Hard raised the action bar when John McClane (Bruce Willis) got stuck in a building with baddies. The title then referred to McClane’s grit; in 2013, it may be referring to the franchise itself. This time, he’s in Russia. Rated R. 98 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) HAPPY PEOPLE: A YEAR IN THE TAIGA Werner Herzog’s documentary deals with both beauty and hardship as it follows a community of Russian fur trappers based in the Siberian wilderness village of Bakhtia. The footage is taken from a four-hour made-fortelevision Russian documentary. The focus is on the male trappers, whose most important relationship, apart from that with the land, is with their dogs. The conditions these isolated people face can be fierce. But acts of simple industry — the basic ritual chores required to survive — grant contentment. These people are, Herzog tells us, happy to be on their own, self-reliant, and “truly free.” Not rated. 94 minutes. In Russian with subtitles. The Screen, Santa Fe. (Bill Kohlhaase) IDENTITY THIEF Sandy Patterson ( Jason Bateman) discovers his identity has been stolen. He has one week to clear his name, so he goes to Florida to find the thief (Bridesmaids’ Melissa McCarthy), and they engage in a lot of insulting and punching. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

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JACK THE GIANT SLAYER Director Bryan Singer (of the first two X-Men films), a team of special-effects wizards, a crack art-direction crew, and an impressive array of actors — including Stanley Tucci, Ian McShane, and Ewan McGregor — all try in vain to make audiences forget they’re watching a movie based on the fable “Jack and the Beanstalk.” The film starts promisingly as an adventure with shades of The Incredible Shrinking Man, but as it lurches to the gigantic climactic battle, the script comes apart. Nicholas Hoult’s Jack is jarringly modern-looking in his leather hoodie, jeans, and Urban Outfitters-model hair. He also broods too much in a role that requires carefree swashbuckling, proving that all work and no play make Jack a dull movie. Rated PG-13. 115 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) THE LAST EXORCISM PART II This film, which boasts the most perplexing title since Final Destination 5, centers on Nell Sweetzer (Ashley Bell), whose demon wasn’t exorcised the last time around. That’s health care in America for you. This time, she tries to get it done right. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) LIFE OF PI Ang Lee won the Oscar for Best Director for his adaptation of Yann Martel’s bestselling novel, which is an intriguing exercise in going toward, intense being, and going away. The first and last are the frame in which the story, of a boy on a lifeboat with a Bengal tiger in a wild ocean, is set. That middle part is a fabulous creation of imagination. The lead-in sets it up with a promise of a story that “will make you believe in God.” The real star is the Academy-Award winning visual effects that will make you believe in tigers, at least. The film also won Oscars for Best Original Score and Best Cinematography. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. ( Jonathan Richards) PRECIOUS LIFE Israeli filmmaker and TV news personality Shlomi Eldar uses an Israeli hospital’s fight to save the life of a Palestinian infant born without an immune system to shine a light on the agonizing rifts between Israelis and Palestinians and the possibilities of rapprochement. The drama revolves around the effort to find a bone marrow donor and to perform a transplant on the baby as well as the attitudes of the parents and others continued on Page 50




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as the husband of Mara’s character. The movie revels in its twists and turns, and most of them work. Rated R. 105 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) SILVER LININGS PLAYBOOK This story centers on Pat Solatano (Bradley Cooper), who after being released from a mental institution moves in with his parents (Jacki Weaver and Robert De Niro) and vows to win back his estranged wife. When friends invite him to dinner, he meets Tiffany (Jennifer Lawrence, who won the Best Actress Oscar), who also has a couple of screws loose. She agrees to help him patch things up with his wife — but only if he will agree to be her partner in a dance competition. The story swerves hilariously around clichés, and the finely honed dialogue, attention to detail, and impressive performances make the movie a near-perfect oddball comedy. Rated R. 122 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden)

Men in Beige: Tommy Lee Jones in Emperor, at Regal DeVargas in Santa Fe

involved. Precious Life starts off with the hallmarks of a heartwarming feel-good story. But matters take an unexpected turn with the Palestinian mother’s painful reflection on the relative value of life in Gaza and Israel. Screens as part of the Santa Fe Jewish Film Festival at 7 p.m. Tuesday, March 12, only. Not rated. 82 minutes. In Hebrew, Arabic, and English with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) QUARTET At 75, Dustin Hoffman makes his debut as a director with appealing geriatric material. Beecham House is a retirement home for musicians, among them brooding Reg (Tom Courtenay); sweet, daffy Cissy (Pauline Collins); and lecherous, fun-loving Wilf (Billy Connolly). When diva Jean (Maggie Smith) arrives, it completes a foursome who once starred together in a noted production of Verdi’s Rigoletto and sets the stage for an encore performance. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SAFE HAVEN You know what to expect in this film just by hearing that it is based on a novel by Nicholas Sparks (The Notebook, Dear John): a woman learns to love again, everything takes place in the golden


March 8 -14, 2013

light before sunset, and nobody is far from a secluded beach. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named Sixto Diaz Rodríguez is a portrait of a humble man, a rock documentary, and a detective story all in one. follows the triumphs and frustrations of a journalist and a record-store owner in their efforts to shed light on the mystery surrounding Rodríguez, a superstar in South Africa but virtually unknown in his native United States. The film packs an emotional wallop. It won the Oscar for Best Documentary Feature. Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SIDE EFFECTS Steven Soderbergh claims to be taking a sabbatical from making movies. He’s leaving us with a nifty psychological thriller starring Jude Law as an earnest shrink who prescribes a new drug to a depressed patient (Rooney Mara) and gets caught up in a maelstrom when a murder rears its head. Catherine Zeta-Jones is smooth as a professional colleague, and beefy Channing Tatum is agreeable

SNITCH Dwayne Johnson plays John, a dad who will do anything for his son. When the son is imprisoned for drug trafficking, John becomes an informant to spring him. If that sounds improbable, wait until you see the crazy gunfights and the tractor-trailer chase scene. Rated PG-13. 95 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 21 AND OVER The writing team of Jon Lucas and Scott Moore made their names in Hollywood by penning 2009’s The Hangover. This, their directorial debut, focuses on the 21st birthday of Jeff Chang ( Justin Chon) and the outrageous antics that occur over the course of his big night out. Apparently if you go drinking with Lucas and Moore, you’re in for one wild evening. Rated R. 93 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

other screenings Center for Contemporary Arts 7 p.m. Wednesday, March 13: Never Cry Wolf. Anthropologist and Santa Fe Institute professor Paula Sabloff presents the film as part of the Science on Screen series. ◀



What’s shoWing


A W A R D®


inDEpEnDEnt spiRit AWARD


P i C T u R E

Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, Amour (PG-13) Fri. to Sun. 12 p.m., 2:30 p.m., 5 p.m., 7:45 p.m. Tue. 2 p.m., 5 p.m., 7:45 p.m. Wed. 1:30 p.m., 4 p.m. Thurs. 2 p.m., 5 p.m., 7:45 p.m. Don’t Stop Believin’: Everyman’s Journey (NR) Fri. 12:30 p.m. Sat. and Sun. 1:15 p.m., 6 p.m. Tue. 2:30 p.m. Wed. 2:30 p.m., 7:30 p.m. Thurs. 6 p.m. Never Cry Wolf (PG) Wed. 7 p.m. Precious Life (NR) Tue. 7 p.m. Searching for Sugar Man (PG-13) Fri. 3 p.m. Sat. and Sun. 3:45 p.m., 8:15 p.m. Tue. 4:30 p.m. Wed. 4:45 p.m. Thurs. 3:45 p.m., 8:15 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, Argo (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. Beasts of the Southern Wild (PG-13) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. Emperor (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. Quartet (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. Side Effects (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:20 p.m., 7:20 p.m. Silver Linings Playbook (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, 21 and Over (R) Fri. to Tue. 2:15 p.m., 4:45 p.m., 7:10 p.m., 9:40 p.m. Dark Skies (PG-13) Fri. to Tue. 1:10 p.m., 4 p.m., 7:55 p.m., 10:25 p.m. Dead Man Down (R) Fri. to Tue. 1:20 p.m., 4:15 p.m., 7:15 p.m., 10:20 p.m. Escape From Planet Earth 3D (PG) Fri. to Tue. 2:20 p.m., 4:50 p.m., 7:15 p.m. A Good Day to Die Hard (R) Fri. to Tue. 5 p.m., 10:45 p.m. Identity Thief (R) Fri. to Tue. 2:10 p.m., 4:50 p.m., 7:40 p.m., 10:20 p.m. Jack the Giant Slayer 3D (PG-13) Fri. to Tue. 1:05 p.m., 1:40 p.m., 4:30 p.m., 7:10 p.m., 7:40 p.m., 10:30 p.m. Jack the Giant Slayer (PG-13) Fri. to Sun. 4:20 p.m., 10 p.m. Mon. and Tue. 4:20 p.m., 10 p.m. The Last Exorcism Part II (PG-13) Fri. to Tue. 2:25 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m. Life of Pi 3D (PG) Fri. to Tue. 1:15 p.m., 7:15 p.m. Life of Pi (PG) Fri. to Tue. 4:15 p.m., 10:15 p.m. Oz the Great and Powerful 3D (PG) Fri. to Tue. 1 p.m., 1:30 p.m., 4 p.m., 7 p.m., 7:30 p.m., 9:30 p.m., 10 p.m. Oz the Great and Powerful (PG) Fri. to Tue. 2 p.m., 4:30 p.m., 7:55 p.m., 10:30 p.m. Safe Haven (PG-13) Fri. to Tue. 1:25 p.m., 4:20 p.m., 7:45 p.m., 10:30 p.m. Snitch (PG-13) Fri. to Tue. 1:50 p.m., 4:40 p.m., 7:20 p.m., 10 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, 56 Up (NR) Fri. to Sun. 3:15 p.m., 7:45 p.m. Mon. to Thurs. 3:15 p.m., 7:45 p.m. Happy People:A Year in the Taiga (NR) Fri. to Sun. 1:15 p.m., 6 p.m. Mon. to Thurs. 6 p.m.

Written for the screen and directed by

david o. russell

mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087 21 and Over (R) Fri. 4:20 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:25 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:25 p.m., 7:20 p.m. Mon. to Thurs. 4:25 p.m., 7:20 p.m. Bless Me, Ultima (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Dead Man Down (R) Fri. 4:20 p.m., 6:55 p.m., 9:25 p.m. Sat. 1:55 p.m., 4:20 p.m., 6:55 p.m., 9:25 p.m. Sun. 1:55 p.m., 4:20 p.m., 6:55 p.m. Mon. to Thurs. 4:20 p.m., 6:55 p.m. Escape From Planet Earth (PG) Fri. 4:40 p.m., 7:05 p.m., 9:25 p.m. Sat. 2:05 p.m., 4:40 p.m., 7:05 p.m., 9:25 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. IdentityThief (R) Fri. 4:45 p.m., 7:10 p.m., 9:35 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:10 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:10 p.m. Mon. to Thurs. 4:45 p.m., 7:10 p.m. Jack the Giant Slayer 3D (PG-13) Fri. and Sat. 7 p.m., 9:30 p.m. Sun. to Thurs. 7 p.m. Jack the Giant Slayer (PG-13) Fri. 4:35 p.m. Sat. and Sun. 2 p.m., 4:35 p.m. Mon. to Thurs. 4:35 p.m. The Last Exorcism Part II (PG-13) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Oz the Great and Powerful 3D (PG) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Oz the Great and Powerful (PG) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Snitch (PG-13) Fri. 5 p.m., 7:35 p.m., 9:45 p.m. Sat. 2:35 p.m., 5 p.m., 7:35 p.m., 9:45 p.m. Sun. 2:35 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m.



Maggie Smith

DirecteD by

Dustin hoffman

based on the play by ronald harwood screenplay by ronald harwood

ARTWORK©2013 The WeinsTein cOmpAny. ALL RiGhTs ReseRVeD.

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SANTA FE UA De Vargas Mall 6 (800) fANDANGO #608



mitChell Storyteller CinemA

110 Old Talpa Canon Road, 575-751-4245 21 and Over (R) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Dead Man Down (R) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. IdentityThief (R) Fri. 4:40 p.m., 7:10 p.m., 9:35 p.m. Sat. 2:15 p.m., 4:40 p.m., 7:10 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Jack the Giant Slayer 3D (PG-13) Fri. and Sat. 7 p.m., 9:45 p.m. Sun. to Thurs. 7 p.m. Jack the Giant Slayer (PG-13) Fri. 4:30 p.m. Sat. and Sun. 2 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m. The Last Exorcism Part II (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Oz the Great and Powerful 3D (PG) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Oz the Great and Powerful (PG) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m.









DON’T STOP BELIEViN’ EVERYMAN’S JOURNEY w w w. e ve rym a n s j o u r n e y. c o m



1050 OLD PECOS TRAIL (505) 982-1338 SANTA FE



moving images film reviews

Doc of ages Jon Bowman I For The New Mexican 56 Up, documentary, not rated, The Screen, 3 chiles In 1998, critic Roger Ebert hailed the Up series as “an inspired, almost noble, use of the film medium.” His praise rings even more true today, now that the series has achieved epic stature, having continued uninterrupted for nearly half a century. The series began inauspiciously enough, on a wintry day in 1964, as Granada TV gathered 20 British 7-year-olds for an outing at the London Zoo. These children from different social and economic backgrounds were questioned about their lives, their families, their friends, and their aspirations. The idea was to test the old Jesuit saying, “Give me a child until he is 7, and I will give you the man.” At the time, considerable debate raged in Great Britain over how rigid the country’s class system had become. The filmmakers chose a few rich kids from boarding schools, some from middle-class families, and charity cases from orphanages. Granada TV committed to following these children through adulthood to determine if those from privileged backgrounds stood a better chance of success than those from poor or broken homes. Every seven years, an Up sequel has appeared, another documentary bringing us up to date on what has happened in the lives of these individuals. Paul Almond directed the initial Seven Up!, but all of the subsequent entries have been the handiwork of Michael Apted. He served as a research assistant on Seven Up! and went on to achieve considerable acclaim as a filmmaker; his credits include Gorillas in the Mist and Coal Miner’s Daughter. Apted is now 72. The kids he came to know in 1964 are no longer spring chickens — they are knocking on the door of old age, so you have to wonder if the latest installment — 56 Up — will be the last. Apted certainly has shown perseverance and commitment by keeping the series alive all these years, but will he remain healthy enough to carry on for 63 Up? Originally designed to measure the role of social status in shaping people’s lives, these documentaries have demonstrated how circumstance and blind luck, combined with some quotient of individual determination, have been more influential. These true-life stories have exhibited Dickensian twists. We’ve watched as childhood friends from similar backgrounds have gone separate ways — one is, perhaps, defeated by a divorce or a career setback, while another shows the grit and optimism to overcome life’s obstacles. 52

March 8 -14, 2013

The once and future Peter Davies

In a sense, the Up series pioneered reality TV, allowing us to voyeuristically pry into the lives of everyday people — although I am quite sure the creators of the series would be aghast at being lumped into the same category as, say, Here Comes Honey Boo Boo. True, this series isn’t as trumped-up or full of hype, but the concept behind the productions is the same: to use the camera to lift the curtains and reveal what people do, what they’re thinking, and how they live. Some of the most lively segments in 56 Up capture the participants talking back to Apted after a lifetime of being thrust upon the public stage as quasi-celebrities. Nicholas Hitchon, a farm boy from the Yorkshire Dales who grew up to become a nuclear physicist, complains the series has not been “an absolutely accurate picture of me, but it’s a picture of somebody. And that’s the value of it.” Suzanne Dewey also expresses a love-hate relationship with the project, questioning her own “ridiculous loyalty, even though I hate it.” More extreme is the case of Peter Davies, who withdrew from the series after 28 Up, following the British tabloid press branding him as an angry agitator, because he directed some withering criticism against Margaret Thatcher’s government. Having gone AWOL for more than 25 years, Davies has rejoined the fold. He’s now more confident and comfortable in his own skin, and oh, by the way, he has an Americana folk band he’s eager to plug. There are many more men than women among the profile subjects — a lapse that occurred during the initial selections, so it couldn’t be corrected going forward. The participants also reflect a more homogenous British culture than exists today. All are white Anglo-Saxons, except for Symon Basterfield, whose absentee father was black.

Taking these limitations into account, the individual profiles are riveting, made more so by the inclusion of grainy black-and-white clips in which the kids first revealed their dreams, set alongside the current material showing what actually transpired in their lives. This has a profound impact, leading the viewer to reflect on one’s own journey in life and the unexpected turns that came into play. The saga of Neil Hughes is especially compelling. At 7, he wanted a taste of fame and adventure by becoming an astronaut. Instead, in his 20s and 30s, he grappled with bouts of mental illness that left him homeless and destitute. He’s still more introspective and solitary than his colleagues but has gained the confidence to serve on the municipal council in his small hamlet in Cumbria, a county in the far northwestern quadrant of England along the border with Scotland. Hughes takes Apted on a tour of the community, showing off the public roadside toilets he worked on the council to preserve. “I can assure you that no more fierce battle has ever been fought, either on the playing fields or indeed on the battlefields of England, to save what might appear to be a comparatively insignificant local community,” Hughes boasts. Apted narrates and conducts the interviews, but to his credit, he remains off-camera, giving the spotlight fully to his subjects. He will occasionally throw one of them a barb, but he doesn’t seem inclined to sensationalize their stories or rework them according to some preconceived scheme. As a result, some of the material covered here is mundane and ordinary. But that’s part of the series’ charm and underscores its authenticity in an era when so many documentaries are skewed and, frankly, not trustworthy. ◀

moving images


film reviews





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



Bewitched: James Franco and Mila Kunis

Goodbye yellow brick road Laurel Gladden I For The New Mexican Oz the Great and Powerful, fantasy drama, rated PG, Regal Stadium 14, 2 chiles If Wicked isn’t your cup of tea, try this flimsy prequel to the 1939 classic The Wizard of Oz. Directed by Sam Raimi (Spider-Man), Oz the Great and Powerful opens in black-and-white Kansas, where seedy tent-circus magician Oscar ( James Franco) is busy breaking women’s hearts between shows. After his hot-air balloon gets caught in a twister, he lands in Oz, and the image goes full-color (and widescreen). Sounds familiar, right? This film pays homage to its beloved predecessor, but it doesn’t have that film’s brains, courage, or heart. Oscar meets three witches: Theodora (Mila Kunis, chewing scenery), Evanora (Rachel Weisz, bringing elegance and drama), and Glinda (Michelle Williams, doing what she can with a sticky-sweet role). They explain to him that local prophecy predicts the arrival of a wizard who will save the kingdom from a wicked witch and become its new ruler. Theodora falls for Oscar’s charms, but Evanora seems interested, too. Just what we need: another film in which women fight over a man — and a philandering charlatan at that. One of them will become the infamous Wicked Witch of the West. Are we supposed to believe that she transforms into an icon of evil simply because she has a broken heart? “You’re weak, selfish, slightly egotistical, and a fibber,” Glinda tells Oscar matter-of-factly. Who cares if this self-serving womanizer overcomes his character flaws and rises to the occasion? Anyone who has seen Victor Fleming’s landmark take on L. Frank Baum’s book knows that the great and powerful Oz winds up hiding behind his curtain and going out of his way to fool Dorothy and her crew into thinking he’s something he’s not. Even if Oscar becomes the hero, we know he’ll revert to his old deceptive ways. Franco is woefully miscast and wooden — this role is simply beyond him. Robert Downey Jr. and Johnny Depp were reportedly both considered for the part, and either of them would have been more believable as a smoothtalking trickster. Zach Braff voices a flying monkey. He’s there to offer comic relief, and he only occasionally succeeds. Perhaps to distract us from the lack of intelligent story and emotional depth, Raimi amps up the CGI. The 3-D looks pretty good, but the hurling of hats and spears begins to feel gimmicky. The settings are eye-popping and colorful, but somehow everything looks fake. Raimi gives us hummingbirds, butterflies, river fairies, and loopy Seussian landscapes, which might make Oz a lot of fun if you’re under the age of 7. Adults, however, may wish they were back in Kansas. ◀







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

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            PASATIEMPO


RESTAURANT REVIEW Laurel Gladden I The New Mexican

Playing the griddle

Caffe Greco 233 Canyon Road, 820-7996 8 a.m.-5 p.m. daily Takeout available Vegetarian options Patio dining in season Noise level: quiet (with the Food Network playing in the background) Credit cards, local checks

The Short Order As we head into spring, it’s easy to envision spending a breezy, sunny afternoon with a little nosh on the patio of Caffe Greco, located on the shady side of the street near the foot of Canyon Road. For now, you can enjoy breakfast or lunch, or just a bracing cup of coffee, inside the quirky multiroom space, which Caffe Greco shares with a jewelry store. Space limitations notwithstanding, chef Cindy Barreras manages to put together breakfast burritos, panini, soups, and hefty green chile cheese-burgers. Recommended: breakfast burritos with salsa, tacos with salsa, and green-chile cheeseburgers.

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.


March 8 -14, 2013

This is the time of year when I start daydreaming about having lunch on a patio (and I don’t think I’m alone in this). One look at the flagstone-paved outdoor space at Caffe Greco, located on the shady side of the street near the foot of Canyon Road, and it’s easy to envision spending a breezy, sunny afternoon there with some friends and a little nosh. For now, while it’s still chilly out, you can enjoy breakfast or lunch, or just a bracing cup of coffee, inside the quirky multiroom space, which the café shares with the Jewel Mark jewelry store. (The café, the shop, and the adjoining women’s clothing store are owned by Michael and Rita Linder.) You can snuggle up by a crackling fire in one of the vibrantly multicolored dining rooms, where a giant-screen television plays Food Network shows. Another dining room is shadier and quieter, but it won’t be for long if someone comes in and starts playing the tabletop version of Asteroids. Chef Cindy Barreras, a fourth-generation Santa Fe native, runs the café, often entirely on her own. Her kitchen is small (basically the area behind the counter). Space limitations notwithstanding, she manages to put together breakfast burritos, panini, daily soups, and green-chile cheeseburgers. It’s nice to know you’re getting individual attention and freshly cooked food, but I can’t help but wonder how Barreras will keep up when the weather is warmer and throngs of hungry art-loving tourists start pouring in. The breakfast burritos are made to order, right down to the scrambling of the eggs and the toasting of the tortillas, which Barreras does on a countertop griddle. Unlike some gut-busting, thigh-size monstrosities, these burritos are easily portable — one would fit snugly in your hand on a stroll up Canyon Road. The potatoes are tender, if a bit garlicky, and Barreras gives the tortillas a slight crispness and nutty flavor with a quick toasting. Flavorwise, the burritos are not especially distinctive — until you douse them with Barreras’ fresh, pungent, herby tomato salsa. That stuff is addictive. One of my dining companions isn’t a big breakfast fan, but after spooning salsa on his burrito, he wouldn’t stop eating. If spicy, garlicky burritos and salsa aren’t your thing in the morning, you can always opt for a cinnamon twist, bear claw, fruit-filled empanada, bagel, or smoothie. The building’s owner stopped by our table to chat on a couple of visits, and he gave us a hard sell on the soft tacos. They’re stuffed with finely chopped chicken or tender shredded New Mexico beef, diced fresh tomato, and chopped lettuce. Solo, they’re a little bland, but a dose of that fresh house-made salsa elevates them to a level deserving of some high-pressure salesmanship.

Barreras also makes a fresh soup every day, keeping it warm in a heated tureen in the tiny kitchen nook. The cream of chicken took its name far too seriously: the broth looked entirely too milky and tasted too creamysweet. It was also very mild, despite having “a little bit of green chile in it.” The butternut squash soup had a pleasing lilt of cinnamon and other spices, but it was too cloying for my taste. The off-putting pulpy texture could be eliminated by a quick straining. The Reuben, one of a handful of sandwiches on Caffe Greco’s menu, has a nice balance of sauerkraut, cheese, and prosciutto-thin slices of corned beef. Nothing is piled on in excess, which means the sandwich’s guts stay intact. The chunky white sourdough of the vegetable panini was undertoasted and too thick; the vegetables — sun-dried tomatoes, artichoke hearts, roasted peppers, and mushrooms — made the sandwich feel like a 1980s flashback, but their pleasant tang contrasted nicely with the creamy, stretchy provolone. Cooked to order, the house green chile cheeseburger is worth stopping by for. The grass-fed beef patty is sandwiched inside a soft, mildly sweet brioche-like bun along with melty bright-orange cheddar and a hefty dose of green chile. I’m not a betting woman, but I’d be willing to wager that come warmer weather, when that patio fills up, Barreras is gonna need a bigger griddle. ◀

Check, please

Breakfast for two at Caffe Greco: Breakfast burrito ............................................$ 5.95 Breakfast burrito with bacon .........................$ 6.95 Small café latte ...............................................$ 3.00 Small café mocha ...........................................$ 3.50 TOTAL ...........................................................$ 19.40 (before tax and tip) Lunch for four, another visit: Reuben sandwich ..........................................$ 7.50 Green chile cheeseburger ..............................$ 8.50 Cream of chicken soup ..................................$ 6.95 Two tacos .......................................................$ 8.50 Vegetable panini ............................................$ 7.50 Canned soda ..................................................$ 1.50 TOTAL ...........................................................$ 40.45 (before tax and tip)

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SCIENCE ON SCREEN with Paula Sabloff

7:00p Weds March 13 $10 / $7 for CCA or SFI members

Santa Fe Jewish Film Festival presents: PRECIOUS LIFE

Encore Screening: 7:00p Tuesday March 12, $12. Tickets through CCA Box Office Fri March 8 12:00p - Amour 12:30 - Don’t Stop Believin’* 2:30p - Amour 3:00p - Sugar Man* 5:00p - Amour 5:30p - Upcycle Santa Fe with Only Green Designs* 7:45p - Amour

Sat-Sun March 9-10

Mon March 11

12:00p - Amour 1:15p - Don’t Stop Believin’* 2:30p - Amour 3:45p - Sugar Man* 5:00p - Amour 6:00p - Don’t Stop Believin’* 7:45p - Amour 8:15p - Sugar Man*

Cinema Closed

Wed March 13

1:30p - Amour 2:30p - Don’t Stop Tues March 12 Believin’* 2:00p - Amour 4:00p - Amour 2:30p - Don’t Stop Believin’ 4:45p - Sugar Man* 5:00p - Amour 7:00p - Science on 4:30p - Sugar Man* Screen: Never 7:00p - SFJFF: Precious Cry Wolf Life* 7:30p - Don’t Stop 7:45p - Amour Believin’*

Thurs March 14 2:00p - Amour 3:45p - Sugar Man* 5:00p - Amour 6:00p - Don’t Stop Believin’* 7:45p - Amour 8:15p - Sugar Man* * indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members



pasa week 8 Friday

by Billy Joe Miller, reception 6-8 p.m., through Arpil 14, no charge. Concert with Twig Palace, Jordan O’Jordan, and North America, 8-10 p.m., $10, student discounts available.

gallery/museum openings

axle Contemporary 670-7612 or 670-5854. (no)stalgia, installation by Cannupahanska Luger, reception 5-7 p.m., look for the mobile gallery’s van at the Railyard, visit for van locations through March 24. Downtown subscription 376 Garcia St., 983-3085. Architectural Abstractions, tapestries by Mary Cost, reception 4-6 p.m. Flying Cow gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Zero, teen exhibit, reception 5:30-8 p.m., through Thursday, March 14. pop-up gallery at 312-a lomita st. 670-6438. Drawings by Thais Mather, reception 5-7 p.m., through March 23. santa Fe Clay 545 Camino de la Familia, 984-1122. Remnants, ceramic sculpture by Peter Christian Johnson and Todd Volz, reception 5-7 p.m., through April 20. unitarian universalist Congregation of santa Fe 107 W. Barcelona Rd., 982-9674. Cloth and Paper, collaborative works by L.S. Macri and Kathamann, reception 5:30-7:30 p.m., through March.

ClassiCal musiC

TgiF organ recital William Porter, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext. 16.

in ConCerT

sean Healen Band Western-tinged rock ’n’ roll, 7:30 p.m., Gig Performance Space, 1808 Second St., $15 at the door, stu macaskie Trio Jazz pianist, with Asher Barreras on bass, and John Trentacosta on drums, KSFR Radio’s Music Café Series, 7 p.m., Museum Hill Café, Milner Plaza, 710 Camino Lejo, $20, 428-1527.


‘Cold Water’ Santa Fe University of Art & Design Documentary Theatre Project students’ play about the Northern New Mexico village of Agua Fría, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available,, 988-1234, final weekend. ‘in the Time of the Butterflies’ Teatro Paraguas presents a new play by Caridad Svich, 7:30 p.m., 3205 Calle Marie, $15, discounts available, 424-1601, FridaySunday through March 24 (see story, Page 46).


star party Laser-guided tour of the night sky led by Ranger Peter Lipscomb, followed by telescope views of Jupiter, the Orion Nebula, star clusters, and galaxies, 7 p.m., Cerrillos Hills State Park,

Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60 56

March 8 -14, 2013

compiled by Pamela Beach,


‘Cold Water’ Santa Fe University of Art & Design Documentary Theatre Project students’ play about the Northern New Mexico village of Agua Fría, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available,, 988-1234, final weekend. ‘in the Time of the Butterflies’ Teatro Paraguas presents a new play by Caridad Svich, 7:30 p.m., 3205 Calle Marie, $15, discounts available, 424-1601, FridaySunday through March 24 (see story, Page 46).


Axle Contemporary shows works by Cannupahanska Luger.

16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.


(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover. Cowgirl BBQ Singer/songwriter Tenia Sanders, soul/funk; 5-7:30 p.m.; Americana band Gypsy Lumberjacks, 8:30 p.m.; no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Jay Boy Adams, Texas country-rock and blues, and Zenobia with Mister Sister, R & B/soul, 9 p.m., call for cover. Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Jimmy Stadler Band, Americana/rock, 8-11 p.m., no cover. la posada de santa Fe resort and spa Nacha Mendez Trio, pan-Latin music, 6:30-9:30 p.m., no cover.

Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63 Sound Waves...................... 63

The legal Tender Bill Hearne Trio, classic country, 6-9 p.m., no cover. The palace restaurant & saloon Classic-rock cover band Chango, 9:30 p.m., call for cover. pranzo italian grill Jazz pianist Robin Holloway, 6-9 p.m., call for cover. revolution Bakery Friday Night Jazz Trio, guitarist Tony Cesarano, percussionist Peter Amahl, and bassist Lenny Tischler, 6-9 p.m., $3 suggested donation. second street Brewery Felix y Los Gatos, zydeco/Tejano/juke-swing, 6-9 p.m., no cover. second street Brewery at the railyard Bleich-Villarubia Jazz Trio, 6-9 p.m., no cover. Tiny’s Chris Abeyta, easy listening, 5:30-8 p.m.; Anthony Leon & The Chain, country angst, 8:30 p.m.-close; no cover. The underground at evangelo’s The Howard Stern Comedy Tour with John Tole and Ian Stewart; plus, John Duke and DJ Guttermouth, doors open at 9 p.m., $10 cover. Vanessie Jazz vocalist Paula Rae McDonald with pianist Andy Kingston, jazz, 7:30 p.m.-close, call for cover.

Horticultural Therapy Learn what it is and how it works with Nancy Chambers, 1-3 p.m., Museum of International Folk Art, 706 Camino Lejo, Museum Hill, no charge, call Santa Fe Botanical Garden for information, 471-9103. scotland: Walking the West Highlands Way Illustrated presentation by Catherine Macken, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418. you are What you Wear: Costume and Character in opera UNM professor Dorothy Baca and Emilee McVey Lee of the Santa Fe Opera and Santa Fe Community College, share their insights during a behind-the-scenes view of the costume-design process at the Santa Fe Opera, refreshments 9 a.m., program 9:30 a.m.-noon, Stieren Hall, 301 Opera Dr., $10,, 629-1410, Ext. 100.


9 Saturday

The Flea at el museo 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia,, 982-2671, weekends through April. pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536,, Friday-Sunday through the year. santa Fe artists market 8 a.m.-2 p.m., Saturdays through March at the Railyard plaza between the Farmers Market and REI, 310-1555. santa Fe Farmers market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. ukranian easter egg demonstrations Local artists lead a free pysanky workshop, 1-4 p.m., Hotel St. Francis, 210 Don Gaspar Ave., no charge, call Susan Topp Weber for details, 983-2127.

gallery/museum openings


Center for Contemporary arts — muñoz Waxman Front gallery 1050 Old Pecos Trail, 982-1338. Revival, multimedia installation

(See Page 57 for addresses) Café Café Los Primos Trio, traditional Latin songs, 6-9 p.m., no cover.

calendar guidelines Please submit information and listings for Pasa Week

no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to or Follow Pasatiempo on Facebook and Twitter.

¡Chispa! at El Mesón Chief Sanchez Jazz Quartet, 7:30-10:30 p.m., call for cover. Cowgirl BBQ Santa Fe Chiles Traditional Dixie Jazz Band, 2-5 p.m.; classic-rock cover band Chango, 8:30 p.m.-close; no cover. El Farol Rock band The Rattlerz, 9 p.m., call for cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Jimmy Stadler Band, Americana/rock, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 6-9 p.m., no cover. The Legal Tender Cathy Faber’s Swingin’ Country Band, 6-9 p.m., no cover. The Mine Shaft Tavern Bluesman C.W. Ayon, 7-11 p.m., call for cover. The Palace Restaurant & Saloon Victor Alvarez and Savor, Cuban rhythms, 9:30 p.m., call for cover. Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Swing Soleil, Gypsy jazz and swing, 6-9 p.m., no cover. Second Street Brewery at the Railyard Broomdust Caravan, juke joint honky-tonk and biker bar rock, 6-9 p.m., no cover.

d Wine Bar 315 Restaurant an 986-9190 il, 315 Old Santa Fe Tra nt & Bar anasazi Restaura Anasazi, the of Inn d oo Rosew e., 988-3030 113 Washington Av nch Resort & Spa Bishop’s Lodge Ra ., 983-6377 Rd e dg 1297 Bishops Lo Café Café 6-1391 500 Sandoval St., 46 ón es ¡Chispa! at El M 983-6756 e., Av ton ing ash 213 W hside ut Cleopatra Café So 4-5644 47 ., Dr o an 3482 Zafar Cowgirl BBQ , 982-2565 319 S. Guadalupe St. o Tw Dinner for , 820-2075 106 N. Guadalupe St. at The Pink om The Dragon Ro Fe Trail, a nt Sa d Ol 6 40 e adob 983-7712 lton El Cañon at the hi 811 8-2 100 Sandoval St., 98 Spa Eldorado hotel & St., 988-4455 o isc nc Fra n Sa . W 9 30 El Farol 3-9912 808 Canyon Rd., 98 ill El Paseo Bar & Gr 848 2-2 208 Galisteo St., 99

Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. The Underground at Evangelo’s DJ Dynamite Sol’s Video Jukebox, 9 p.m., call for cover. Vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

‘In the Time of the Butterflies’ Teatro Paraguas presents a new play by Caridad Svich, 2 p.m., 3205 Calle Marie, pay-what-youwish, 424-1601, Friday-Sunday through March 24 (see story, Page 46). Wise Fool new Mexico The circus arts and puppetry troupe presents March Madness Cabaret, 4 p.m., doors open at 3:30 p.m., Wise Fool Studio, 2778-D Siler Rd., 992-2588, $10 at the door.

10 Sunday



Cristianne Miranda and the Bert Dalton Trio Sincerely, Peggy Lee, tribute concert, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232, encore Monday, March 11. Don Edwards The Western-music singer performs old-time ballads and cowboy songs, 2 p.m., New Mexico History Museum, 113 Lincoln Ave., $25 in advance at or at the History Museum Shop, 982-9543.


‘Cold Water’ Santa Fe University of Art & Design Documentary Theatre Project students’ play about the Northern New Mexico village of Agua Fría, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available,, 988-1234, final weekend. ‘Fiddler on the Roof’ National touring production, 7:30 p.m., the Lensic, $20-$55,, 988-1234.

Pasa’s little black book Evangelo’s o St., 982-9014 200 W. San Francisc hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt Ca na La Casa Se 988-9232 125 E. Palace Ave., at La Fonda La Fiesta Lounge , 982-5511 St. 100 E. San Francisco a Fe Resort nt La Posada de Sa e Ave., 986-0000 lac Pa E. 0 33 a and Sp at the The Legal Tender eum us M d oa Lamy Railr 466-1650 151 Old Lamy Trail, g arts Center in Lensic Perform o St., 988-1234 211 W. San Francisc Sports Bar & Grill The Locker Room 3-5259 47 2841 Cerrillos Rd., The Lodge at ge un Lo Lodge St. Francis Dr., N. 0 75 at Santa Fe 992-5800 rider Bar Low ’n’ Slow Low ó ay im Ch l te at ho e., 988-4900 125 Washington Av The Matador o St., 984-5050 116 W. San Francisc

on the Violence against Women Susan Tarman, local Amnesty International coordinator, participates in an open forum; also, UNM sophomore Olivia Romo recites her poetry, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.


The Flea at El Museo 10 a.m.-4 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia,, 982-2671, weekends through April. International folk dances 6:30-8 p.m. weekly, followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, beginners welcome. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, Railyard artisans Market Saxophonist Brian Wingard 10 a.m.-1 p.m.; flutist Adrian Wall 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 983-4098,, 10 a.m.-4 p.m. weekly.

The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s kitchen & Lounge 1611 Calle Lorca, 983-7577 Museum hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378 Revolution Bakery 1291 San Felipe Ave., 988-2100 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & Grill 37 Fire Pl., Second Street Brewer y 1814 Second St., 982-3030

Santa Fe Farmers Market 10 a.m.-4 p.m., 1607 Paseo de Peralta, 983-4098.


(See addresses below) Cowgirl BBQ Backwoods Benders, old time and bluegrass tunes, noon-3 p.m.; Appalachian duo Tina and Her Pony, 8 p.m.-close; no cover. Dinner for Two Classical guitarist Vernon de Aguero, 6 p.m., no cover. The Dragon Room at The Pink adobe Jazz guitarist Pat Malone, 6-8 p.m., call for cover. El Farol Nacha Mendez and guests, pan-Latin music, 7 p.m.-close, no cover. La Fiesta Lounge at La Fonda La Fonda Talent Showcase, any music genre, stand-up comedy, and more welcome, $25 to the winners, 7-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 7 p.m., no cover. The Mine Shaft Tavern Blues band The Barbwires, 3-7 p.m., no cover. Vanessie Sunday open mic with David Geist, 5-7 p.m.; Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.

pasa week

continued on Page 61

Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 Secreto Lounge at hotel St. Francis 210 Don Gaspar Ave., 983-5700 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & nightlife 135 W. Palace Ave., 982-7265 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 988-3333 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Totemoff Lodge at the Santa Fe Ski Basin N.M. 475, 982-4429 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008




A peek at what’s showing around town

emily Van Cleve: LifeForce (B4), 2007, acrylic and archival ink on canvas. Pareidolia Gallery (66-70 E. San Francisco St. in the Plaza Galeria) presents a grand-opening exhibition of work in a variety of mediums by more than 20 New Mexico artists, including Emily Van Cleve, Aaron Ross, Michelle Streisand, and Elizabeth Hahn. The exhibition runs through April. Call 631-495-9062.

Carlan tapp: Between July 2010 to February 2013 There Have Been 44 Major Coal Train Derailments in the United States, 2013, photograph. Carlan Tapp spent weeks traveling on the route that rail cars, laden with coal bound for China, take from Wyoming to British Columbia, photographing the effects of coal pollution on the environment as well as the people and places along the way. The China Express, an exhibition of the photographs, opens with a lecture by Tapp on Monday, March 11, at 6 p.m. at the Santa Fe Art Institute (1600 St. Michael’s Drive). The lecture is $10 ($5 for students and seniors). Admission to the exhibit is free. Call 424-5050.

billy Joe miller: Untitled 1, 2013, digital print. The Center for Contemporary Arts (1050 Old Pecos Trail) presents Revival, the second part of a multimedia project by Billy Joe Miller that is inspired by the seasons. The exhibit opens with a 6 p.m. reception on Saturday, March 9. A concert featuring the music of Twig Palace, Jordan O’Jordan, and North America follows at 8 p.m. There is no charge for admission to the exhibit; the concert is $10 (discounts available). Call 982-1338. 58

March 8 -14, 2013

Alexander Calder: Untitled (Fêtes), 1971, aquatint etching with embossing. Eight Modern (231 Delgado St., 995-0231) honors the Chinese New Year with Year of the Snake, an exhibition of modern and contemporary art dealing with serpentine imagery and associated themes. The show features work by 14 artists, including Fay Ku, Clayton Porter, and Erika Wanenmacher. A finissage is scheduled for 5 p.m. on March 29.

Peter Christian Johnson: Safety Yellow 2, 2012, ceramic, stain, and paint. Remnants is an exhibit of ceramic sculptures by Peter Christian Johnson and Todd Volz at Santa Fe Clay (545 Camino de la Familia). Johnson emphasizes form and symmetry in pieces that resemble mechanical or machine parts. Volz’s mixed-media works look like antique apparatuses from an alchemist’s lab. The exhibit opens with a reception on Friday, March 8, at 5 p.m. Call 984-1122.

At the GAlleries Arroyo Gallery 200 Canyon Rd., 988-1002. Scott Wilson Maclaren Revisionist: New Photographic Images, through Wednesday, March 13. Fine Equine Photography, work by Tony Stromberg, through April 1. Eight Modern 231 Delgado St., 995-0231. Year of the Snake, group show, through April 6. El Museo Cultural de Santa Fe 555 Camino de la Familia, 992-0591. Challa: Fiesta Carnaval del Valle de Codpa, photographs by Rodrigo Villalón Ardisoni, through April 5. Jane Sauer Gallery 652 Canyon Rd., 995-8513. Questioning Femininity, kiln-formed glass sculpture by Susan Taylor Glasgow, through March 15. Marigold Arts 424 Canyon Rd., 982-4142. Winter Shadows, landscape watercolors by Robert Highsmith, through Thursday, March 14. Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Sid Avery: The Art of the Hollywood Snapshot, through March 24. Photo-eye Gallery 376-A Garcia St., 988-5152. The Nude: Classical, Contemporary, Cultural, through April 20 (see story, Page 36). Santa Fe University of Art & Design Fine Arts Gallery 1600 St. Michael’s Dr., 473-6500. Al-Mutanabbi Street Starts Here, traveling group show of book art, through March 22.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours. Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit for hours of operation. $20 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 428-1352. Open MondayFriday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit for online catalog.

Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 955-2810. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 827-4850. Online catalog available at Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Revival, multimedia installation by Billy Joe Miller, reception 6-8 p.m. Saturday, March 9, through April 14, no charge; concert with Twig Palace, Jordan O’Jordan, and North America, 8-10 p.m., $10, student discounts available, Muñoz Waxman Front Gallery • Alone Together, mixed-media paintings by Natalie Smith, through Sunday, March 10, Spector Ripps Project Space. Gallery hours available online at or by phone, no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Annie Leibovitz: Pilgrimage, through May 5 • Georgia O’Keeffe and the Faraway: Nature and Image, through May 5. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; NM residents free 5-7 p.m. first Friday of the month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. Thicker Than Water, lens-based group show • Summer Burial, mixed media by Jason Lujan; through May 12 • Spyglass Field Recordings: Santa Fe; multimedia work by Nathan Pohio • Images of Life, portraits by Tyree Honga • Moccasins and Microphones: Modern Storytelling Through Performance Poetry, documentary by Cordillera Productions; through March. Open 10 a.m.-5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Plain Geometry: Amish Quilts, textiles from the museum’s collection and collectors, through Sept. 1 • New World Cuisine: The Histories of Chocolate, Mate y Más • Folk Art of the Andes, work from the 19th and 20th centuries • Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Stations of the Cross, group show of works by New Mexico artists, through Sept. 2 • Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27 • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro Labrador/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 Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author • Telling New Mexico: Stories From Then and Now, core exhibition of chronological periods from the pre-Colonial era to the present. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge

on Wednesdays for NM residents over 60; no charge on Fridays 5-8 p.m.; NM residents no charge on Sundays. New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.9, works by New Mexico artists Jeff Deemie, Teri Greeves, Joanne Lefrak, James Marshall, and Mary Tsiongas, through April 7 • Art on the Edge 2013, Friends of Contemporary Art and Photography’s biennial juried group show includes work by Santa Fe artists Donna Ruff and Greta Young, through April 14 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge on Sundays. Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Núuphaa, works by Pueblo of Pojoaque Poeh Arts Program students, through Saturday, March 9. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. State of Mind: New California Art Circa 1970, conceptual and avant-garde works of the late 60s and 70s; Linda Mary Montano: Always Creative, interactive performance; Mungo Thomson: Time, People, Money, Crickets, multimedia; through May 19. Open 10 a.m.5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; noon-5 p.m. Sunday. $10; seniors and students $5; Fridays no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. A Certain Fire: Mary Wheelwright Collects the Southwest, 75th anniversary exhibit, through April 14. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

20th-century portable altar from Bolivia, in the Museum of international Folk Art’s exhibit Folk Art of the Andes



In the wings MUSIC

Lawrence Clark Trio New York City-based jazz ensemble, 7 p.m. Friday, March 15, The Den (Birdland), 132 W. Water St., $75-$250, 670-6482. Spotlight on Young Musicians Annual concert presented by the Santa Fe Youth Symphony Association in support of music education for youth, 7 p.m. Friday, March 15, Scottish Rite Center, 463 Paseo de Peralta, $10 in advance and at the door, discounts available, 467-3770. The Met Live in HD Zandonai’s Francesca da Rimini, 10 a.m. and 6 p.m. Saturday, March 16, the Lensic, $22-$28, discounts available,, 988-1234. Apple Hill String Quartet Outliers, featuring oboist Pamela Epple and pianist Debra Ayers, music of Brahms, Grieg, and Ligeti, 6 p.m. Friday, March 22, Scottish Rite Center, 463 Paseo de Peralta, $25, discounts available,, 988-1234. The Chet Baker-Gerry Mulligan Project Jazz trumpeter Jan McDonald, saxophonist Arlen Asher, and the Bert Dalton Trio, 4 p.m. Sunday, March 24, Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $20 at the door, 662-7950. Robert Earl Keen Roots-country songwriter, 7 p.m. Wednesday, March 27, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $31,, 988-1234. Santa Fe Pro Musica Orchestra Baroque Holy Week, featuring mezzo-soprano Deborah Domanski and trumpeter Brian Shaw, music of Bach and Telemann, 7:30 p.m. Thursday and Friday, 6 p.m. Saturday, March 28-30, Loretto Chapel; Spring Classic Weekend, featuring violinist Chad Hoopes, music of Brahms, Bach, Prokofiev, and Tchaikovsky, times vary, Friday-Sunday, April 12-14, the Lensic, $20-$65, 988-1234,, 988-1234. Donald Rubinstein Folk-rock singer/songwriter, doors open at 7 p.m., concert begins at 7:30 p.m. Saturday, March 30, Gig Performance Space, 1808 Second St., $15 at the door, Santa Fe Symphony Chorus, Chamber Ensemble, and Orchestra concerts The chorus and chamber ensemble perform in a free recital of Fauré’s Requiem, 7 p.m. Thursday, April 4, Cathedral Basilica of St. Francis of Assisi. The symphony performs in April Joy, music of Mozart and Dvoˇrák, 4 p.m. Sunday, April 21, pre-concert lecture 3 p.m., the Lensic, $20-$70, 988-1234, Arlo Guthrie Here Comes the Kid, a tribute to Woody Guthrie, 7:30 p.m. Thursday, April 4, the Lensic, $20-$45, student discounts available,, 988-1234. Richard Goode Piano recital, music of Haydn, Mozart, and Beethoven, 7:30 p.m. Tuesday, April 9, the Lensic, $20-$75, 988-1234, Tracy Grammer Multi-instrumentalist/singer, 7:30 p.m. Friday, April 12, Gig Performance Space, 1808 Second St., $20 at the door,

Ian Tyson Veteran country singer/songwriter, 7:30 p.m. Wednesday, April 17, the Lensic, $20-$45, 988-1234, Nuestra Musica 13th annual celebration of New Mexico music, 7 p.m. Friday, April 19, the Lensic, $10, seniors no charge,, 988-1234. Canticum Novum Chamber Orchestra & Chorus The ensemble concludes its ninth season with music of Boyce, Mozart, Fauré, and le Fleming, vocal soloists include Cecilia Leitner, Deborah Domanski, Javier Gonzalez, and Michael Hix, pre-concert lectures by Oliver Prezant begin one-hour prior, 7 p.m. Saturday, April 27, 3 p.m. Sunday, April 28, Cristo Rey Church, 1120 Canyon Rd., $20 and $30, discounts available,, 988-1234. Roshan Bhartia Sitar recital, 8 p.m. Friday, May 3, Gig Performance Space, 1808 Second St., $15 at the door, Darius Brubeck The jazz pianist (and son of the late Dave Brubeck) performs with local ensemble Straight Up and vocalist Maura Dhu Studi in a benefit concert for The Humankind Foundation, 4 p.m. Sunday, May 5, the Lensic, tickets TBA.


‘Exquisite Absurdity: 30 Years of Looking Forward’ Theater Grottesco celebrates its 30th anniversary with re-created scenes of past performances and previews of works from its 2013 performance series titled Eventua, 7 p.m. Thursday-Saturday, 4 p.m. Sunday, March 15May 5, Center for Contemporary Arts, Muñoz Waxman Gallery, 1050 Old Pecos Trail, $25, students $10, Thursdays pay-what-you-wish, 474-8400.

Upcoming events Belisama Irish Dance Company Rhythm of Fire; including Michael Patrick Gallagher and regional championship and top-10 world finalist dancers from Santa Fe and Los Alamos, 7:30 p.m. Friday, March 15, the Lensic, $20, 988-1234, ‘The Three Sisters’ Presented by Arden Shakespeare Festival, 8 p.m. Friday and Saturday, 2 p.m. Sunday, March 15-24, Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 984-1370. New Mexico Dance Coalition 26th Annual Choreographers’ Showcase, 7:30 p.m. Friday and Saturday, March 22-23, companies include New Mexico School for the Arts, Pomegranate Studios, Dance Space Santa Fe, and Four Winds Belly Dance, Railyard Performance Space, 1611 Paseo de Peralta, $10-$15 sliding scale, ages 12 and under $5, 920-0554. ‘Clybourne Park’ Fusion Theatre presents the 2012 Tony Awardwinning play by Bruce Norris, 8 p.m. Friday, 2 and 8 p.m. Saturday, March 22-23, the Lensic, $20-$40, students $10,, 988-1234. ‘Buried Child’ Ironweed Productions in co-production with Santa Fe Playhouse presents Sam Shepard’s drama, 7:30 p.m. Thursday-Saturday, 2 p.m. Sunday, March 28-April 14, 142 De Vargas St., $20, discounts available,, 988-4262. Aspen Santa Fe Ballet The contemporary ballet company performs Jiˇrí Kylián’s Return to a Strange Land; Alejandro Cerrudo’s Last; and Trey McIntyre’s Like a Samba, 7:30 p.m. Friday-Saturday, March 29-30, the Lensic, $25-$72, discounts available, 988-1234, National Theatre of London in HD The series continues with People, a new comedy by Alan Bennett, 7 p.m. Friday, April 5; This House, a new play about Parliament by James Graham, 7 p.m. Thursday, May 16; the Lensic, $22, student discounts available, 988-1234, ‘Einstein: A Stage Portrait’ Spoli Productions International presents Tom Schuch in Willard Simms’ one-man play, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, April 5-7, Teatro Paraguas, 3205 Calle Marie, $16, discounts available, 424-1601.

Apple Hill string Quartet performs Friday, march 22, at the scottish Rite center.


March 8 -14, 2013

Les Ballets Trockadero de Monte Carlo All-male drag dance company that parodies classical ballet, 7:30 p.m. Monday, April 15, the Lensic, $25-$72, 988-1234, ‘Once on This Island’ Santa Fe University of Art & Design Documentary Theatre Project students present Lynn Ahrens’ musical, 7 p.m. Friday and Saturday, 2 p.m. Sunday, April 19-28, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234,


Keep It Rolling Santa Fe’s roller derby team, Disco Brawlers, host a fundraiser for the Santa Fe Children’s Museum; 7:30-9:30 p.m. Saturday, March 16, raffle, bake-sale items, skate rentals, Rocking Rollers, 2915 Agua Fría St., $7 in advance, $10 at the door, Spring fashion show and talk A Fashion Story: Mixing Old and New to Create Modern Designs, 2 p.m. Sunday, March 17, Zane Bennett Contemporary Art, 435 S. Guadalupe St., presented by New Mexico Committee of National Museum of Women in the Arts, $35, 988-1234, Banff Mountain Film Festival 2013 World Tour Annual collection of international films related to adventure sports, expeditions, and mountain cultures, 7 p.m. Monday and Tuesday, March 18-19, the Lensic, $16, two-day pass $28, 988-1234, Council on International Relations Buffet dinner followed by a screening of the film Cherry Blossoms, 5-9 p.m. Tuesday, March 26, Cowgirl BBQ, 319 S. Guadalupe St., dinner and film $35, film only $15, 982-4931, Lannan Foundation literary event Novelists Russell Banks and Stona Fitch, 7 p.m. Wednesday, March 27, the Lensic, $6, discounts available,, 988-1234. Bollywood Dance Invasion 2013 Fundraiser hosted by the nonprofit Amma Center of New Mexico; video/light show, vegetarian meal, and astrology readings, 7:30 p.m. Saturday, March 30, Warehouse 21, 1614 Paseo de Peralta, $15, children’s discounts available, 989-4423. Mont St. Michel and Shiprock Santa Fe resident William Clift’s landscape photographs on exhibit April 19-Sept. 8, New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 476-5072. Japanese Cultural Festival Santa Fe Japanese Intercultural Network presents its annual matsuri with a vintage kimono exhibit, fashion show, sale of Japanese goods, and Japanese food, 10 a.m.-5 p.m. Saturday, April 20, Santa Fe Community Convention Center, $3, children ages 12 and under no charge, proceeds benefit Japan Aid of Santa Fe recovery relief fund, Santa Fe Opera opening night benefit The opening-night performance of Offenbach’s Grand Duchess of Gérolstein is preceded by a gala buffet dinner and a talk by Tom Franks, Friday, June 28, Dapples Pavilion, 301 Opera Dr., $70 before March 31, $80 after, hosted by the Santa Fe Opera Guild, 629-1410, Ext. 110,

pasa week

lannan Foundation’s in pursuit of cultural Freedom series Social critic/author Barbara Ehrenreich with David Barsamian, 7 p.m., the Lensic, $6, discounts available, 988-1234, (see story, Page 14). monthly Brainpower & Brownbag lecture Art history professor Joy Sperling speaks on Women’s Visual Narratives of New Mexico Between the World Wars, noon-12:45 p.m., Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5090. santa Fe photographic Workshops’ instructor image presentations Open conversation and slide presentation of work by R. Mac Holbert, Jennifer Spelman, and David X. Tejada, 8 p.m., Sunmount Room, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., no charge, 983-1400, Ext 11.

continued from Page 57

11 Monday gallery/museum openings

santa Fe art institute Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5050. The China Express, photographs by Carlan Tapp; artist talk 6 p.m., $10, discounts available, no charge for the exhibit.

in concert

cristianne miranda and the Bert Dalton trio Sincerely, Peggy Lee, tribute concert, 7:15 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232. pipes and Drums of the Black Watch 3rd Battalion of the Royal Regiment of Scotland, 7:30 p.m., the Lensic, $20-$75,, 988-1234, (see story, Page 42). song sparrow research Seattle indie-rock band, Ink On Paper and Luke Carr open, 9 p.m., doors open at 8 p.m., Santa Fe Sol, 37 Fire Pl., $8 at the door,



Blue rock review poetry readings Nathan Brown, Donald Levering, and Gary Studio, 3205 Calle Marie, no charge, 424-1601. Friends of the Wheelwright lecture A talk by Billy Malone, subject of Paul Berkowitz’s book, The Case of the Indian Trader: Billy Malone and the National Park Service Investigation at Hubbell Trading Post, 2 p.m., Wheelwright Museum of American Indian Library, 704 Camino Lejo, Museum Hill, 982-4636. southwest seminars’ ancient sites and ancient stories lecture Archaeological Site Intrusions and Pueblo Migrations: A View From Pajarito Plateau Coalition Era Sites (11751325 C.E.), by Roy Gauthier, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775 (see story, Page 16).


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


(See Page 57 for addresses) cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Fiesta lounge at la Fonda Danny Duran, country, 7:30-11 p.m., no cover. stats sports Bar & nightlife Pre-South by Southwest party with Tree Motel, Couches, Li Xi, and others, 8 p.m., call for cover. vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

12 Tuesday in concert

adrian legg British fingerstyle master guitarist, 8 p.m., Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20, (see story, Page 18). kenny Byrnes Country-music guitarist, 11:30 a.m.-12:30 p.m., Artisan Santa Fe, 2601 Cerrillos Rd., no charge, 954-4179.

Santa Fe Photographic Workshops presents illustrated discussions of photographers’ works, 8 p.m. Wednesday, Immaculate Heart of Mary Retreat and Conference Center (R. Mac Holbert’s New American Gothic shown)


robert Julyan The author reads from and signs copies of Sweeney; introduction by Anne Hillerman, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtext, Page12). sparks: off-Beat new mexico lecture Farther Along, Recalling Memories: A History of Phillips Chapel and the Las Cruces African American Community, by Clarence Fielder, 3-4 p.m., School for Advanced Research Boardroom, 660 Garcia St., 954-7203, no charge.


(See Page 57 for addresses) ¡chispa! at el mesón Argentine Tango Milonga, 7:30 p.m., call for cover. cowgirl BBQ Singer/songwriter Sean Healen and friends songswap, 8 p.m., no cover. el Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover.

la casa sena cantina Guitarist Ramon Bermudez Jr., contemporary Latin tunes, 6 p.m., no cover. la Fiesta lounge at la Fonda Danny Duran, country, 7:30-11 p.m., no cover. second street Brewery at the railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. tiny’s Acoustic open-mic with Synde and John, 7-10 p.m., no cover. vanessie Bob Finnie, pop standards piano and vocals, 6:30 p.m.-close, no cover.

13 Wednesday Books/talks

alcove 12.9 The New Mexico Museum of Art docent talks series continues with a discussion of the exhibit, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

(See Page 57 for addresses) ¡chispa! at el mesón Flamenco guitarist Joaquin Gallegos, 7-9 p.m., no cover. cowgirl BBQ Country-punk duo Barnyard Stompers, 8 p.m., no cover. el Farol Salsa Caliente, 9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. la posada de santa Fe resort and spa Wily Jim, Western swingabilly, 7 p.m., no cover. the palace restaurant & saloon Local string band The Free Range Ramblers, 7:30 p.m., call for cover. second street Brewery Vinyl Listening Sessions with DJ Spinifex, 6-9 p.m., no cover. tiny’s 505 Jam hosted by Synde and Nick, 8-11 p.m., no cover. vanessie Vocalist Ninette Torres with trumpeter Tom Rheam, salsa and jazz, 6-9 p.m., no cover.

14 Thursday classical music

carol redman and roberto capocchi Flute and guitar recital, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, presented by Renesan Institute for Lifelong Learning, 982-9274.


Bead Fest santa Fe 5-9 p.m., more than 150 booths; workshops; book signings, and demonstrations through Sunday, March 17, Santa Fe Community Convention Center, $12 4-day pass available in advance at, $15 daily pass at the door.

Books/ talks

archaeology in the southwest: to collect or not? T.J. Ferguson and Don Whyte in discussion, noon, School for Advanced Research’s 2013 Indian Arts Research Center Speaker Series, SAR Boardroom, 660 Garcia St., no charge, 954-7205. ▶▶▶▶▶▶▶▶ PASATIEMPO


Los Alamos Historical Museum 1050 Bathtub Row, 662-4493. Permanent exhibits on the geology of the Jémez volcano, the Manhattan Project, area anthropology, and the Ranch School for Boys. Open 9:30 a.m.-4 p.m. Monday-Friday, 11 a.m.4 p.m. Saturday, 1-4 p.m. Sunday; no charge. Pajarito environmental education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, no charge.

taos Museums/Art Spaces

Steve McQueen Driving His 1957 XK-SS Jaguar Through Nichols Canyon in Hollywood, 1960, © Sid Avery, Monroe Gallery of Photography

Nickel Stories Open five-minute prose readings, 6 p.m., Op. Cit. Books, 930 Baca St., 428-0321. Santa Fe Institute Community Lecture How Social Media May Help You Survive the Next Big Disaster, Leysia Palen speaks at 7:30 p.m., Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, Stuart Horwitz The author discusses and signs copies of Blueprint Your Bestseller: Organize and Revise Any Manuscript With the Book Architecture Method, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.


(See Page 57 for addresses) ¡Chispa! at el Mesón Jazz pianist Bert Dalton and bassist Milo Jaramillo, 7-9 p.m., no cover. Cowgirl BBQ Grateful Dead-tribute band Detroit Lightning, 8 p.m., no cover. el Farol Roots-rock duo Man No Sober, 9 p.m., call for cover. evangelo’s Little Leroy on guitar, Mark Clark on drums, and Tone Forrest on bass, country, rock, and R & B, 9 p.m.-close, call for cover. La Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., no cover. the Legal tender Two-Step Thursdays with Buffalo Nickel Two, 6-9 p.m., no cover. the Matador DJ Inky spinning soul/punk/ska, 8:30 p.m.-close, no cover. the Palace Restaurant & Saloon Lime Light Karoake with Michele, 8:30 p.m., call for cover.


March 8 -14, 2013

tiny’s Dan Silva & Company, country, 8 p.m.-close, no cover. Vanessie Andy Kingston Trio, jazz, 6:30 p.m.-close, no cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.

▶ Elsewhere albuquErquE Museums/Art Spaces

516 Arts 516 Central Ave. S.W., 505-242-1445. Flatlanders & Surface Dwellers, international multimedia show, reception 6-8 p.m. Saturday, March 9, through June 1. Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.1 p.m. Sundays no charge. Albuquerque Photographers gallery 303 Romero St. N.W., Old Town, 505-244-9195. The Acoma Collection, work by Lee Marmon, through April. Indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. Richard Levy gallery 514 Central Ave. S.W., 505-766-9888. Levitations, photographs by Natsumi Hayashi, reception 6-9 p.m. Saturday, March 9, through March 29. South Broadway Cultural Center 1025 Broadway Blvd. S.E., 505-848-1320. Mining the 90s, works by Jane Abrams, Aaron Karp, and Alan Paine Radebaugh, reception 6-8 p.m. Thursday, March 14, through April 19. tamarind Institute gallery 2500 Central Ave. S.E., 505-277-3901. Good in the Kitchen, 30-year retrospective of the gallery’s prints, reception 5-7 p.m. Friday, March 8, through March 14.

UNM Art Museum Center for the Arts Building, 505-277-4001. In the Wake of Juarez: Drawings of Alice Leora Briggs • Bound Together: Seeking Pleasure In Books, group show • Martin Stupich: Remnants of First World, inkjet prints, through May 25. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.


Joe West & the Santa Fe Revue The singer/songwriter and his alt-country band celebrate the release of the album Blood Red Velvet, 8 p.m. Saturday, March 9, Outpost Performance Space, 210 Yale Blvd. S.E., $20 in advance, 505-886-1251, $25 day of show. Sunday Chatter Clarinetist James T. Shields performs music of Schubert and Mozart, 10:30 a.m. Sunday, March 10; also, readings of the book 8 Voices: Contemporary Poetry From the American Southwest by contributing poets, The Kosmos, 1715 Fifth St. N.W.,, $15 at the door.

e.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. greg Moon Art 109-A Kit Carson Rd., 575-770-4463. High Art/Low Brow, group show, reception 4-7 p.m. Saturday, March 9, through March 27. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Red Willow: Portraits of a Town • Eah-Ha-Wa (Eva Mirabal) and Jonathan Warm Day Coming • Eli Levin: Social Realism and the Harwood Suite; exhibits celebrating Northern New Mexico, through May 5. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-4 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-4 p.m. Monday, Tuesday, ThursdaySaturday, noon-4 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge.

Talking Heads


Bond House Museum 706 Bond St., 505-747-8535. De la Tierra y Cerca de la Tierra, group show, through March 22. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-3:45 p.m. Monday-Thursday, no charge. Misión Museum y Convento 1 Calle de los Españoles, 505-747-8535. Elemental, group show of photographs, ceramics, prints, and paintings, through Friday, March 8. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598. Open noon-4 p.m. Wednesday-Friday, 11 a.m.3 p.m. Saturday; no charge.

los alamos

Los Alamos Historical Society Lecture Hiroshima and Nagasaki 2010, by John A. Andersen, 7:30 p.m. Tuesday, March 12, Pajarito Room, Fuller Lodge, 2132 Central Ave., no charge, 662-6272. Bradbury Science Museum 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge.

How Social Media May Help You Survive the Next Big Disaster Leysia Palen discusses information dissemination during crises and disasters at 7:30 p.m. Thursday, March 14, as part of the free community lecture series hosted by the Santa Fe Institute. The event is held at Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., visit for 2013 lecture schedule.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge with ID. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Director’s Choice: 14 Years at the Taos Art Museum, works from the collection, through June. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.


Taos Shortz Film Fest More than 88 international films screened Friday-Sunday, March 8-10, Taos Community Auditorium, 145 Paseo del Pueblo Norte, $5-$15, Taos Hmmmm Pass $100, tickets available online at

▶ People who need people Artists/Craftspeople/Photographers

41st Annual Girls Inc. of Santa Fe Arts & Crafts Show Artist applications available online at for the Aug. 3-4 event; deadline Sunday, March 10. 2013 Governor’s Awards for Excellence in the Arts Nominate New Mexican artists, businesses, nonprofits/foundations, or individuals contributing to the arts; nominations may be mailed or hand-delivered no later than Friday, March 22, to New Mexico Arts, 407 Galisteo St., Suite 270, 87501; forms available online at, or call 827-6490. After Dark II National juried art show about all things nocturnal hosted by Greg Moon Art of Taos July 6-27; midnight Monday, April 15, deadline; visit for details. Photobook workshop scholarship Open to photographers and students ages 27 and younger for a workshop hosted by Radius Books (983-4068) Friday-Sunday, March 22-24; for details contact Alex Webb and Rebecca Norris Webb at or visit


Santa Fe Independent Film Festival Film submissions sought for the Oct.16-20 festival; regular deadline Wednesday, May 1; late deadline July 1; final deadline Aug. 1. Visit for rules and guidelines. Santa Fe Playhouse 92nd season Accepting play proposals of all genres for the fall 2013-summer 2014 season from individuals who would like to direct; call 988-4262 or email for proposal packets by Sunday, March 31. Tony Hillerman best first mystery novel contest Publishing contract with St. Martin’s Press and $10,000 advance offered to the winner; only authors of unpublished mysteries set in the Southwest may enter; manuscripts must be received or postmarked by June 1; further guidelines and entry forms available online at

New Mexico cultural events

41st annual Heritage Preservation Awards The Historic Preservation Division of the Department of Cultural Affairs is accepting nominations for the Cultural Properties Review

Committee’s awards ceremony held May 10 in conjunction with Heritage Preservation Month; preservation event ideas can also be submitted; in addition, images for the 26th annual heritage preservation poster can be submitted; award/event nomination due by Monday, March 11; poster images must be submitted by Friday, March 8; forms and guidelines are available online at

Comically relieve yourself


Women’s a cappella group Madrigal through contemporary; nonvibrato; email for details.


Bienvenidos Help out by manning the tourist information window on the Plaza for the volunteer division of the Santa Fe Chamber of Commerce; call membership chairwoman, Marilyn O’Brien, 989-7901. Birders Lead ongoing birdwatching walks at Leonora Curtin Wetland Preserve, Ortiz Mountains Educational Preserve, and Santa Fe Botanical Garden at Museum Hill; call 471-9103 or email for more information. Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at, or call 428-1353. Many Mothers Assisting new mothers/families, fundraising, event planning, becoming a board member, and more; requirements and details available online at; call 466-3715 for more information or to schedule an interview.

▶ Under 21 Black Box Theater Warehouse 21, 1614 Paseo de Peralta, 989-4423. Klang! Sound and Light, continuous loop of 24 short videos by Molly Bradbury, 4-9 p.m. Fridays and Saturdays, through March 16. Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Zero, teen exhibit, reception 5:30-8 p.m. Friday, March 8, through Thursday, March 14. New Mexico Rappers on the Rize Wicked Royalty, Crim Deezy, Mr. Drops, and others, 6-10 p.m. Saturday, March 9, Warehouse 21, 1614 Paseo de Peralta, $10, 989-4423. Metal concert Exhumed, Fields of Elysium, Laughing Dog, Desmadre, and Carrion Kind, D p.m.-midnight L l E6:30 EWarehouse C Thursday,A March 14, 1614 Paseo N C $10 in advance, $15 21, de Peralta, at the door, 989-4423.

▶ Pasa Kids 2013 Children’s Water Conservation Poster Contest All students grades 1-6 are invited to participate in this year’s theme of Show Us Your Water Appreciation; entry deadline Friday, March 15; visit or call 955-4225 for prize details and more information. Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, by museum admission, 989-8359. Bee Hive Kids Books Eric Carle story time, all ages, 11 a.m. Saturday, March 9, 328 Montezuma Ave., no charge, 780-8051. ◀

Given our ineffective and over-compensated Congress, a spate of seemingly indiscriminate drone strikes overseas, and a global scandal surrounding a retired, tweeting pontiff — who among you longs for a good laugh with a heaping side of punk-rock ethos as a temporary distraction? You can have all this and more at 9 p.m. Friday, March 8, at The Underground at Evangelo’s (200 W. San Francisco St., 577-5893), when comedians John Tole and Weeding up the riff-raff: Ian Stuart, who are touring under the banner comedian Ian Stuart of equal-opportunity offender Howard Stern, take the stage. Stuart, a Portland, Maine, resident in his late 20s, holds the curious distinction of having his debut full-length comedy album (titled Day Drinker) released on a European hardcore/metal record label. Yes, that’s right rockers: if you want metal gristle (Show Your Teeth, Teamkiller) and giggles, it’s one-stop shopping at Acuity Records. The pairing does make some sense, because Stuart’s brand of dark, in your face, college-outcast-ready stoner comedy is about as raw and riff-heavy as the proggiest metal bands out there today. Headliner Tole’s material is grounded in the anti-establishment wheelhouse of ’80s punk rock and thrash metal. Although his quick-fire act has been pegged as politically incorrect, he’s one of the few successful touring alternative comics who has experience as a road-seasoned musician in hardcore-punk bands. He’s paid his dues in long drives, brokendown vehicles, crappy meals, couch surfing, lame crowds, and even lamer business transactions. You’re bound to hear a thing or two you don’t agree with in a tone that will piss you off. Deal with it, or join the comedy circuit yourself and get paid dirt to complain. Also on the bill is local comedian John Duke. You may recognize Duke as Santa Fe’s balloon-animal man. He’s a seasoned local comedian who knows his way around a lame crowd. And he can juggle! Performing in the U.S. for more than 20 years, Duke has shared the stage with the likes of Bill Hicks, Sam Kinison, and Ron White. He made me a naughty balloon animal once. I still have pictures. Admission to the 21-and-older show is $10 at the door. This is iNKland If you missed the Luke Carr/iNK oN pAPER tag-team CD-release show at High Mayhem Emerging Arts a few weeks back (see the Feb. 22 installment of Sound Waves), don’t sweat it. At 7 p.m. Monday, March 11, Carr, iNK oN pAPER, and Seattle’s Song Sparrow Research converge at Santa Fe Sol Stage & Grill (37 Fire Place, for a night of jazz-inflected indie pop and postpunk. The name Song Sparrow Research stems from a project that singer/guitarist Hamilton Boyce participated in as an undergrad while pursuing a degree in ecology and evolutionary biology at the University of Washington. The group incorporates elements of rock, jazz, classical, and folk music using guitar, cello, upright bass, electric bass, glockenspiel, drums, synths, and other assorted instruments. While fans of Beach House and Beirut are tailor-made for this ensemble’s charming chamber-pop excursions, don’t put it past Song Sparrow Research to hit you with some seriously explosive jams when you least expect it. Advance $8 tickets for the all-ages show (full bar with I.D.) are available through the Santa Fe Sol website. — Rob DeWalt Twitter: @Flashpan @Pasatweet A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.



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