Pasatiempo, October 11, 2013

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

JOHNNY TAPIA a life on the ropes SANTA FE INDEPENDENT FILM FESTIVAL

October 11, 2013

A multimedia celebration of the music and dance of Argentina

October 11 7:30 pm $20–$40

discounts for Lensic members

Featuring internationally acclaimed tango dancers Miriam Larici and Leonardo Barrionuevo, Latin Grammy Awardwinning cellist Antonio Lysy, and the Capitol Ensemble Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

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This Week’s lunch special Cornmeal Crusted ChiCken Breast sandwiCh on housemade CiaBatta Bread Fresh Basil Pesto, ChiPolte aioli, lettuCe & tomato w/ Pommes Frites - 12.00

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PASATIEMPO I October 11 - 17, 2013

New Fall Arrivals French & Peruvian Ponchos, Vegan Leathers, Pleats That Travel

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PASATIEMPO I October 11 - 17, 2013

LENSIC PRESENTS - WORLD MUSIC

WORLD BLUES October 13 7:30 pm

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THE SANTA FE NEW MEXICAN October 11 - 17, 2013 www.pasatiempomagazine.com

On The cOveR 32 A life on the ropes Johnny Tapia’s life seems like something straight out of a movie — he overcame a troubled childhood in Albuquerque’s barrio and battled with drug addiction and depression to become a five-time world-champion boxer. Director Eddie Alcazar brings the fighter’s story to the screen in a documentary that features interviews from Tapia’s final year of life. The film plays as part of the Santa Fe Independent Film Festival. On the cover, Tapia celebrates victory at Caesars Palace in 1996 with his signature back flip (AP photo by Eric Draper).

BOOKS

MOvInG IMAGeS

12 In Other Words Mathew Brady 14 Family time Jamaica Kincaid 42 evelyn Rosenberg Detonography

31 52 56 58 60

MUSIc And PeRFORMAnce 16 18 20 22 23 24 26 28 50

Terrell’s Tune-Up Ponderosa Stomp Pasa Tempos CD Reviews Sound Waves Los Alamos teens, uncensored Onstage Taj Mahal Pasa Review Rumi Concert American modernism Community Orchestra Blues dynasties Burnside & Holmes Aquarius, Aquarius Joe West’s fest Ghost story I Hate Hamlet

Santa Fe Independent Film fest Pasa Pics When Comedy Went to School Muscle Shoals Screen Gems: The Wicker Man

cAlendAR 64 Pasa Week

And 8 Mixed Media 10 Star codes 62 Restaurant Review: Palacio café

ART And PhOTOGRAPhy 36 38 44 46

half-life legacy Atomic Surplus Brothers in disarmament Price & Grothus Art in Review Alberto Valdés Art with appetite SPREAD 4.0

AdveRTISInG: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday

Pasatiempo is an arts, entertainment & culture magazine published every Friday

by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PASATIeMPO edITOR — KRISTInA MelcheR 986-3044, kmelcher@sfnewmexican.com ■

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

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Assistant editor — Madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

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

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Associate Art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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

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STAFF WRITeRS Michael Abatemarco 986-3048, mabatemarco@sfnewmexican.com James M. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOnTRIBUTORS loren Bienvenu, laurel Gladden, Peg Goldstein, Robert Ker, Jennifer levin, James McGrath Morris, Robert nott, Jonathan Richards, heather Roan-Robbins, casey Sanchez, Roger Snodgrass, Steve Terrell, Khristaan d. villela

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PROdUcTIOn dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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AdveRTISInG dIRecTOR Tamara Hand 986-3007

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MARKeTInG dIRecTOR Monica Taylor 995-3824

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ART dePARTMenT dIRecTOR Scott Fowler 995-3836

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GRAPhIc deSIGneRS Rick Artiaga, Dale Deforest, Elspeth Hilbert

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AdveRTISInG SAleS Julee clear 995-3825 Mike Flores 995-3840 cristina Iverson 995-3830 Rob newlin 995-3841 Wendy Ortega 995-3892 Art Trujillo 995-3852

Ray Rivera editor

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BELOVED AUTHOR AND ILLUSTRATOR

ROSEMARY WELLS

PRESENTS

“booking up our kids”

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WEDNESDAY 30 OCTOBER AT 7PM LENSIC PERFORMING ARTS CENTER At his inauguration in January 2013, Obama employed the rhetoric of internationalism. “We will defend our people and uphold our values through strength of arms and rule of law. We will show the courage to try and resolve our differences with other nations peacefully—not because we are naïve about the dangers we face, but because engagement can more durably lift suspicion and fear,” the president declared…

The drone strike in Yemen the day Obama was sworn in served as a potent symbol of a reality that had been clearly established during his first four years in office: US unilateralism and exceptionalism were not only bipartisan principles in Washington, but a permanent American institution. As large-scale military deployments wound down, the United States had simultaneously escalated its use of drones, cruise missiles and Special Ops raids in an unprecedented number of countries. The war on terror had become a self-fulfilling prophecy.

The question all Americans must ask themselves lingers painfully: How does a war like this ever end?

— from Dirty Wars: The World is a Battlefield

by Jeremy Scahill © 2013

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Jeremy Scahill is National Security Correspondent for The Nation magazine and a Puffin Foundation Writing Fellow at The Nation Institute. The author of the international bestseller Blackwater: The Rise of the World’s Most Powerful Mercenary Army, he has reported from Afghanistan, Iraq, Somalia, Yemen, the former Yugoslavia and elsewhere across the globe. Dirty Wars: The World Is a Battlefield is Scahill’s latest book, and he is also a writer and producer of the film Dirty Wars, which premiered at the 2013 Sundance Film Festival.

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PASATIEMPO I October 11-17, 2013

Pre-Columbian home improvement

A treasure trove of archaeological artifacts — including the obsidian Rutz Clovis point, the largest Clovis-tradition projectile point ever found — is on display from 7 a.m. to 7 p.m. Thursday, Oct. 17, through Saturday, Oct. 19, at the Santa Fe Community Convention Center (201 W. Marcy St.).

Nearly a thousand tools, weapons, and fossils found at more than 60 sites are featured in the exhibit, staged in conjunction with the Paleoamerican Odyssey conference. Michael Waters, professor of archaeology at Texas A&M University, calls the items “the crown jewels from the early peoples of the Americas.”

Waters is the director of the Center for the Study of the First Americans at Texas A&M, which organized the conference. “A lot of this material is held in private collections or is stored away in museum drawers. This is a once-in-a-lifetime display. In terms of Clovis, we have the Fenn cache, the Carlisle cache, the Hogeye cache — these are collections of bifaces and other Clovis tools that were found together.

“We also have artifacts from the famous Gault site [in Texas] and from South America, where early Paleoindians were making blades and projectile points, and we’re showing mammoth bones with cut marks.”

Over the three days, the conference features 36 presenters “covering every topic relating to First Americans, from new discoveries in Siberia and Japan that relate to the peopling of the Americas to the genetic story of the First Americans to what we know about Clovis and pre-Clovis archaeological sites and how people got into the Americas.”

There are also short evening lectures and a series of morning and afternoon poster sessions, during which students and scholars present their research and other information in poster form.

Buy tickets to view the artifacts ($25) and for a day of discussions and poster presentations ($75) at the door; tickets for the three-day conference ($225) are available at www.paleoamericanodyssey.com. Visit the web site for more information.

— Paul Weideman

Images courtesy Mike Waters, Texas A&M University

comfort.food

The Rutz Clovis point, 9.75 inches long; right, the Cinmar biface, found on the continental shelf near the Chesapeake Bay, suggests that the First Americans came from western Europe by boat some 16,000 years ago.

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Let’s get on with it; we really want to. We don’t feel the same need to stick by the old rules since Venus entered the sign of the cheerful traveler, Sagittarius, a few days ago. But it won’t be that easy.

We may just want to walk out or blow off the difficult relative. Venus in Sagittarius can help us see to the far horizons and explore our options. It encourages our sense of humor but can tempt us to run away from home.

Mercury, now in Scorpio, conjuncts serious Saturn. This combo does not promote quick thinking but calls us to go deep and get profound.

We need to give our minds something to think about. Now through Dec. 6, this Mercury-Saturn conjunction calls us to look in the shadows and under the rocks and can let depression linger around the edges.

Motivating Mars is now in Leo and has been for months, adding extra fury to our disagreements and panache to our love life. Mars enters Virgo by the end of the week. We become more flexible but also more willful as the days go by. We need to employ good time management before Mercury turns retrograde on Oct. 21. Let’s get our ducks in a row and organize our work for the next few months.

Friday, Oct. 11: Become motivated as the Capricorn moon squares Uranus. This morning the integrity of our word is vitally important.

Bring work to completion this afternoon. Tonight the mood is philosophically expansive if we can forgive wild opinions. If digestion is challenged by tiredness, rest and recuperate.

Saturday, Oct. 12: The morning is unsettling. Be inspired (instead of opinionated) as the sun squares Jupiter. If a desire to do too much brings up control issues, say less and do more. The mood becomes more festive this afternoon — meet, greet, and chatter away as the moon enters Aquarius.

Sunday, Oct. 13: The needs of the group may clash with those of the individual, and both are important. Thinking is stubborn, rigorous, and suspicious. Have facts ready if trying to make a point, and look for important new connections. Tonight, people may be unusually tired and need ease and support — not debate.

Monday, Oct. 14: We can get off on the wrong foot this morning merely because our timing is off. Feelings grow more sensitive later as the moon enters Pisces; emotions need respect and acceptance but not justification.

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PASATIEMPO I October 11-17, 2013

Tuesday, Oct. 15: Some relationship quirk may suddenly bother us when we would normally ignore it. Mars enters Virgo and removes the melodrama out but can instill guilt and snarky criticism as a defense. Our critical brain can run on overdrive; open sympathies and focus on the possible positive outcomes.

Wednesday, Oct. 16: Venus trines Uranus, helping us link up with new people and giving us little patience for pain or dysfunction.

Do not throw out the baby with the bath water. As the waxing moon enters Aries tonight, redirect temper spikes and live fully.

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In Other wOrds book reviews Mathew Brady: Portraits of a Nation

by Robert Wilson, Bloomsbury, 273 pages Robert Wilson, an accomplished editor and writer, gave himself a daunting task in setting out to write a biography of Mathew Brady. The famous 19th-century photographer left behind no journals, no memoirs, and scant business records. “We don’t know when or where he was born, how many siblings he had, how he was educated (if at all), how he met his wife or when he married her,” Wilson writes in the introduction to Mathew Brady: Portraits of a Nation. In short, Brady is like a moving ghostly image appearing on the background of a daguerreotype.

Cleverly, Wilson makes Brady’s photographs the mainstay of his biography.

This approach works because, in Wilson’s eyes, photography is the central story, much as computers would be at the core of a book about Steve Jobs. In Brady’s era, photography — along with the telegraph and the telegram — were examples of what Wilson describes as “a phenomenon that has become almost commonplace in our time — an advance in technology that transforms rapidly from a state of inconceivable mystery or even magic to something that everyone could and must have access to.”

The master of this emerging technology was Brady.

He was, Wilson says, “the single most important person in 19th-century American photography,” and he “helped popularize photography in its early days and establish the photograph as a thing of value in itself.”

The result of Wilson’s labors is an intriguing and unusual biography full of unknowns that are artfully filled in with speculation built upon Brady’s lasting and important work. Wilson studies the photographs with immense diligence and a careful eye. He is at his best in examining Brady’s Civil War work, the most famous of the photographer’s images.

The knotty problem of which images were actually taken by Brady is less important to Wilson. By the war’s beginning, Brady had established himself as the nation’s best-known photographer. In turn, he used his fame to make his name into something akin to a brand. If he took the photograph or merely selected it, the image was in the public mind “a Brady.”

Within this immense collection of photographs Wilson found a smaller but illuminating tale. Brady included himself in a limited number of the war photographs, making their authentic identity 12

PASATIEMPO I October 11-17, 2013

indisputable. “In these photographs, Brady was standing in for the photographer’s viewer. It was not just the Brady name, but the man himself who would take you there.”

This gives a “Where’s Waldo” effect to the photographs. It was not until 2004, for instance, that Brady was spotted sitting on a porch step in one of his Gettysburg photographs. While he left it to his assistant to control the shutter, all aspects of these photographs remain his vision. “In each picture, Brady carefully poses himself close enough to the camera to be a focal point for the image but far enough away to be less than the whole subject of it.” Brady’s back is always visible — which, Wilson explains, “makes him in one sense anonymous, allowing him to stand in for every viewer.”

Wilson makes quick work of the accusation that hounded many of the wartime photographers — such as Alexander Gardner — of having moved dead bodies around to make a more effective image.

Brady, Wilson says, participated in staged photographs to a small extent: he had an assistant in a white dust coat pose as a dead soldier in one image.

“Having a live man pose as a dead soldier seems far less offensive than moving a dead body to compose a photograph, at least as a matter of simple human decency. But both the photographs, Brady’s as well as Gardner’s, were deceptions, and thus difficult to defend.”

After the Civil War, Wilson’s account, like Brady’s life, is a gloomy affair. Brady would go on to famously photograph presidents, first ladies, and other luminaries such as Mark Twain and Walt Whitman. But his own fame, and its power to get him access to the most significant subjects, declined in the years of peace, according to Wilson. Brady looked at various ways to continue making money from his war photographs, even trying to persuade Congress at one point to buy a collection. But his finances remained a wreck, and he was bankrupt for a time. By the end of his life he had turned to drink and the generosity of friends to sustain him.

When Brady began his work, he set out to build a gallery in New York that would display portraits of every important American of his time. This photographic legacy now rests in places including the Library of Congress and the Smithsonian. A great deal of work remains to be done to properly date and organize the images, Wilson writes. But the results of Brady’s quest to make and acquire these photographs constitute a national treasure. “These images enhance our understanding of Mathew Brady’s America in an incalculable way,” Wilson concludes.

“His goal of creating a portrait of the nation succeeded far better than even he could have hoped.”

And Wilson’s biography, built on a shaky foundation, provides a clear-headed and sympathetic portrait of the shadowy figure who stood behind, and in some occasions in front of, the lens.

— James McGrath Morris

SubtextS Journeys: poet Henry Shukman Henry Shukman is a poet concerned with moments.

Born in Oxford, England, he now resides in Santa Fe and teaches at the Institute of American Indian Arts.

Archangel is his second collection of poetry — his first, In Doctor No’s Garden, was named a Book of the Year

by The Guardian and The Times in the U.K. Archangel (published by Cape Poetry/Random House) is a slim volume with much heft. It is broken into three parts. Part one, Nights, is temporal in both name and context. Its poems often center on the most elusive of moments within the realms of love and loss. The second section gives the collection its title and, as Shukman explained to Pasatiempo, is “all about a journey my grandfather and his brother made back to Russia from London.” The journey was not entirely voluntary, being part of a larger deportation of Russians Jews in 1917. The poems here continue to identify and elevate moments, opening with a memory that is not Shukman’s: “The day they got the Singer/My grandmother wouldn’t touch it.” The sewing machine in question provides a link between the poet’s craftsman forebears (his grandfather was a tailor) and his own status as a composer of verse; like the machine, with its single clacking tooth, he, too, is a singer of sorts.

An accomplished travel writer, Shukman is finely attuned to place. The final section, Days, includes the poems “Santa Fe Trail” and “Snow on Cerrillos Road” as well as others that explore new landscapes and landmarks from the perspective of the expat. Nearly a century after his grandfather’s journey, Shukman’s more voluntary one to New Mexico seems to have presented its own challenges of familiarization. In “Spring on San Acacio,” he writes of living in “this high new home/we have no name for./ In the long gleam of the mirror/we see only strangers.” If the poems in the first section recreate a sense of nostalgia and those in the second retrace family history, the ones in the last section speak to the process of discovering beauty within the unfamiliar — and by doing so, they create beauty of their own. Shukman reads from Archangel at Collected Works Bookstore (202 Galisteo St., 505-988-4226), on Monday, Oct. 14, at 6 p.m. Joining him is poet Rodger Kamenetz, reading from his new book To Die Next to You (published by Six Gallery Press and illustrated by Michael Hafftka).

— Loren Bienvenu

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Jennifer Levin I For The New Mexican

Jefferson Wheeler

hen she was 17, author Jamaica Kincaid, whose name then was still her given name, Elaine Potter Richardson, was sent by her mother from their home on the West Indies island of Antigua to work as an au pair in New York City. Kincaid has called her position that of a servant; she wrote about it in her 1990 novella, Lucy. Like many writers who quite obviously steal from their own lives, Kincaid often denies that her writing is autobiographical. Her most recent novel, See Now Then (Farrar, Straus and Giroux), is a meandering yet mesmerizing recounting of the dissolution of a marriage that in key ways resembles Kincaid’s marriage to and divorce from the composer Allen Shawn, though she has said in interviews that there are many ways in which Mr. Sweet, 14

PASATIEMPO I October 11-17, 2013

the husband in the book, differs from her ex-husband.

For instance, she told The New York Times in February that her ex-husband, who was born and raised in New York and is the son of former New Yorker editor William Shawn, never used the expression “off the banana boat” to describe Kincaid’s origins, nor did he compare her body to that of Charles Laughton. Whether or not Mrs. Sweet, who is also a writer, is a more direct stand-in for Kincaid is up in the air.

The sentences in See Now Then are long; they build, double back, and routinely contradict themselves.

Coupled with a musical use of language, the prose takes on the quality of a ship on waves, bobbing and weaving, potentially inducing nausea — but then you get your sea legs. Kincaid is exploring time as it exists in a family, among people sharing the same space and reality while living their own lives, trying to get

at precisely what it feels like to be in one’s present, even as that present is endlessly colored by the past, and by the clarity of hindsight, and by the inevitable distortions of time and resentment. It’s a complicated endeavor — for the author and the reader — with rich rewards. What she does works. See Now Then is an almost plotless novel in which time folds in on itself, and you know — exactly, precisely, not quite intimately — how miserable everyone was.

Kincaid reads from her work on Wednesday, Oct. 16, as part of the Lannan Foundation’s Literary series of conversations. She is joined by Robert Faggen, author of the forthcoming Ken Kesey: An American Life and several books about Robert Frost (including Robert Frost and the Challenge of Darwin) as well as Striving Towards Being: The Letters of Thomas Merton and Czesław Miłosz. Faggen and Kincaid are colleagues at

Claremont McKenna College in California, where he is the Barton Evans and H. Andrea Neves Professor of Literature and director of the Gould Center for Humanistic Studies and she is the Josephine Olp Weeks Chair and Professor of Literature.

Kincaid, who changed her name in 1973 when she began publishing in magazines, is the author of more than a dozen fiction and nonfiction books, including A Small Place, Annie John, My Brother, My Garden Book, and Autobiography of My Mother. Because her themes include colonialism and post-colonialism, gender, racism, and power, and she writes without regard for the “post-racial” sensitivities of white, European-American readers, she is often labeled angry, or — worse for a literary writer — polemical, as if “good writing” and feeling strongly enough to argue one’s point are mutually exclusive. Political anger at the British imperialism that defined her childhood has fueled her writing, as has personal, familial anger as it manifested in her relationship with her mother, whom Kincaid has characterized as abusive.

She has said that she felt a distinct shift in her mother’s attitude toward her when she hit adolescence, and that after her younger brothers were born, her mother neglected her. In See Now Then, Mrs. Sweet feels as though her daughter, Persephone, has been kept from her by Mr. Sweet. Her relationship with her son, Heracles, borders on worshipful, and Mrs. Sweet — or Kincaid; it’s hard to tell — believes Mr. Sweet hates his son and would like to kill him.

Much of the book reads like Greek mythology (from which many characters’ names are drawn), with a heightened sense of feeling and purpose.

“But no matter, hate being a variant of love, for love is the standard and all other forms of emotion are only forms that refer to love, hatred being the direct opposite and so being its most like form: Mr. Sweet hated his wife, Mrs. Sweet, and as she looked out on this natural formation of landscape: mountain, valley, lake, and river, the remains of the violence of the earth’s natural evolution: she did not know it,” Kincaid writes.

It is a bone of contention for Mr. Sweet, or so thinks Mrs. Sweet, that she came to the United States on a banana boat — “the seat of her diminishment” — because she is inherently different from him, someone from a foreign land and a foreign class, who cannot abide non-Caribbean winters and must constantly soak in the bath to stay warm. It is as though Mr. Sweet resents everything about Mrs. Sweet, though his most violent thoughts are reserved for his son. And for all that Mrs. Sweet feels that Persephone is daddy’s girl, Mr. Sweet doesn’t have much to say about his beautiful, talented daughter.

Kincaid boldly reveals the seething, barely contained hostility that can exist between family members, most frighteningly between parent and child. Mrs. Sweet’s children hate her writing, hate that she writes. They and their father disdain everything she cares about, and she plays the martyr. And she does it ever so lyrically: “Oh Now, oh Then, said Mrs. Sweet out loud, but it didn’t matter, it was as if she said it to herself, for no one could ever understand her agony, ever, ever understand, her suffering, her pain, no words could express it, nothing in existence could convey or express her existence just then, now or ever, her husband’s voice, her husband had been enfolded in an entity called Mr. Sweet.” ◀

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details ▼ Jamaica Kincaid with Robert Faggen, a Lannan Foundation Literary series event ▼ 7 p.m. Wednesday, Oct. 16 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 students & seniors; 988-1234, www.ticketssantafe.com

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TERRELL’S TUNE-UP Steve Terrell

Stompin’ in the alley

A few months ago, when I decided I wanted to go to the Ponderosa Stomp, a music festival in New Orleans, I didn’t consciously realize that I was giving myself a slightly belated birthday gift — and it was a very appropriate gift, too.

I just turned 60, which could make a guy start to feel old. However, at the Stomp, the vast majority of the headline performers were well into their 60s, some even beyond that. And nearly all of them were full of energy and crazy grace. And some of them rocked like madmen. Suddenly I didn’t feel so old.

So what is this festival where most of the star attractions are eligible for Medicare? It’s an annual event, named for a song by Louisiana bluesman Lazy Lester, held this year at a bowling alley, the Rock ’n’ Bowl, which regularly hosts musicians. It’s dedicated to the “unsung heroes of American music” — namely soul, R & B, rockabilly, and “garage” music from the ’50s and ‘60s. Indeed, most of the acts truly are unsung. While I was quite familiar with The Sonics, The Standells, Swamp Dogg, and Chris Montez, I had never even heard of most the others on the bill.

Here’s the stuff I liked best: ▼ The Sonics: I always liked these guys from Tacoma, Washington, but after seeing them last week, I’m a complete zealot. During their short heyday in the mid-’60s, The Sonics never got that big outside of the Pacific Northwest. They idolized Little Richard and covered several of his songs. But it was their original material that set them apart. “Psycho,” “The Witch,” and “He’s Waitin’” (which is about Satan!) all have a gleefully twisted, sardonic humor. And had The Sonics ever become as famous as they deserved to be, the federal government would have produced overwrought public-service announcements warning America’s youth about the dangers of drinking strychnine — the topic of one of their finest songs. Three members from the band’s classic lineup are still playing: keyboardist Gerry Roslie (who still sings as if he’s being burned alive), guitarist Larry Parypa, and sax man Rob Lind. Another singer, Freddie Dennis, handles about half the vocals these days. Their frantic set left the crowd with wide eyes and dazed grins. Simply put, it was some of the most intense rock ’n’ roll I’ve ever seen. ▼ The Standells: After The Sonics’ performance on the opening night of the festival, I had a nagging fear that the second night might be something of a let-

Tommy McLoughlin of The Sloths

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PASATIEMPO I October 11-17, 2013

down. Even though nobody quite matched The Sonics, there were some amazing sets that night, especially that of The Standells. They impressed me even more than they did when they first twisted my head off when I was in seventh grade.

Of all the Stomp’s lineup The Standells were arguably the most commercially successful. Is there anyone around my age who doesn’t remember “Dirty Water” or my favorite, “Sometimes Good Guys Don’t Wear White”? They played these hits as well as others from that era — “Riot on Sunset Strip” — the title song of a teen-exploitation movie from the mid-’60s. (Standells singer Larry Tamblyn said at a Ponderosa panel that he truly enjoys that film — the same way he enjoys Plan 9 From Outer Space.) Late in the set they were joined onstage by Johnny Echols, a former member of the band Love, and Cyril Jordan of The Flamin’ Groovies. They played some Love songs, including a fiery “Seven and Seven Is,” “Little Red Book,” and “Hey Joe,” which both Love and The Standells covered (as did about 98 percent of all American bands in the mid-’60s). ▼ The Sloths: The reconstituted Sloths did a version of “Hey Joe” as well. Unlike The Standells, they never had a massive “Dirty Water”-level hit, but their song “Makin’ Love” was featured on one of the Back From the Grave compilations a few years ago and is one of the finest examples of snarling, minimalist, primitive angstrock you’ll ever hear. They’re fronted these days by singer Tommy McLoughlin, who was with a ’60s L.A. garage band called The May Wines with some members of The Sloths. He’s got more of a rock-star presence than most the other garage performers at the Stomp. After their set, The Sloths were joined onstage by Ty Wagner, another L.A. garage rocker, whose most famous song is “I’m a No Count.”

He sang that one as well as one by his rock ’n’ roll hero Eddie Cochran, “Come On Everybody.” My only complaint about Wagner is that I wish he’d done more. He’s got a moody intensity about him and sings every word as if his life depends on it. ▼ Swamp Dogg: Wearing a bright red suit, iconoclastic soulman Swamp Dogg didn’t disappoint. He performed a set populated mostly by his best-known songs, like “Total Destruction of Your Mind,” “Synthetic World,” and his emotional cover of John Prine’s “Sam Stone.” His grand finale was also a cover — The Bee Gees’ “I’ve Gotta Get a Message to You.” At the end of the song, he stepped off the stage and walked out into the audience, shaking hands with everyone in his path while repeatedly singing the refrain. ▼ Charlie Gracie: A rockabilly from Philly, Charlie Gracie was a complete delight. Backed by a band that included guitarist Deke Dickerson, Gracie really shone during his cover of “Just a Gigolo/I Ain’t Got Nobody.” ▼ Chris Montez: Dickerson and company also backed this L.A. singer. Though Montez is best known for late-’60s pop hits like “Call Me” and “The More I See You,” he wisely concentrated on rock ’n’ roll from his early, Ritchie Valensinfluenced days. “Let’s Dance,” with its irresistible Farfisa organ, can’t help but make you smile. ▼ Charles Brimmer and Richard Caiton: These two long-retired New Orleans soulmen played separate sets. This was the first time onstage in decades for both of them. They recorded in the ’60s and ’70s with New Orleans R & B icons like Dave Bartholomew, Wardell Quezergue, and Senator Jones. Both quit the biz after they realized the hits weren’t going to come. They went to college and then on to have successful careers away from the music industry. In a panel discussion the day before their performances, they seemed anxious about their respective appearances — but they got an enthusiastic reception from the friendly Stomp audience. ▼ The Gaunga Dyns: This New Orleans garage group had a local hit in the late ’60s with “Rebecca Rodifer,” a sad tale about a high-school girl who dies from an illegal abortion. They have reformed and are a tight outfit with hints of folk rock. My only gripe about them is that they opened with not one, not two, but three songs by The Animals. Each one sounded fine, especially “I’m Cryin’,” but for a while I thought it was an Eric Burdon cover band. On the other hand, their version of Paul Revere & The Raiders’ “Just Like Me” was a complete delight. ◀

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OCTOBER 12

9:30–11:30 AM

Family Program Leaves. Through drawing and collage, we will explore leaves in all their unique details.

by William Shakespeare

Shakespeare’s tragic tale of love, jealousy, and betrayal stars Olivier Award-winning actors Adrian Lester and Rory Kinnear.

Directed by Nicholas Hytner.

TUESDAY

OCTOBER 15

6–8 PM

Art & Leadership for Adults Beneath the Surface of the Lake: Poetry Workshop.

Led by Miriam Sagan, poet and educator.

October 15, 7 pm $22/$15 students Discounts for Lensic members

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Science Café for Young Thinkers Addiction: Using Imaging to Study Its Effects on the Brain. Led by Joanna Fowler, Brookhaven National Laboratory.

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OCTOBER 28

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Seminars in Modernism Georgia O’Keeffe’s Still Lifes: Picturing a Moment in Modernism. Led by Carolyn Kastner, curator, Georgia O’Keeffe Museum.

TUESDAY

OCTOBER 29

6–7:30 PM

Readers’ Club Modern Nature: Georgia O’Keeffe and Lake George.

Discuss the catalogue for the current exhibition, by authors Erin B. Coe, Bruce Robertson, and Gwendolyn Owens.

WEDNESDAY

OCTOBER 30

12:30 PM

Adult Learning Program LOO’K Closer: Art Talk at Lunchtime. An insightful 15-minute discussion about a work by O’Keeffe currently on exhibit.

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PASA TEMPOS

album reviews

FACTORY PUSHA T My Name Is My Name FLOOR Factory Floor (GOOD Music) Someday a future (DFA) With what is surely the historian of 2013 will wonder why so best sounding debut I’ve heard in many Americans spent their free time watchsome time, this London-based band ing Breaking Bad and listening to hip-hop has come crashing on the experimensteeped in drug-deal culture. Few of us tal-dance scene with co-signs from no sample or sell the hard stuff, but the genre’s less than electronic-music legends Chris lyrics have spawned an intense crossover Carter of Throbbing Gristle and New appeal. On “Let Me Love You” Pusha T frames Order’s Stephen Morris. Those two it this way: “I’m from an era where the money artists remixed Factory Floor’s earlier come fast, blow it all ’cause the money don’t last.” Formerly half singles, and their very presence in the band’s orbit draws the of the duo Clipse, Pusha T made “coke rap” mainstream with some clear lineage between them to light. These are artists who not only of the most well-produced rap beats of the last decade. Now in his possessed a deep understanding of the languages of synthesizers late 30s, he finds himself reconsidering drugs, but the introspection and drum programming but were also concerned with what they hasn’t killed his buzz. “Numbers on the Boards” is a blistering concoction could do within those beats. With Factory Floor, the main attraction is of low bass rumbles produced by Kanye West. Unlikely to get club their blend of live and programmed drums. Each thump resonates with play, “Nosestalgia” is a gripping goodbye-to-all-that to the world of uncommon clarity; the production and engineering on this record is truly crack-cooking, with stunning verses from wunderkind Kendrick a wonder. Over the top of this are slathered Nik Colk’s drastically Lamar. Over blues guitar riffs, Pusha T plays with the coded altered, often-spoken vocals. “Fall Back” is what Radiohead language of baby powder-cut product to give his own kiss-off. might sound like if they were heavily influenced by Giorgio “20 plus years of sellin’ Johnson & Johnson/I started out as Moroder — alien noises drift in and out of a synthesizer’s a baby-faced monster?/No wonder it’s diaper rash on my persistent arpeggio, and it’s all staged to a Studio 54 pulse. conscience.” An honest album from an artist who built “How You Say” banks on a static-filled keyboard riff and Each thump on his earlier career on glamorizing a dishonest industry, layers of live drumming. What shines through most is this record rewards multiple listens. — Casey Sanchez the pure, unadulterated love of sound, which imbues ‘Factory Floor’ resonates the album with an addictive quality. — Robert Ker with uncommon clarity; the AHMAD JAMAL Saturday Morning: La Buissonne Studio Sessions ( Jazzbook) Pittsburgh native Ahmad MI One on the Way (Mesa Recordings) The latest Mesa production and engineering Jamal toured with George Hudson’s Orchestra when he Recordings release is the solo project of the Santa Fe was still a teen and shortly afterward formed his own trio. label’s co-founder Ben Wright. Under the creative alias Mi, on this record is truly His 1958 album Ahmad Jamal at the Pershing: But Not For Wright creates highly syncopated and liminal compositions Me was a hit, and since then the pianist has recorded more that occupy space on multiple thresholds — between real a wonder. and reverie, arrhythmic and rhythmic, and more literally, than 60 albums and his compositions have been covered between electronic and instrumental. One on the Way presents by the likes of Miles Davis, Chet Baker, and McCoy Tyner.

10 tracks that often build intensity through addition, rather than Saturday Morning features the same quartet as on 2012’s Blue volume. Shifts in feel seem to be a primary goal, as in “Kalima,” Moon, with Reginald Veal on double bass, Herlin Riley on drums, which begins with somewhat randomized malletlike tones and clatter. and Manolo Badrena on percussion. “Back to the Future” starts off After a minute, a synthy bass arrives to help coalesce the other components. with an intro of light, knotty piano, thumpy bass, and a lively drums-andA dissonant and spaced-out string pattern comes next, about halfway percussion mix. After a minute or so, it breaks into hard-steaming jazz, through the nearly six-minute song, with a second clearer and more at one point Jamal soloing over a hypnotic two-note figure from his left melodic acoustic guitar joining in on the left channel of the mix shortly hand. The ballad, one of Jamal’s trademarks, is not rendered simply: after. “Reunion,” on the other hand, creates the atmosphere of an old he occasionally enlivens the 1940s tune “I’ll Always Be With You” apparatus grinding to life. Upon hitting its with breakneck clusters and trills. The title stride, sustained string notes and chords piece is a loose blues, the pianist alternating short improvisational stanzas with purely ring out with clarity in the mid-upper rhythmic ostinatos. Once in a while, bongos register, sounding like the products of and birdlike percussion noises contribute to the machine’s intent. Then they fade and the piece’s relaxed feeling. “Edith’s Cake” is the cycle repeats. Mi proves most adept an episodic song in which Jamal trades off at using a full spectrum of pitch, tone, between classical lyricism and quick little and texture, mixing highs with lows and fantasias — as if the waitperson stumbled and clarity with mud. One could dance to the is juggling glassware. Jamal is more creatively music on One on the Way, but it is more and technically powerful than ever. suited to brisk, dreamy wanderings.

— Paul Weideman — Loren Bienvenu

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PASATIEMPO I October 11-17, 2013

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SOUND WAVES Loren Bienvenu

Teens of Los Alamos, uncensored

The Los Alamos Teen Center is not your average teen center. Along with the usual staples, like computer workstations, a pool table, and art classes, it has a program that lets participants rap about what they’re really feeling, even when the result might be labeled NC-17.

“I guess it’s kind of a way for them to express themselves and have something to show for it,” said Dain Daller, who runs the class. “We mostly just record songs. They bring in lyrics and choose from some of the beats I’ve written, or sometimes they’ll write something to an instrumental, and we can record to that.”

Daller lives on a remote plot of land in El Rito, where he’s building a passivesolar Earthship out of tires and discarded building materials with Amanda Speer, who teaches an art class at the center. When not embedding animal bones into the Earthship walls or composing rap beats for his class, Daller collaborates with Speer on electro/analog music and releases it under the names Single Moms and The Tirehouse Tapes.

Rap class, as it’s officially known, “is not really much of a class,” Daller said.

“I just try to encourage them and coach them a little. I never say like, that verse is terrible — redo it. It’s more like, maybe there’s one word that doesn’t work.” The noncredit class takes place every Thursday between 3:30 and 6:30 p.m., depending on interest.

“Sometimes at first they’re kind of nervous, because when they first record, they hear the music only in the headphones, and there’s a microphone and some people just sitting there. They have to rap a cappella to everyone else. It’s maybe a little embarrassing if they’re not real confident, but now most of them are pretty used to it, so they don’t think twice.” Besides, he added, “I think kids who want to rap are usually pretty confident.”

During the two years that Daller has been running the program, interest has grown such that the participants have formed a sort of hip-hop crew of their own: Atomic Children. This summer they released a 12-track album under the same name, subtitled Real Rap From the Teenagers of Los Alamos. Several songs and verses focus on the experience of growing up in the town that gave birth to the atomic bomb. “I think everyone takes where they’re from seriously,” Speer

said. Daller agreed: “Because they’re in high school, most of them haven’t really been anywhere else. All rappers rap about where they’re from. In the songs about Los Alamos they just kind of lay it all out there — the good and the bad.”

Speaking from the center, Dunce, aka Lyrical Villain (who contributed two tracks to the album), remembered when Daller first began the program. “I was just chilling and he came in. Now it’s pretty cool coming here and rhyming and stuff on his mic. You just show up and get in line, pick a beat, and throw down

I think kids who want to rap are usually pretty confident. — Dain Daller on it. He’s super-supportive and does what we want, which makes it pretty cool.”

Asked about his musical influences, Lyrical Villain listed Jedi Mind Tricks, Ill Bill, Necro, and “a lot of that really underground” music, before adding, “I think I have to go now. I have stuff to do.”

Rap (both mainstream and underground) often covers violent subject matter, and rappers like Ill Bill and Necro are notorious for the extremity of their lyrics. For instance, Necro’s song “Bury You With Satan” lists a number of graphic ways to inflict pain or death with tools like meat cleavers, hydrochloric acid, and chain saws. The influence can be seen in Lyrical Villain’s song “Atomic Children,” co-written with fellow participant Mac Tire. Its chorus speaks to growing up in Los Alamos: “You know we spit ill because our name: Atomic Children/Youths of Hiroshima, it’s a mass killing/The Atomic Children: Mac Tire and the Lyrical Villain/Pillaging villages like a militant hopped up on stimulants.”

Subsequent verses discuss making use of an arsenal that includes grenades, assault rifles, and cyanide.

In the case of that song, the “write what you know” adage seems to be tempered with a “write what you listen to” approach. One of the song’s closing lines is: “It’s like a movie, yo” — a sentiment encapsulating the idea that violence can become caricaturized when taken to its most extreme in the interest of shock value. Daller acknowledged that the teens sometimes gravitate toward “songs that are kind of on a touchy subject.” However, he sees censorship as an approach that would undermine the openness of a voluntary class that is not academically affiliated. In his eyes, it offers teens a rare outlet to express themselves without stipulating how they’re allowed to do so.

The program has faced occasional resistance from the center’s parent group, the YMCA. “The Y didn’t want to fund the CD, because it was uncensored, and because there are drug references.” Rather than tone it down, however, Daller affixed a parental-advisory label to the CD’s cover art and got the students to fund it themselves. “There are 10 or 11 kids [in the class], and it cost about $300 to make the CD, so we all just kind of pitched in. Nobody had to pay that much money. It was independently funded. We made 100 copies, and each kid got five.

But we haven’t really tried to sell them, because it doesn’t seem like anyone’s really going to buy them. So pretty much anyone that wants one can get one, which is cool.”

Reflecting on his own path to the classroom, Daller said his musical journey began when he got hooked on rap as a teenager. “I grew up in Iowa — there wasn’t a scene or anything. We were just skaters, and we all got into it. I don’t know who got into it first. It must have been some guy who was a little older and was like, ‘Check this out.’ And now I’m that guy.” ◀ Visit www.soundcloud.com/rapclasslatc for musical samples from the Los Alamos Teen Center. CDs can be obtained by emailing Larapclass@gmail.com.

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PASATIEMPO I October 11-17, 2013

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PASATIEMPOMAGAZINE.COM

21

ON STAGE THIS WEEK

The complete experience: Te Amo, Argentina

The Lensic Performing Arts Center offers an entertainment titled Te Amo, Argentina that it describes as “a multimedia celebration of the dance and music of Argentina that will take audiences on a journey from the Andes Mountains to Buenos Aires.” Be prepared for lots of photographic projections, animation, dramatically staged choreography (tango, ballet, and modern dance) from a pair of sultry hoofers, and live music (including plenty of Piazzolla) from a musical trio headed by cellist Antonio Lysy, at least some of it electronically altered or amplified. When Te Amo, Argentina was unveiled, in April 2012 in California, a reviewer characterized it as “a packaged show resembling what you might encounter in a nightclub, casino, or as entertainment in the first-class lounge on an Argentine cruise ship.” If that’s your cup of yerba maté, settle in at the Lensic at 7:30 p.m. on Friday, Oct. 11. Tickets ($20 to $40) are available by calling 505-988-1234 and from www.ticketssantafe.org.

— J.M.K.

Sharp-dressed men: ZZ Top

ZZ Top comes to Buffalo Thunder Resort & Casino at 8 p.m. on Saturday, Oct. 12, shaming New Mexico men with lesser beards into temporary hiding. The Rock and Roll Hall of Fame blues and rock band still features its 1970 lineup: Billy Gibbons, Dusty Hill, and Frank Beard (middle, beardless). Concertgoers can expect the Texas legends to play hits like “Gimme All Your Lovin’ ” and “Tush” as well as material from their 2012 release, La Futura.

The resort is at 30 Buffalo Thunder Trail, off U.S. 84/285. For tickets ($55 to $75), visit www.tickets.com. Die-hard fans can purchase a VIP upgrade ($149.95) through www.zztop.com; it includes admittance to a Q & A session, a photograph with the band, and a commemorative lanyard.

— L.B.

food Between rock and a hard place: Rock 4 Food

a yerb é t a m

Musical globetrotters: World Blues featuring Taj Mahal

Since launching his recording career in the 1960s, blues icon Taj Mahal has explored latitudinal and longitudinal boundaries as well as musical ones. Indian, Hawaiian, and West African influences are spread across the artist’s few dozen studio, live, and compilation albums.

For the World Blues tour, Taj Mahal is joined by two acts that focus on blues music’s influence on the international stage (and vice versa). Vusi Mahlasela plays and sings South African-inspired blues, and the band Fredericks Brown (featuring Deva Mahal, the daughter of Taj Mahal) performs modern, internationally tinged rock and roll. Taj and friends take the stage on Sunday, Oct. 13, at 7:30 p.m. at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets are $25 to $55 and are available by calling 505-988-1234 and visiting www.ticketssantafe.org.

— L.B.

Warehouse 21 hosts Rock 4 Food, a benefit concert for The Food Depot, the Adelante Program, and W21 on Saturday, Oct. 12. The lineup covers a lot of ground, from reggae/hip hop outfit Boomroots Collective to ska/punk trio Anvil Cloud. Also on the bill are the Mike Montiel Trio, Pissmopped, Lion 5, and DJs A’ight, Koder, and Teddy No Name. The prime force behind the fundraiser is M.c. Clymer, who runs Tiny’s weekly open mic and jam as well as the website www.505bands.com. The rocking begins at 2 p.m. and goes till 9 p.m. Donate a bag of nonperishable food or pay $5 at the door for entry. Warehouse 21 is located at 1614 Paseo de Peralta. Call 505-989-4423 or visit www.warehouse21.org.

— L.B. 22

PASATIEMPO I October 11-17, 2013

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lose your eyes, so your heart can start to see,” wrote Rumi, the 13th-century Persian mystic and poet linked to the spiritual traditions of Sufism, including those of the Whirling Dervishes. Rumi wrote that music and dance are ways to find God. It seems fitting, then, that a recent celebration of Rumi at the Lensic Performing Arts Center would include a recitation by Coleman Barks, a well-known writer and interpreter of the poet’s works, along with music by cellist David Darling and percussionist Glen Velez. Unfortunately, Zuleikha, a Santa Fe-based storydancer, provided interpretive movement that was often so literally tied to the words of the poetry that closing your eyes was, at some points, a defense against distraction. The word “power” for example, was illustrated by a muscle-man pose.

Zuleikha’s online résumé reports that she studied dance with American avant-garde choreographer Anna Halprin, trained in the classical Indian dance form Kathak, and performed and taught in Japan. Her work as a wellness educator has taken her around the world, and she promotes a trademarked fitness regime called “Take a Minute.” However, her dancing was reminiscent of silent-movie acting, filled with big gestures, wide eyes, and winking at the audience. Only when she closed her own eyes, at the very end of the evening, and began to spin, in a version of the Dervish dance, was there a moment that suggested spiritual ecstasy.

Barks, originally from Chattanooga, taught literature at the University of Georgia for 30 years. He is known as an interpreter rather than a translator of Rumi’s poetry — he neither reads nor speaks Persian. He has published The Essential Rumi, The Book of Love, and other volumes of Rumi poetry.

In 2006, he received an honorary doctorate from Tehran University. Barks cuts a benevolent, Santa Claus-like figure on stage and comes across as a charming spokesperson for Rumi’s work. In his silky voice there is no threat of darkness. Mostly, the selections from Rumi and other poets were about love, nature, and a kind of personal, inward journey.

Darling and Velez added texture and rhythm to the evening in ways that were at once unobtrusive and provocative. An extended solo by Velez opening the second half of the evening was a display of playful high virtuosity with a rotating series of handheld percussion instruments, after which Darling lead an African-style call-and-response piece, which featured audience participation.

Involving a variety of art forms and artists in a presentation of poetry is a great idea. Rumi’s essence was presented in an easy, open-hearted way.

A great dancer might have brought all of the elements onstage into a cathartic collaboration.

— Michael Wade Simpson

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505-820-2544

PASATIEMPOMAGAZINE.COM

23

James M. Keller I The New Mexican

ModernisM in the afternoon Santa Fe Community Orchestra

Oliver Prezant leads the Santa Fe Community Orchestra

othing against Mozart and Beethoven, but sometimes a music lover hungers for a change of diet from the familiar classics. In Santa Fe, concertgoers can enjoy a smorgasbord of repertoire when it comes to chamber or choral music, but for aficionados of full-scale symphonic music the city’s concert menus tend toward the tried and true.

The most notable exception lurks where one might least expect it, in the Santa Fe Community Orchestra, whose 65 players habitually delve into symphonies, concertos, and tone poems that lie far from the beaten path. Founded in 1982, it is a symphony orchestra of amateur instrumentalists, which doesn’t mean that they’re not accomplished but rather that they’re not paid. Their ranks typically include doctors, lawyers, teachers, scientists, and even some players who have retired from professional careers in music. Since 1999 the orchestra has been directed by Oliver Prezant, who received his training in viola and music theory at the Mannes College of Music in New York City and in conducting at the Pierre Monteux School in Maine.

This season he leads his players in five concerts scattered through the season, invariably free and usually at the St. Francis Auditorium, which is where the group’s season-opener takes place on Sunday, Oct. 13.

“When it comes to choosing our programs,” Prezant said, “we solicit suggestions from our members. They do want to perform some of the great masterpieces of 24

PASATIEMPO I October 11-17, 2013

the repertoire, and those pieces should be played. But very often their suggestions are not obvious choices.

Pieces they have brought up recently include Bartók’s The Miraculous Mandarin, the Symphony of Ernest Chausson, the tone poem Le chasseur maudit (The Accursed Huntsman), which is a pretty wild piece

by César Franck. On the more contemporary side, last season we played the Symphony No. 3 by Einar Englund, a Finnish composer who lived in the shadow of Sibelius — and to an extent his music still does. It’s a fantastic 20th-century symphony that combines elements of jazz and a modernist flavor of Stravinsky and Prokofiev with a great sense of expansiveness.

The piece is little known, yet at the same time there’s something familiar about its idiom. Such a piece provides freshness to a concert and the quality of the piece helps build a relationship of trust with our audience.”

Englund, who died in 1999, may be on the obscure side even by Santa Fe Community Orchestra standards. More frequently the playbill lists composers whose names are familiar even when the pieces at hand are not. ˚ Symphony No. 4, Milhaud’s Cello Concerto Martinu’s No. 1, Hovhaness’ Fantasy on Japanese Woodprints — the orchestra has focused on each of these scores in the past few seasons. The players do not shy away from technical challenge. It is true that they decided not to grapple with Stravinsky’s daunting The Rite of Spring last year, Prezant allowed, but, on the other hand, they have plunged intrepidly into the likes of Janáˇcek’s

Sinfonietta and Mahler’s Symphony No. 5, both of which would generally be considered off-limits to an amateur community orchestra.

It’s not as if Englund and Hovhaness leave no room for the more familiar classics. This season’s concerts will include such mainstays as Beethoven’s Leonore Overture No. 3 and Ravel’s orchestration of Musorgsky’s Pictures at an Exhibition. A Tchaikovsky symphony anchors a concert in November. Since the group had previously played his Fourth and Fifth Symphonies, Prezant decided to turn this time to one that is less often encountered, his Symphony No. 2, nicknamed the “Little Russian.” Sibelius arrives in February; but instead of his oft-encountered Second or Fifth Symphonies, the orchestra will learn his less familiar First.

This Sunday’s concert has all the hallmarks of the Santa Fe Community Orchestra approach, except that it has a thematic focus: each of its pieces is an example of American modernism in symphonic music.

Possibly you have never heard Skyscrapers, a 20minute ballet written in 1923-1924 by the Chicago composer John Alden Carpenter. The renowned impresario Serge Diaghilev asked Carpenter to compose it but then declined to stage it, having developed a distaste for anything that smacked of American jazz (which this snazzy piece decidedly does). Instead, it was premiered at the Metropolitan Opera House in 1926, choreographed by Sammy Lee, who the following year created the dances for a new piece by Jerome Kern and Oscar Hammerstein II

titled Show Boat. “Someone in the orchestra suggested we play Adventures in a Perambulator, one of Carpenter’s most famous pieces,” Prezant said.

“We rented the music and read through it, but the orchestra didn’t take to it.

However, that experience introduced me to his music, and I started working through his other compositions. When I got to know Skyscrapers, I knew this was a piece that would keep everybody in the orchestra involved and happy.

It’s a panoramic view of life in New York in the 1920s. A big, brassy, varied piece like this one makes a great opener for our season.”

This Sunday’s concert has all the hallmarks of the Santa Fe Community Orchestra approach, except that it has a thematic focus: each of its pieces is an example of American modernism in symphonic music.

At the other end of the program lies an imposing classic: Copland’s Third Symphony, sometimes considered by music lovers as “the great American symphony,” a work completed in 1946 that incorporates into its finale the composer’s celebrated Fanfare for the Common Man, which he wrote a few years earlier. “I’ve been waiting for the right moment. It’s on a much bigger scale than, say, his Appalachian Spring, yet it has many of the familiar gestures that people love about that ballet score. The Third Symphony so beautifully captures the optimism, breadth, and beauty of the American landscape.”

That left room to squeeze in another piece, and Prezant happily turned to the catalog of William Grant Still — “a magnificent American composer”— where he landed on the little-played Kaintuck’, a tone poem from 1935 scored for symphony orchestra with a large obbligato piano part. Inspired by a train ride across Kentucky, this piece offered not only what Prezant called “a moment of repose in the concert” but also an opportunity to work with Michael Bowen, an Albuquerque pianist Prezant has been hankering to include in a concert.

What’s more, it provided Prezant with an opportunity to pull in accomplished banjo and xylophone players from Santa Fe University of Art and Design, where he teaches on the faculty. To round out the proceedings, he has also arranged for a student group, the Acoustic Americana Ensemble of SFUAD’s contemporary-music program, to play traditional folk music in the Museum of New Mexico’s courtyard prior to the concert, from 1 to 2:15 p.m., thereby expanding the event into a wider-ranging celebration of American music.

You might think a challenging program like this weekend’s would be more than enough for the orchestra to handle. In fact, just a week earlier the group read and rehearsed two new compositions written by finalists in its 2013 competition for New Mexico composers, one work by Charles Blanchard, the other by none other than pianist Bowen. (The piece the orchestra selects as the winner will figure on its November concert.) During the season, the ensemble will also fit in three presentations in its “Anatomy of a Symphony” series, in which Prezant shares insights about the repertoire and the orchestra. Normally these take place a few days prior to the concert on which the featured work figures, but this season one of the presentations (on Dec. 15) will be given over to a work that will be played only at that event — Schubert’s Unfinished Symphony, with the lecture-demonstration followed by a complete performance.

Does the Santa Fe Community Orchestra make, say, the Chicago Symphony tremble in its boots? No, it does not. But as a community orchestra, it sets its bar higher than one would ever expect, and it earns the attention and commitment of its members and its audience by constantly pushing them into territory they have not traversed before. ◀

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details ▼ Santa Fe Community Orchestra, conducted by Oliver Prezant, performs music

by John Alden Carpenter, William Grant Still, and Aaron Copland ▼ 2:30 p.m. Sunday, Oct. 13 (preconcert folk music by the Acoustic Americana Ensemble of the Santa Fe University of Art and Design’s contemporary-music program begins at 1 p.m. in the courtyard) ▼ St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. ▼ No charge; 505-466-4879, www.sfco.org

PASATIEMPOMAGAZINE.COM

25

Cedric Burnside

Jimmy “Duck” Holmes

Bill Kohlhaase I The New Mexican

CEDRIC BURNSIDE PROJECT AND JIMMY “DUCK” HOLMES 26

PASATIEMPO I October 11-17, 2013

Cedric Burnside Project and solo guitarist Jimmy “Duck” Holmes offer acoustic evidence of the regional and generational differences among Mississippi blues styles when they appear on a double bill this weekend in Santa Fe and El Prado, near Taos.

Burnside’s grandfather, R.L. Burnside, of Holly Springs, Mississippi, was influenced by the rhythmic guitar style of the legendary “Mississippi Fred” McDowell, who played area juke joints in the 1940s. He exaggerated the form and applied it to his own style, extending lines and moving beyond the expected count before changing chords. The technique gave his music a certain tension and unpredictability that kept his sidemen on their toes.

Cedric Burnside picked up this style at the age of 13 when he began touring as his grandfather’s drummer.

About 200 miles south, in Bentonia, Mississippi, Holmes, a generation older than Cedric Burnside, savored the country blues he heard in the music of Henry Stuckey, Skip James, and Jack Owens. Stuckey was a neighbor who played at Holmes’ parents’ juke joint and gave Holmes his first guitar when young “Duck” was 10.

“I’ve had that name [Duck] since I’ve known myself,” Holmes said in a phone call from Bentonia. Holmes professes to be the last practitioner of the Bentonia school of acoustic, country-style blues, which he said is both a matter of tuning and feeling. “Some music professionals heard Henry Stuckey and the others and started calling it E-flat Minor tuning and open tuning and things like that,” he said. “The old guys just called it cross-note playing. Jacob Stuckey [Henry’s brother] called it ‘open cross-note playing.’ ” Call it what you will, the resulting sound is generally a bit more somber and moody than traditional Mississippi Delta blues and different from the good-time feel of contemporary blues. Henry Stuckey picked up the tuning from the Bahamian soldiers he served with in France during World War II. Back in the States, Owens and James adopted the style after hearing what Stuckey did with it. The minor-key feel of the sound seemed perfect for the hardscrabble lyrics inspired by the farming and catfishing region in which they lived. “Playing the Bentonia style,” Holmes said, “means you have to play it from the heart. Anybody can strum a guitar. But your heart has to tell your fingers what to do. Some guys want to see the sheet music, they want a beat.

But we don’t play this music for dancing. We play it to tell a story.”

Though he’s been playing guitar since he was a kid, Holmes didn’t start performing in front of audiences until seven or eight years ago. “I realized after Jack Owens died [in 1997] that he was one of the unique blues originators and there wasn’t anybody around to play the old country style,” Holmes said. “It was nonexistent. People were asking me to take it up.”

Born in 1947, Holmes has been around music his entire life. In 1948. his family opened the Blue Front Café, which became famous for its fried buffalo fish, moonshine, and music. Holmes took over the place when his mother died in 1970, and today the café is a stop on the historic Mississippi Blues Trail and home of the Bentonia Blues Festival held each June. But the music, he feels, is endangered.

“I do a lot by myself,” he said. “[Bentonia style] is part of the culture, but the younger guys don’t appreciate it enough to have anything to do with it. It’s

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getting lost in the shuffle. Someday, you’ll only be able to hear it on records or CDs or something. That’s the only place it’s guaranteed to live.”

Cedric Burnside likewise is heir to a Mississippi blues lineage but is also a product of the generational changes that come when younger players pick up influences from other forms of music. Much of the way he approaches rhythm he learned from his grandfather, “Big Daddy.” “When you hear my music you can hear my granddad as well,” he said. “When you’re around someone your whole young life, you tend to sound like them, even walk like them.”

Most of that influence is rhythmic. Even when he plays funk-oriented backbeats, Burnside likes to draw things out, as his grandfather did. “All of hill country music has its own timing,” he explained. “If you haven’t been exposed to it, sometimes you won’t quite get it. I’m not saying that nobody can figure it out, but you have to be focused when you’re playing it and pay attention.”

Burnside’s father, Calvin Jackson, was a drummer who worked with R.L. Burnside. But it was R.L., not his dad, who influenced Cedric Burnside’s choice to be a drummer. “He wasn’t around much when I was growing up,” Burnside said of his dad. Burnside, in fact, took his mother’s maiden name after his parents separated.

Young Cedric first got behind the drums at his grandfather’s weekly house parties. “Those were awesomely beautiful events to me,” he said. “I was about 10 or 11, and I’d get to hear [R.L.] playing at juke joints and at those house parties every weekend. The band would play on Big Daddy’s porch. They’d set up this old raggedy drum kit and just jam, drink a little, have a good time. I was 6 or 7 about the first time I remember attending. I’d be watching them and they’d take a break and I’d work up my courage and sit down behind the drums and play a little. I didn’t know what I was doing. But it didn’t matter if I could play or not. Everybody was encouraging. I just thank God for that experience.”

Another influence was Burnside’s younger brother Cody, who died in 2010.

Cody liked rap and funk, and the two worked together in the first incarnation of the Burnside Project, where Cedric Burnside experimented with hip-hop and R&B rhythms. The band, now with guitarist Trenton Ayers, maintains the strong beats and funky rhythms of its earlier work even as it incorporates more traditional electrified blues.

“I like some rap,” Burnside said. “But I’m a die-hard bluesman. I’ve just always been interested in different kinds of music and doing different things if it sounds good. My brother was so into rap, so we decided to see if we could get it to collaborate with the country blues school. But now? No, I wouldn’t do rap.”

Burnside’s drumming won him recognition as blues drummer of the year at the 2013 Blues Foundation Awards. He has collaborated with fellow Mississippian JoJo Herman of jam band Widespread Panic and with Jimmy Buffett.

Burnside likes to perform solo and to compose on his acoustic guitar. The cover of his 2010 recording, The Way I Am, shows him picking at the guitar while leaning up against his grandfather’s tombstone. “Songs come to me in various moments,” he said. “I can be in a hotel room or on my front porch, and the verses will come to me by themselves, without music. Sometimes I’ll write two or three of them in one day. The music might come later. I’ll get a riff going in my head and there it is. I write pretty simply. All my music comes according to the way I live and what I and my family go through.” ◀

Santa Fe Community Orchestra Oliver Prezant, Music Director

2013-2014 Concert Season

All American

Fall Concert Sunday, October 13, 2:30pm St. Francis Auditorium New Mexico Museum of Art 107 W. Palace Ave.

details

Carpenter: Skyscrapers

▼ Cedric Burnside Project with Trenton Ayers; Jimmy “Duck” Holmes

W.G. Still: Kaintuck’

▼ 7:30 p.m. Friday, Oct. 11 Taos Mesa Brewing, 20 ABC Mesa, El Prado (near Taos)

Michael Bowen, piano

Copland: Symphony No. 3

$10; 575-759-1900 ▼ 7 p.m. Saturday, Oct. 12

Pre-concert folk music by the SFUAD

Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, 505-982-1851 $25 in advance at www.brownpapertickets.org, $28 at the door

Acoustic Americana Ensemble

at 1:00 pm in the Courtyard

Free admission - Donations appreciated This concert is sponsored in part by:

Thornburg Investment Management For more information visit our website: sfco.org or call 466-4879

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.

PASATIEMPOMAGAZINE.COM

27

Paul Weideman I The New Mexican

gimmeracks & pebbleyteers Joe West and the Santa Fe Revue

JOE WEST’S

PSYCHEDELIC FOLK AND BLUEGRASS FESTIVAL Saturday, Oct. 12, at the Madrid train yard, next to the Mine Shaft Tavern, 2846 N.M. 14 Noon 12:05 p.m.

12:45 p.m.

1:30 p.m.

2:15 p.m.

2:45 p.m.

3:30 p.m.

4:00 p.m.

4:45 p.m.

5:15 p.m.

5:45 p.m.

7:00 p.m.

8:00 p.m.

Joe West opening speech Will and the Won’ts The Rio Grande Family Band Pa Coal and The Clinkers Sage and Jared’s Happy Gland Band Todd and The Fox Janice Mohr-Nelson Joe West and the Santa Fe Revue with guest Laurianne Fiorentino Hill Stompers Hot Honey Family Lotus Hill Stompers Broomdust Caravan

Tickets, $10 in advance, are available from the Mine Shaft Tavern (505-473-0743) andThe Candyman (851 St. Michael’s Drive, 505-983-5906) in Santa Fe. Tickets are $15 at the event. No charge under 13.

28

PASATIEMPO I October 11-17, 2013

Joe West’s Psychedelic Folk and Bluegrass Festival

ne day in August of 1971, a popular local band named Family Lotus provided a bluegrass background as some 100 young people registered to vote at Ashbaugh Park in Santa Fe. It was a pretty tame venue for a group that “essentially opened and closed every honky-tonk in Northern New Mexico for 20 years,” according to guitarist Jerry Faires.

Family Lotus was as much about colorful personality as it was about musical virtuosity. A description of the band by its members filled with tangled symbolism, made-up words, and “creative” logic appeared in an announcement in The New Mexican for a February 1970 concert at St. John’s College: “Trodding through the sarcophagi of experiential gimmeracks and pebbleyteers come half a dozen fresh flowers — The Family Lotus. What do these petals dew? one might well ask. Sounds of the earth roll and flow from their guitars, banjo, dulcimer, kalimba, veena, mandolin, fiddle, and sundry organic rhythm mumblers and sighs. The Family Lotus presents itself, its music, and its theory of relativity, energy, space, goodtimes equalizing.”

A “second coming” of the band is a featured act in Joe West’s Psychedelic New Mexico Folk and Bluegrass Festival on Saturday, Oct. 12, in Madrid. “I grew up hearing stories of these crazy hippies and as an adult musician now listening to their old recordings, I see what a wonderful bunch they were and what a great time it was then to be alive and partying in Northern New Mexico,” said West, a local musician (leader of the Santa Fe Revue) and organizer of the event.

West wasn’t yet born in the Summer of Love (1967); he came into being the following year, when Family Lotus was founded. Faires, who’s also a Madrid silversmith, looks good for 73. That he attributes

to “sex, supplements, and rock ’n’ roll.” During an interview, he said that the old band specialized in “bluegrass/boogie jazz/rock ’n’ roll/rockabilly.”

One of the dominant voices was Jim Bowie’s hot five-string banjo.

“We put the band together in 1968,” Faires said.

“Our first gig was at Quixote’s Horse, which was a bouillabaisse restaurant on Galisteo Street. We played for tips and soup. Then we were at Claude’s Bar on Canyon Road for a long time. Lumbre Del Sol, The Last Mile Ramblers, and Family Lotus — between the three of us we were the house band in this whole area.”

In the summer of 1974, the group played the Institute of American Indian Arts, accompanying bluesman Taj Mahal performing “the people’s revolutionary music of Jamaica.” A pair of gigs at St. John’s College featured Family Lotus along with Allen Ginsberg, Ram Dass, Gary Snyder, and Alan Watts.

The band opened for R & B guitarist Bo Diddley and jazz saxophonist Charles Lloyd; the latter told Faires, “Your music touches many shores.”

Some of the Family Lotus members have made music together from time to time, but the whole band hasn’t played together in 25 years. “We’ll have two days. We’ll get together in my silver shop to rehearse,” Faires said. The musicians are coming from all over.

“The cello player, Hugh Hazelrigg, is driving down from Bloomington, Indiana. Steve Lindsay, our electric bass player, is flying in from Portland, Oregon.

Jim Bowie, five-string banjo, is driving down from Crestone, Colorado.” Filling out the band on the festival-tent stage next to the Mine Shaft Tavern are drummers Peter Amahl and Baird Banner, both from Cerrillos; and guitarists David Gilliland and Arlen Johnson, both from Santa Fe. “We’ll be playing a lot of old songs and a few new ones,” Faires said.

Besides the Family Lotus and Santa Fe Revue, the Psychedelic New Mexico Folk and Bluegrass Festival hosts Will and the Won’ts, an L.A.-based band headed by a former Santa Fean; Sage and Jared’s Happy Gland Band from Albuquerque; and a roster of local acts including Hot Honey, Todd and the Fox, Broomdust Caravan, Janice Mohr-Nelson, Pa Coal and the Clinkers, and the Hill Stompers.

Family Lotus, circa 1969

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“This is intended as the first annual festival. We’ll see how it goes, and maybe we’ll have a second annual,” West said.

“Madrid has struggled with having a bluegrass festival on and off. There used to be a blues and jazz festival, and in the ’70s and ’80s there was a blues fest that was held in the ball park that was pretty Sage Harrington successful. But I think people don’t go out as much as they used to, because they sit around on Facebook and go to coffeeshops instead.”

West started out attempting to forge an acting career in New York City for seven years after majoring in theater at the University of South Dakota.

Then he moved to Austin and formed an alternative country group, Joe West & the Sinners. In 1999 he released his first CD, Jamie Was a Boozer. His touring résumé from those days includes opening for the Violent Femmes and Arlo Guthrie.

After moving to Santa Fe in 2001, he led several bands, among the best-known the Santa Fe All-Stars and, initiated in 2011, the Santa Fe Revue. A special Christmas show that year featured the Revue with guests including a “real” cowboy, the 1967 Santa Fe Rodeo queen, and a “miniature violinist,” according to the event announcement. Another moment in the eclectic West’s output was a rock opera that he wrote and starred in — as a time-traveling transvestite named Xoe Fitzgerald.

These days, he plays with his “psychedelic country” band every Thursday night at Tiny’s Restaurant & Lounge. The Family Revue is West, singer and storyteller; Margaret Burke, bass and vocals; Arne Bey, drums; Ben Wright, guitar and vocals; Karina Wilson, fiddle; and Lori Ottino (who is also part of Hot Honey) on melodica and vocals.

Faires’ path began in South Texas. A snippet from his historical commentary, offered spontaneously during the interview, will get readers in the proper spirit for West’s festival. “In the mid-1990s I began writing things I knew I wouldn’t sing, and in 2000 I started doing spoken word. I grew up at the far end of the Río Grande. After three semesters of college, I quit to get on with my education, and I ended up in the Army and in St. Louis, Missouri, running a coffeehouse.

“I came here in 1968 and shortly thereafter I began my graduate work, which went something like this: ‘They were traders and trappers and talkers of trash, the creators and collectors of the infinite stash, off the books, off the grid, living on cash and dreams and love and Nepalese hash. They were making fine objects in metal and stone, living wild, living free, living close to the bone, out by themselves but never alone, in the rarified air of the creative zone.’ ” ◀

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PASATIEMPO I October 11 - 17, 2013

Santa Fe Independent Film Festival Executive director Jacques Paisner thinks the Santa Fe Independent Film Festival, now in its fifth year, is finally settling into its rightful place within both the national film circuit and the New Mexico events circuit. Strategically scheduled to fall shortly after the Telluride Film Festival and the Albuquerque International Balloon Fiesta, the festival combines five days of screenings, panels, and nightly after-parties from Wednesday, Oct. 16, through Sunday, Oct. 20.

Wednesday’s highlight is the screening of John Sayles’newest picture, Go for Sisters, at 6:30 p.m., preceded by a short directed by that film’s star,Yolanda Ross. At 9 p.m., the focus shifts to a series of nearly 10 shorts by New Mexico filmmakers, many of whom will be in attendance. Both screenings are at CCA Cinematheque (1050 Old Pecos Trail, 505-982-1338).

Thursday, Oct. 17, offers a very full day of programming, starting at 10 a.m. Paisner’s highlights include These Birds Walk, a “hidden gem” social-justice documentary about Pakistan (1 p.m. at CCA Cinematheque); 12 O’clock Boys, which focuses on a dirt-bike gang in one of the poorest communities in Baltimore and is“a brilliant social-justice piece that has a young appeal to it”(3 p.m. at CCA Cinematheque); and numerous shorts scattered throughout the day. Paisner identified the main event as Tapia.The documentary follows the tumultuous life of Albuquerque’s favorite world champion boxer. Scheduled for 7 p.m., the screening is expected to sell out the Lensic Performing Arts Center (211 W. San Francisco St., 505-988-1234). For those who prefer something lighter, Paisner recommended Pastriology, a food documentary receiving its world premiere at 7 p.m. at The Screen (Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494), which is followed by a special reception with local cuisine.

Festival passes are $150, with individual tickets for most screenings priced at $10. Both are available through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). Pass holders are encouraged to visit www.santafeindependentfilmfestival.com to make reservations for particular events; the site also details the festival’s complete lineup. — Loren Bienvenu

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Loren Bienvenu I For The New Mexican

A LIFE ON THE JOHNNY TAPIA

hat is it about the archetype of the fighter that captures the imagination of even those it repels?

The boxer embodies dedication and despair, triumph and brutality — and the contest within the ring may be the most visceral and directly symbolic translation of the individual’s will to survive.

If so, Johnny Tapia’s life and career provide in their convergence a stark emblem of the human struggle, if not the human experience. Tapia was many things: a scrappy kid from Albuquerque with a troubled childhood, a man who battled and defeated cocaine addiction in rematch after rematch, a five-time world champion boxer, but most of all, according to his widow, Teresa Tapia, an entertainer. “He would always make you laugh. He was a clown and a nut.

I’d say 80 percent of the time he was happy and bouncing around and hyper,” she told Pasatiempo. The other 20 percent of the time she described as “dark.”

Frequently characterized as boxing’s antihero, Tapia was the perpetual underdog who won by fighting as though he had nothing to lose. His heartbreaking story has been glorified from tragedy to the stuff of lore. Only 8 when he lost his mother, he never forgave himself for her abduction and brutal murder. As his New York Times obituary stated, “He said he saw every opponent as his mother’s killer.” Parentless, he started fighting neighborhood kids a year later in matches staged by his uncles. He became a two-time Golden Gloves champion as a teenager. Then began a storied professional career that included an undefeated stretch of nearly 50 bouts and championships in three different weight divisions.

These career highs brought about more personal lows. Tapia was pronounced clinically dead on five occasions due to drug overdoses. He battled depression his whole life and attempted suicide more than once. In 2007, his nephew and brother-in-law (whom Tapia called his best friend and partner) died in a car accident — they were on the way to visit the boxer in the hospital after his most recent overdose. Two years later, Tapia was sent to prison once more, this time for violating his parole by traveling to Red River in search of a missing cousin-in-law who was later found dead.

The highs and lows of the boxer’s life are captured in Eddie Alcazar’s moving documentary, Tapia. The film combines archival footage of matches with Tapia’s commentary, reflections, and his own account of what he called “mi vida loca” — a label he considered so fitting that he had it tattooed in gothic script across his stomach and used it as his official slogan. Most poignant is the aged fighter (at 45, in his final year of life) discussing personal failures and struggles in the context of his wife’s unending support, often unable to stem tears.

According to producer Andrea Monier, the project was initially undertaken as research for a feature film, but director Alcazar soon established a rapport with Tapia and realized that a documentary might be more effective. When the boxer was discovered dead in a hotel room by his wife on May 27, 2012, continued on Page 34

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AP Photo, Las Cruces Sun-News/Shari Vialpando

AP Photo/Reed Saxon

AP Photo/Jake Schoellkopf, and background photo

Tapia, continued from Page 32 the project was solidified as one of tribute through documentation.

Teresa Tapia called the final product “a very powerful and emotional documentary. It’s very touching and sad. It’s funny, as his spouse I can watch old footage of his fights and I don’t get so emotional, but I watch the documentary and know that it’s his last year — that’s what brings on all these feelings.”

As someone who never gave up on her husband, she said that watching him fight was only one of the challenges created by his self-destructive lifestyle. “It was worrisome, of course, but what he did out of the ring was always more problematic, because at least in the ring there are rules — but I learned not to show emotion early on. In every fight he would spot where I was sitting, and if I had a look of worry, it would do something to him. He’d think he must be behind and he’d go in there and not be disciplined and fight with too much emotion.”

Her husband’s favorite moments were those leading up to and being in the ring — the training, the press coverage, the adoration from fans, the suspense before the opening bell, and his in-fight antics.

Tapia’s entertainer side is prominent in the documentary. He is seen exposing himself to attack in order to rile up the crowd with uplifted gloves, grinning at his opponents after they land staggering blows, and, time and again, celebrating victory with a signature back flip that seems to symbolize his life’s overall pattern of triumph over tribulation, a surprising surge of energy following a grueling battle.

His wife said that the real battles took place after the fight. “He’d hit a low, because everyone was gone and he was left to heal. It would be a sad thing; he’d feel like he rose to the occasion, but, ‘Now what? What do I do now?’ He’d go through a depression after each fight. It was harder than the fight itself to pull him out of that state of mind.

“The first day he would be healing. The ritual right after the fight was getting him a twelve-pack of Dr Pepper and a cheeseburger, because he was deprived of all that junk food, and he would just pig out on all his favorite foods. Then he’d want to sleep but couldn’t because his body was so sore. We’d have a jacuzzi ready for him with Epsom salts, but it would take a couple days for his body to heal. He would go through the depression and the physical letdown, then he’d usually snap out of it and be back out there, in public again, or with the kids. But then there were times where we couldn’t snap him out of the depression, and he’d go into a spiral of drugs and not be able to pull himself out.”

Such downward spirals often led to suspensions and stints in jail that seemed to preface the end of Tapia’s 34

PASATIEMPO I October 11-17, 2013

career. But, repeatedly bucking the odds, the boxer would return a year or two later to fight his way back to a world title with renewed vigor — a few extra tattoos and an increasingly flattened nose adding to his already pugnacious look.

Husband and wife faced their greatest challenge with the loss of her brother and their nephew, leading to a time she called “hell for both of us.” Although Tapia wanted to quit professional boxing after that tragedy, he eventually returned to the sport to support charitable causes — a move that was presented as an option for getting out of prison following his parole violation. His return was short-lived, though not unsuccessful. He spent his final few years transitioning into the role of promoter and supporting their oldest son’s burgeoning career. According to Teresa Tapia, the son lost any desire to fight when his father died.

“Nothing can prepare you for death,” she said — neither her husband’s numerous close calls over the years, nor his habit of predicting his own early demise.

Even before she married Tapia in 1994, he was both fixated and at peace with the notion that his life would not be a long one. “He’d say, ‘People sit there and live their lives not taking any chances. But I’m going to live my life, good or bad, right or wrong — I’m going to live it the way I want to.’”

During the final month of his life, though he seemed to be in good health, he was unusually vocal about his belief that the end was near. “All he did was talk about how he wanted his funeral, who his pallbearers were to be, and how he wanted to have the memorial at the Pit [in Albuquerque].

It was the strangest experience. You didn’t want to hear about it, feeling it’s just morbid, but in the end he passed away the day before the anniversary of his mom’s death. The last letter I have from him is on a Thursday, and he passed away on a Sunday. He says in the letter, ‘I want to be with both my moms. [His mother and his grandmother, who raised him.] I’m tired and I’m ready to go, and I don’t want to be here anymore.’ ” According to the coroner’s report, the cause of death was heart failure. There was no evidence of drug use. Today, while Teresa Tapia could be forgiven for only looking back at the hardest, darkest moments of their relationship, she said she focuses on the other 80 percent of the time, when her husband was at his best. In particular, she cherishes the love with which he embraced her own family.

“When my mom became ill with diabetes and my grandma was old, they needed someone to care for them. He was the first person to jump up and say, ‘Oh, they’re moving in with us.’ He supported all of them in every way — not just financially, but emotionally. He gave them life. I remember with the greatest joy, when my grandma was in a wheelchair, she died at 92, he’d swing her around in her chair and turn on music and say ‘Let’s dance!’ He’d pretend to give her hickeys, and she’d giggle because her neck was ticklish. He lengthened their lives just by being in their lives. I know he felt oddly responsibly, like his legal troubles drained life out of them, but in my eyes he gave them years, because of who he was. I’m so proud of him. There was nothing he wouldn’t do for them.” ◀

Tapia, documentary, not rated, Lensic Center for the Performing Arts, 3.5 chiles “Tapia” screens as part of the Santa Fe Independent Film Festival at 7 p.m. Thursday, Oct. 17, at the Lensic Center for the Performing Arts (211 W. San Francisco St.); the director and Teresa Tapia will be in attendance. Tickets ($10 and $15) are available by calling 988-1234 and from www.ticketssantafe.org. Visit www.santafeindependentfilmfestival.com.

The C.G. Jung Institute of Santa Fe Presents:

Jung In The World

Lecture & Workshop

Nancy Swift Furlotti, M.A. Jungian analyst practicing in Los Angeles

Lecture: Wild Cats and Crowned Snakes: Archetypal Agents of Feminine Initiation

Friday, October 18th 7-9pm $10 2 CEUs Animals frequently appear in dreams, especially at times of important changes in one’s life. They represent the natural, instinctual layer of the psyche that can sniff out the correct resolution, and come to one’s aid. Just as dogs are frequently depicted as the guides and companions in the underworld and at death, they and other animals appear at important times of initiation throughout the life span. These are moments that require of us a descent back to our instinctual level to connect with the chthonic, underworld gods capable of offering us important pieces of ourselves that we need in order to move forward in our life’s work and to further individuation. Examples from Jung’s life and the author’s real life encounter with a wild animal are the backdrop to discuss and amplify four dreams of animals that powerfully intervene at important initiatory stages in a woman’s life.

Workshop: The Dream and it’s Amplification

Saturday, October 19th 9am-4:30pm $80 6 CEUs “The dream is a little hidden door in the innermost and most secret recesses of the soul, opening into that cosmic night which was psyche long before there was any ego-consciousness, and which will remain psyche no matter how far out ego-consciousness extends.” ( Jung, CW 10, para. 304) In this workshop we will examine why we dream, the importance of dreams, the different types of dreams – both personal and archetypal – and how to work with them using C. G. Jung’s method of uncovering meaning, called amplification. The psyche speaks to us through images, therefore, we need to understand its language in order to gain the wisdom offered up nightly to us. Both personal and archetypal dreams will be used to demonstrate this method. Join us with your questions, curiosity, and willingness to dip into the deeper recesses of the psyche.

Both events at Center for Spiritual Living, 505 Camino de los Marques, Santa Fe

al l im age de ta il s © 2 013 cOu rte sy, g e ra l d p e t e r s ga l le ry

For details & workshop pre-registration call Jerome Bernstein, 505-989-3200 For expanded program details go to www.santafejung.org

Presence, Place, & PersPective dOn cOen Buff elting Karen Kitchel dOn stinsOn

OctOber 11 - nOvember 30, 2013 Opening receptiOn with the artists: t O n i g h t, f r O m 5 : 0 0 p m - 7 : 0 0 p m

1011 paseO de p e r alta , santa f e , nm | 505.954.5700

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Bill Kohlhaase I The New Mexican

HALF-LIFE LEGACY

looks like something out of a 1950s sciencefiction movie. A large spherical container sprouting myriad wires sits in what looks to be a large warehouse space. Many of the wires are plugged into a box that juts from the container. Others run to a panel on its side. In its detail and its white, black, and gray shades it’s easy to mistake the picture for a historical photograph. But it’s an artist’s rendition, done in graphite and charcoal, of a declassified picture of the first atomic bomb sitting at New Mexico’s Trinity Test Site on July 15, 1945, a day before its detonation. The device was code-named “the gadget.” Artist Nina Elder’s drawing of the historic photograph, despite its detail, gives it something of a confused technology-gone-haywire appearance that suggests Medusa’s tangled head of hair. The charcoal Elder used to draw it, gathered from trees burned in the Cerro Grande fire near Los Alamos, where the bomb was built, is radio-active. “That was the idea. I put a Geiger 36

PASATIEMPO I October 11-17, 2013

counter on the pieces, and they went ‘ding,’” Elder explained. (The levels are too low to be dangerous.)

Elder’s The Gadget is part of the Center for Contemporary Arts’ exhibition Atomic Surplus, which opens Friday, Oct. 11, and runs through Jan. 15, 2014.

The exhibition is part of CCA’s larger Atomic Surplus project, a series of events and exhibits that includes readings, lectures, panel discussions, historical materials from the Los Alamos Historical Society, films (including Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb), and an all-ages “Night of the Gamma Rays” party that includes activities for children and a costume competition.

The Atomic Surplus group show examines our nuclear legacy. Its dozen artists and collectives consider the history of atomic energy and also look beyond its origins in New Mexico. “That story has been two-dimensional for a lot of people,” said exhibit curator Erin Elder. “I wanted to find artists that stretched our ideas about atomic issues, artists who fill the holes

in our understanding of the nuclear world and the way we think about it.”

Elder said the idea for the project developed from her own curiosity, and that of others, about our shared nuclear past. She realized that her understanding of the atomic legacy came from iconic images, not from any greater intellectual understanding. “When I scanned my brain for images or memories of ‘atomic’ or ‘nuclear,’” she writes in her introduction to the exhibit’s catalog, “I came up with a black-and-white mushroom cloud, historic footage of mannequins being flung across the desert in a slow motion nuclear test, a goofy Dr. Strangelove, a quaint fallout shelter in LIFE Magazine equipped with checkered tablecloths and canned goods.” Something more was needed.

“When certain ideas, certain images become iconic, they tend to stand in for more complex thinking. We wanted to bring together things that encouraged a deeper look at the issues, at the history,” she said.

The exhibit puts a different spin on our radiated legacy, showing us things we’ve never seen before and things we’ve seen, but never like this. A historic photo of the Trinity test stands as an example, its browns and reds gathering in a bright center that resembles some abstract painting. Then there’s Santa Fe photographer Christopher J. Johnson’s photos of the abandoned human landscape around the Chernobyl plant. Bettina Samson produced eerie, almost celestial exposures of background radioactivity made by placing film inside boxes that once held uranium ore. Greta Young’s paintings are the exhibit’s most abstract, bringing a surreal, at times sinister feel to the collection. The Los Angeles-based Center for Land Use Interpretation, an organization that examines human-impacted landscapes around the United States, contributes an aerial photo of the Crescent Junction, Utah, radioactivewaste disposal station, which looks something like an extensive geometric archeological site. Chim^Pom | is a Japanese collective that has documented the posttsunami damage in the areas around Fukushima. Their video work includes footage of residents of the region using martial-arts vocalizations to concentrate energy.

The project’s catalog contains essays from each of the artists, some in the form of verse. “I asked those involved to write in a way that gave a voice to their work,” Elder explained. “I told them not to think of it as the usual artist’s statement but as a place to discuss the nuclear legacy as they saw fit. Though we generally tried to stay away from obvious political statements, we knew that this is a controversial subject and didn’t want to tell people what to think. We wanted the artists to have an outlet for their different perspectives.”

Politics can’t be avoided in such a topic. Claudia X. Valdés, an artist who spent several years researching nuclear arms, makes an unambiguous statement with her digital video installation 192:291. Its image holds 192 tiles, each like a small television screen, each representing a country and each containing the image of the first nuclear test broadcast live on television. As the tiles, one by one, fill the screen, a mushroom cloud spreads through each one. Narrator Walter Cronkite’s voice distorts as the explosions multiply. Then the tiles begin to disappear, one by one, until the screen is again dark and the audio goes silent. This domino effect of explosions seems to ask: If it starts, where will it stop; what will be left? “My hope is that the work will

Nina Elder: The Gadget (Trinity Test Site, July 15, 1945), 2011, graphite and radioactive charcoal on paper

generate a reflective moment for the viewer. That when they walk away and think about the images, it will visually organize things for them,” Valdés said. “If we can locate the present in these images of a potential future, we might reconsider our actions.”

Nina Elder, whose essay is probably the most antinuclear of all, said she wanted to make a strong social statement. “I think that people have a sense that if it involves government tax dollars and it’s developed in a lab and if hundreds of people are working on it, it must be safe and it must be sane. I disagree.”

Some of what’s here challenges expected conventions about radiation and its effects. Musician and sound artist Peter Cusack draws from his work Sounds From Dangerous Places to bring a haunting aural effect to the show. Cusack traveled to different environmentally damaged sites to gather “soundscapes” for his project, including the Chernobyl Exclusion Zone around the plant. What he gathered there was surprising, as he reports in the exhibit’s catalog. One discovery “was

the prolific springtime bird song and the beauty of the landscape. In the absence of humans (people had been evacuated), nature has spectacularly restored itself, creating a successful ecological balance within a changed environment.”

To varying degrees, we all live in environments affected by the atomic age. Baby boomers remember being warned about drinking milk after the Soviet Union tested hydrogen bombs and radioactive dust was carried to the U.S., where it rained down on pastures. Abandoned uranium mines dot the West. Today, a radioactive plume is spreading across the Pacific from Japan, where the Fukushima disaster resulted in radiation leaks into the sea. Atomic history radiates here in New Mexico, just as you might expect in the state where the first atomic bomb was built and detonated. Nina Elder, in her catalog essay, cites a number of wrongs that stem from the nuclear legacy, from “the on going explosive rise of leukemia among the Santa Claran people, whose fields are irrigated with

straight nuclear run off from Los Alamos” to “the huge stipends and education grants given to engineering students by weapons manufacturing corporations.”

“I believe art helps us chip away at the artificial insulation that we have from the atomic legacy,” Elder writes. “I make art about the atomic legacy because I want to bring the flawed past into the present. By shining a light on the suffering and insolence that is the atomic legacy, I believe that art can accelerate their half-life.” ◀

details ▼ Atomic Surplus ▼ Opening reception 6 p.m. Friday, Oct. 11; through Jan. 5, 2014 ▼ Center for Contemporary Arts, 1050 Old Pecos Trail ▼ $5 suggested donation (reception no charge); call 505-982-1338 or see www.ccasantafe.org for schedule of related events

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There has never been a more perfect example of beating swords into ploughshares.

Roger Snodgrass I For The New Mexican

he Center for Contemporary Arts’ Atomic Surplus project features the work of Tony Price (1937-2000), who brought the art of sculpture into the Atomic Age. A selection of his ungodly masks, celestial instruments, bionic appliances, android appendages, and absurd Strangelovian tableaux and devices are on view in a context that the pieces’ eerie spirits may find very familiar.

That’s because so many of the materials from which they were fabricated are associated with the Black Hole, the world-class junkyard emporium in Los Alamos that shares the spotlight in the exhibit Tony Price and the Black Hole (part of Atomic Surplus). The store was owned and operated by Ed Grothus (1923-2009), the nuclear abolitionist whose hoard of surplus atomic parts and pieces originated in Los Alamos National Laboratory. Grothus and Price were frequent companions at the Zia Salvage Yard at the laboratory, where the surplus came up for sale. Price bought scrap at bulk prices to use in his sculpture, and Grothus bought furniture, hardware, supplies, and miscellaneous what-not that the lab no longer wanted, compiling in the process a disorganized meta-inventory of discarded objects pertaining to the place where the atomic bomb was born and the hydrogen bomb was developed.

Junk is not the same as trash or rubbish, as many contemporary biologists exploring ‘‘junk DNA” have concluded, having identified functional biological messages in genetic code they had dismissed as “junk.”

Junk is something to keep, because it only appears to be useless at the moment. Junk is pure potential in waiting.

Like Rodin, who said he merely freed the figures within the stone, Price, through his creations, unlocked the potential within the perfectly crafted metal and ceramic circles, geometric shapes, and precise patterns of advanced military-industrial science that lay in the scraps cast off by the lab.

“Tony had a real vision that he would have an effect, that he would change the world with his art,” said photographer Jamie Hart, who handled the logistics for bringing Price’s work to Santa Fe from the studio he built toward the end of his life in Reserve, New Mexico. There will be 14 pieces in the CCA show, 12 of them for sale. Hart is the president of a group known as Friends of Tony Price, which hopes to buy a piece of land in the Santa Fe area, where Price did most of his work, and build a replica of his studio where a portion of the collection can be permanently housed.

“Tony’s vision was so original, and there was such a unique set of circumstances about this man and these materials. There has never been a more perfect example of beating swords into ploughshares,” Hart said.

James Rutherford, who wrote two essays in the book Tony Price: Atomic Artist, which accompanied an exhibition at the New Mexico Museum of Fine Arts in 2004, made a similar point. “The further we get from Tony’s death, the more his work seems like archaeological relics of a bygone era.” Rutherford spoke of the materials that were available back when there were actual nuclear tests performed, compared with the computerized simulations done now. “He was using the authentic materials. They don’t make them anymore.”

The distinction is important in artistic terms, he said, because “Tony was engaged in alchemy,” transforming something from one purpose into its complete opposite — “like taking something extremely negative like an atomic bomb casing and turning it into a temple bell.”

Rutherford profiles Price’s formative years becoming “a counterculture icon.” He had periods of great success, including exhibitions at the United Nations and at Biosphere 2 in Arizona and many loyal friends.

Santa Fe-based filmmaker Godfrey Reggio (The Qatsi Trilogy), one of the stalwarts of the friends’ group, recalled Price’s appealing personality, his sense of humor, and the integrity and disproportionate obscurity of his art. “Tony was the kind of person who made you feel like you were the most important person in the world. He had an enormous sense of humor that attracted people to him like a magnet,” he said. “He is

no longer with us, but he is living in his pieces.” Because of that body of work, Reggio said, Price is a “dead man walking, a famous unknown artist.”

Price and Grothus met in the late ’60s, and for a short time Price managed a prototype of the Black Hole called Atomic Surplus in Santa Fe. The two men became lifelong friends. According to Barbara Grothus, who is organizing her father’s part of the exhibition, they shared a sense of humor and a passionate political outlook.

Before long, the Black Hole became a mecca for artists, peace activists, souvenir hunters, tourists, and curiosity seekers from every corner of the globe. Grothus kept a guest book, and one of his favorite conversational gambits was to talk about recent visitors. He was written up in many magazines and interviewed various international media outlets. When one of the mock nuclear weapons in a sunflower array on the property was stolen, it was a national story. By the end of his life he was widely recognized as an elder statesman of the disarmament movement.

“My father wasn’t an artist, but he embraced performance art,” Barbara Grothus said. In his role as public jester, her father converted an old building on the property into what he called the “First Church of High Technology,” in which he gave regular sermons in the role of a cardinal. “He understood the value of adopting a persona from the church and using the mantle of moral authority to work for peace and against the nuclear business.”

Another artistic project involved building a monumental pair of obelisks that tells the story of Los Alamos, which Grothus considered the most important story in history. He had the obelisks cast in China, with room where translations of the story would be inscribed in 15 languages. They were shipped back to the United States at great expense and stored on the Black Hole property. He had hoped they would become accepted by Los Alamos County, but the public arts commission rejected the proposal. As a continued on Page 40

Opposite page, Tony Price: Samurai Spirit Mask PASATIEMPOMAGAZINE.COM

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Photographs and magazine advertisements from the 1940s through 1960s make up adjunct exhibits to Atomic Surplus in the Muñoz Waxman Gallery at the Center for Contemporary Arts. Viewable from Friday, Oct. 11, to Jan. 5, 2014, they are The Living Room, featuring photos and other materials that illuminate the people behind the production of the first atomic bomb, and Nuclear Age Vintage Ads.

Ed Grothus

For the latter, 13 images were selected by archivist Megan Prelinger, co-founder of the Prelinger Library in San Francisco. “Megan and her husband are sort of renegade librarians and have these fascinating collections built around their interests,” said Atomic Surplus curator Erin Elder. In a piece for the exhibition catalog, Prelinger writes that the images date from between 1953 and 1963,“a time of extremely rapid identity development for nuclear industries.” Most of the graphics are advertisements that appeared in industrial trade journals.

“The Los Alamos Scientific Laboratory [the old name of Los Alamos National Laboratory] partnered with Southwest fine artists to create a long-running campaign that harnessed sophisticated abstract art to the purpose of recruiting top-notch scientists,” Prelinger writes.“They offer a clean, modern, and even glamorous take on the electron and its potential as an energy source.”

Ed Grothus & Tony Price,

continued from Page 39

part of the legacy that Barbara Grothus and other members of the family work to realize, they continue to look for a home for the obelisks.

As Price had a vision, Grothus had a calling, which had to do with putting his country on a more sustainable moral footing. The urgency stemmed from his growing fear that the horrendous weapon used at Hiroshima and Nagasaki had never been properly Tony Price sheathed and that the world was in fact becoming more perilous. At a public meeting in Los Alamos in August 2006, about whether LANL should carry on with its mission of designing, rearming, and extending the life of nuclear weapons, Grothus gave comments that were transcribed in the public record.

He had been in Los Alamos for 57 years at that time. He had worked at the lab for 20 years, mostly in weapons development, but after the war in Vietnam he reached a turning point in his life. Years later, having seen his country become the dominant nuclear power in the world — wielding its nuclear weapons, he believed, as if it had a right to threaten the rest of the world — he was compelled to speak out. “I have a fear, a real fear, a fear that we will blow ourselves up,” he said. “I predict it will happen in 2013, when an American with an American weapon of mass destruction destroys Washington, D.C., which starts a nuclear holocaust and everyone on Earth dies.”

For those who knew him, it was pure Ed Grothus — shocking, prophetic, visionary, apocalyptic, relentless, and blunt — but perhaps more shocking than usual, since he was predicting the end of the world. Reading these words that reach out from Grothus’ grave into the present seems very much like reading “This Living Hand” by John Keats, in which the poet reassures the reader that he is not dead by holding out his living hand: “See here it is — I hold it towards you.” ◀

details ▼ Tony Price and the Black Hole, part of the Atomic Surplus project ▼ Opening reception 6 p.m. Friday, Oct. 11; through Jan. 5, 2014 ▼ Center for Contemporary Arts, 1050 Old Pecos Trail ▼ $5 suggested donation for Atomic Surplus (reception no charge); 505-982-1338, www.ccasantafe.org

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PASATIEMPO I October 11-17, 2013

The sometimes jazzy images — one is an Emil Bisttram abstraction that was part of a 1963 show at Stables Art Gallery in Taos titled Art and the Atom: An Exhibition of Contemporary Art Used in Scientific Advertisements — show nuclear power plants and diagrams based on the physics of the electron.

The Living Room exhibition space, a self-service resource center, is stocked with Los Alamos Historical Society images and written materials about ProjectY, the secret, 19431945 effort to build a bomb that would help defeat Nazi Germany. (By the time the work was completed, Germany had surrendered and the bomb was used against Japan.)

At the peak of the war work, more than 6,000 people — including four Nobel laureates — lived at Site Y, not including locals who commuted to work there, according to a catalog contribution by Los Alamos Historical Society staff.“Scientists and engineers worked long hours, six days a week, struggling with the theoretical and technical difficulties in applying cutting-edge scientific discoveries to create a practicable weapon.”

In contrast to the image of LANL as a sanitized, high-tech oasis, the people who worked there in the war years labored in often-desperate conditions, slogging along muddy paths among the impromptu “laboratory” buildings and using lots of tape in their experiments. Edward Wilder Jr. told of his experiences as an explosives engineer in an appendix to the LANL publication Manhattan District History: Nonscientific Aspects of Los Alamos Project Y.“In my opinion,” he writes,“development of the explosive component of the bomb was greatly facilitated by the use of sticky tape. Special molds and risers were made of cardboard and tape. Things were repaired with tape. It seemed that it was used almost everywhere.” — Paul Weideman

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Michael Abatemarco I The New Mexican

INCENDIARY ART

1888 Charles Edward Munroe, an American chemist, observed that when a block of explosive guncotton with the manufacturer’s name on it was detonated next to a metal plate, the manufacturer’s name was etched onto the plate by the force of the blast, a phenomenon that became known as the “Munroe effect.” Nearly a century later, Gideon Sivan, an Israeli scientist working on civilian uses for explosives at the Energetic Materials Research and Testing Center of the New Mexico Institute of Mining and Technology in Socorro, was studying the Munroe effect and its possible application in creating decorative images. The energy of an explosion could force a metal plate around the contours of a raised object on its surface. His search to find an artist to help him explore creative uses for explosives led him to Evelyn Rosenberg, an Albuquerque-based printmaker whose etching plates, Sivan was told, resembled his exploded pieces. “It was one of these things,” Rosenberg told Pasatiempo. “He was like a cousin of a friend of an aunt, that kind of thing. So he got my name and came over one night and asked me if I wanted to go down to Socorro and blow something up.

Of course, I said yes. You can’t resist something like that.” Rosenberg deemed the art-making technique she developed with Sivan “detonography.” Nearly 30 years later, the technique is still Rosenberg’s primary means of creating art, and a new book by the artist, Detonography: The Explosive Art of Evelyn Rosenberg, is available from the University of New Mexico Press.

As part of her process, documented in the book in photographs by John Trotter, Rosenberg makes plaster molds of objects and covers them with a metal plate coated with C-1 plastic explosive. The shapes of the molds are imprinted into the metal plate after 42

PASATIEMPO I October 11-17, 2013

EVELYN ROSENBERG’S DETONOGRAPHY

detonation. “My original thought was maybe this would be a way to make very big etching plates,” Rosenberg said. “I had these huge vats of acid in my backyard. I thought this was maybe a less dangerous way to make the etching plates. But when I saw that the potential was not for making etching plates but for making the actual pieces themselves, I skewed in that direction.”

Rosenberg draws inspiration from objects of various cultures such as Japanese kimonos and ancient cylinder seals — incised stone cylinders dating to ancient

Mesopotamia that, when rolled out over clay or other surfaces, leave an imprint, similar to more modern printing techniques. Her work contains a blend of allegorical imagery, richly textured embroidery-like patterns, symbols, and human/animal hybrids. “I had studied comparative religion and philosophy and have always been interested in — not exactly mythological themes, but the connection between nature and human beings and the way that people and animals are interconnected. Animals have as much soul, in their way, as people, and should be respected. In ancient cultures, people understood that.”

The description of process is an important element of the book. Rosenberg is the only artist working in the medium, and it gradually became important to her to document her working methods so the technique would not be lost. To illustrate all of the different elements involved, she developed one large piece called The Land of Enchantment, inspired by New Mexico’s natural beauty and spirit. She hired Trotter to photograph each stage of its development for inclusion in the book. She begins with a design template corresponding to the size of the metal plate and then traces the design on a thick sheet of aluminum foil, which she tools into a sculptural form to make a threedimensional plaster mold. Rosenberg uses objects of all kinds, including organic materials that she presses into clay, in combination with the aluminum as a base for the molds. When covered with plaster and blasted at the EMRTC testing site, the resulting positive imprint in the metal reproduces the most minute details of the original object. In addition to the shape of a leaf, for instance, detonography also captures its small tears and thin veins. The finishing process takes the most time, as Rosenberg adds patinas and

The process involves forces strong enough to disintegrate or crumble the molds into pieces and send a metal sheet flying high into the air. polishes the work until it achieves a lustrous, jeweltoned glow.

The ability to render intricate detail using a dangerous and unruly medium like detonography led Rosenberg to experiment with various embroidered textiles. “I’ve been playing around a lot with quilts and scarves. Each has a different pattern. I’m trying to push that a little more. Anybody who’s wearing a shirt or jacket with embroidery on it is in danger. I’ll say, ‘I really like your shirt,’ you know? When people I know travel somewhere they always bring me some embroidery.” An example in the book is Rosenberg’s Kimono from 2011. “That kimono has pieces of fabric from all over the world,” Rosenberg said. Her Heritage Quilt is part of a larger work called We the People, a memorial for Paul and Sheila Wellstone that is installed in Neighborhood

House, an organization that assists low-income, immigrant, and refugee families in St. Paul, Minnesota. “The people from that center all sent me fabric from their home countries.” Rosenberg pressed the fabric into molds for her metal quilt, a series of rectangular patches, each with a unique textile design. “During the dedication, people came up and said to me ‘Oh, that was my bridal dress,’ or ‘That was my mother’s embroidery.’

That was special.”

When it comes to explosives testing in New Mexico, it’s easy to think of the state’s history as the home of the first atomic bomb, detonated at Trinity Site on the White Sands Missile Range on July 16, 1945. But Rosenberg’s work avoids atomic themes and references. The process involves forces strong enough to disintegrate or crumble the molds into pieces and send

a metal sheet flying high into the air if it isn’t heavy enough to withstand the force of the blast, but the violent nature of the work is in contrast to the imagery produced. “Everyone says, ‘What’s a little girl like you doing blowing things up?’ You know, because I’m short. I always say I see this almost like a feminine process. It’s like giving birth, because you have this messy, dangerous, scary thing, but then you get this beautiful object that comes out of it.” ◀ “Detonography: The Explosive Art of Evelyn Rosenberg” was published in September by the University of New Mexico Press.

Evelyn Rosenberg: top, Hanging Quilt, 2012; opposite page, Tree of Life, 2006; both detonographs

PASATIEMPOMAGAZINE.COM

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ART IN

REVIEW

Alberto Valdés: Selected Paintings, Blue Rain Gallery, 130-C Lincoln Ave., 505-954-9902; through Oct. 18 Alberto Valdés (1918-1998) spent most of his life in Los Angeles after moving from El Paso to the East L.A. neighborhood of Boyle Heights at a young age. Throughout his career he avoided publicly exhibiting or selling his work, which has only caught the public’s attention in the past few years.

Heavily influenced by such early 20th-century modernists as Picasso and Rufino Tamayo, Valdés’ vision incorporated Primitivist and pre-Columbian imagery. When looking at the paintings on exhibit at Blue Rain Gallery, it’s difficult not to see his work in relation to these early modernist influences; it would fit alongside work by Tamayo and muralist Jorge González Camarena.

Valdés, however, is more properly evaluated in terms of the Chicano movement that began in L.A. in the late 1940s and continued into the 1970s, empowering Mexican American communities, primarily in the U.S. Southwest. West Coast artists

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PASATIEMPO I October 11-17, 2013

have drawn more critical attention and prominence in recent years, particularly with the Getty Foundation’s multivenue Pacific Standard Time: Art in L.A. 1945-1980, of which Valdés’ work was a part.

All of the paintings on display are from the 1990s.

A number of distorted, abstract paintings dominate the selection, some of them dark and brooding self-portraits. What stands out in these and other paintings, most of them untitled, is Valdés’ bold, economic use of line, which manages to convey a sense of personality and emotion with the utmost simplicity. The vibrant, glowing colors in most of the portraits attract viewers but contrast with the somber faces. His paintings embody heaviness and lightness in equal measure. The faces in some work are etched faintly into the paint, adding a subtle, tactile appearance while retaining a quickly rendered, sketchlike feel. The faces are like silent witnesses, fading from memory but still lingering in the present, watching.

Another body of work makes somewhat more explicit references to Valdés’ Mexican heritage, exploring imagery that recalls pre-Columbian sculpture but also themes of the intermingling of religion

and culture. The cross is a dominant image in several of these paintings, rendered as an organic part of the figurative imagery, while the figures themselves recall Aztec forms. The contours of these figures are refracted by his use of line. The gradations of color in these paintings suggest diffuse light with no discernible source. The glow emanates from the figures, lending them a supernatural — but strongly rooted, rather than ethereal — presence.

While its purview is limited to a single decade in the artist’s long career, the selection is compelling.

Blue Rain may not be the venue for a full retrospective, which would be a welcome possibility, but even with this small showing, the gallery is taking a chance on featuring work by a largely unknown artist. Critical evaluation of his impact on other artists of his generation or more recent generations is difficult to gauge, as Valdés’ star is still emerging.

— Michael Abatemarco Alberto Valdés: left, Untitled, 1994, acrylic on Arches paper; right, Pregnant Lady, 1998, acrylic on Arches paper

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45

SPREAD 4.0

Michael Abatemarco I The New Mexican

S

ince March 2011, SITE Santa Fe’s annual SPREAD dinners have helped creative individuals and organizations realize their projects by providing them grants raised through microfunding by local residents. During the community dinners, attendees listen to short proposals by finalists for the grant and cast their vote for the project they consider most deserving. At the end of the evening, the vote winner takes home the cash prize, which consists of proceeds from advance ticket sales in the days leading up to the dinner.

This year, seven finalists compete for the grant: Axle Contemporary, SeedBroadcast, Gaia Gardens, Ric Lum, New Mexico Acequia Association, Ligia Bouton, and Clayton Porter.

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PASATIEMPO I October 11-17, 2013

If a common thread seems to unite the proposals, that is because, unlike the three previous SPREAD events, SPREAD 4.0 has a theme: food. All of the proposals connect, in some way, to food or agriculture. The winner of the competition is included in SITE’s exhibition FEAST: Radical Hospitality in Contemporary Art, opening in February 2014.

Some of the finalists, such as Axle Contemporary’s The Royal Breadshow project, take the theme literally, offering a tasty way to collect art and support the community. Others — such as Clayton Porter’s proposal Mice, Entropy, Evil, and Chocolate and Ligia Bouton’s Understudy for Animal Farm — are more conceptual, but most of the proposals call for community involvement.

Matthew Chase-Daniel and Jerry Wellman, owners of Axle Contemporary, draw from the tradition of

king for a day with The Royal Breadshow, inspired by Christian festivals celebrating Epiphany, Mardi Gras, Christmas, and other annual events. A cake or loaf of bread is baked with a small prize inside, often a figurine of the baby Jesus. In some instances, whoever receives the slice with the prize is crowned king (or queen) for the day. “Among the historical precedents is something called king cake in English, gallette des roi in French, rosca de reyes in Spanish,” Chase-Daniel told Pasatiempo. “It happens in a lot of Catholic countries and also in some Muslim countries. It’s in Lebanon, in Greece, Switzerland, Latin America, New Orleans.”

The idea behind The Royal Breadshow is to provide small ceramic figurines and printed wrappers with paper crowns to the bakeries that will bake the sculptures into bread. The proceeds

will be divided between Axle Contemporary, the bakeries, and organizations that feed the hungry. As for the ceramic sculptures, they can be anything. “For ours, every little thing inside the loaf is unique,” ChaseDaniel said. “Each of our crowns ... [has] a special word written on it.”

“A word to celebrate the person who wears the crown,” Wellman interjected. “We tried to come up with nice words that would make the person who wears the crown feel somewhat empowered: excellent, worthy, thoughtful, remarkable, effervescent.”

“Electric, wonderful, special, royal,” Chase-Daniel added. “People can also send us suggestions for words to put on the crowns. On the paper we’re including with the bread, we’ll have a lot of text about the traditions. It will also have a listing of all the artists participating and the bakeries, small short poems, aphorisms, and reveries about bread.” Axle plans to invite the public to make the ceramic pieces. “It will be experienced professional sculptors down to kids who have never worked with clay before,” Chase-Daniel said. “Anyone can participate. We’ll run little workshops at different spaces around town, then we’ll fire them in our kiln, and then we’ll exhibit them.”

Axle’s mobile gallery is a retrofitted aluminum step van that looks a lot like a bread truck. In terms of outward appearance, it has a little competition with another retrofitted vehicle: SeedBroadcast’s solar-powered Mobile Seed Story Broadcasting Station. SeedBroadcast is a program developed in 2011 by Chrissie Orr and Jeanette Hart-Mann at the Compartiendo Semillas, Sembrando el Futuro, Seed Exchange in Las Vegas, New Mexico, to investigate and explore food culture.

SWAP, the group’s project proposal, is multifaceted; it uses the broadcasting vehicle, which doubles as a recording studio, as a gathering place for seed exchange and invites seed savers to share their stories in live and recorded interviews. The stories are broadcast from the truck but also are available on the group’s website, www.seedbroadcast.org. SWAP includes an interactive multimedia installation with large-format photographs and a seed lab where people can listen to the stories, exchange seeds, and learn about seeds.

Saving seeds has nearly become a subversive act for small, privately owned farms at a time when agriculture is increasingly dominated by corporations that discourage the sustainable practice of seed saving. In its proposal, SeedBroadcast states that SWAP will honor the stories “and encourage the sharing of creative, radical seed action with everyone who participates.”

More grass-roots action among the SPREAD proposals is found at Gaia Gardens urban farm, which was created, in part, to teach and demonstrate sustainable growing practices but has recently been mired in controversy over alleged violations of city zoning laws. Gaia’s proposal, Raising Awareness on Urban Farming Through Puppet Show Performances, includes the construction of a mobile puppet theater for plays about urban farming. Gaia Garden’s eventual goal is to influence the city to adopt ordinances that support urban farming.

“Ditch bosses,” or mayordomos, are central to the New Mexico Acequia Association’s Mayordomo Project. In rural New Mexico, acequias deliver water to communities for agriculture, and mayordomos manage the acequias, ensuring equitable distribution of water. The Mayordomo Project addresses the disappearing knowledge of this centuries-old tradition, the mayordomo’s role, and the proper governance of acequias by elected officials. It attempts to foster the tradition through an internship program for mayordomo trainees with a tool kit that includes a Mayordomo Handbook and Field Guide; a short DVD called The Art of Mayordomía, produced from video footage of mayordomo activities; a template flier for screenings of the film; and a list of questions for community discussion.

Innovative dining experiences are central to Ric Lum’s Rio Feast Project.

Beginning at the headwaters of the Río Grande, Lum intends to embark on a journey that follows the river’s tributaries to several New Mexico towns and continued on Page 48 Top, Axle Contemporary: The Royal Breadshow, 2013, sample miniature porcelain sculptures and wrappings with crown templates and various words; bottom, Ligia Bouton: Understudy for Animal Farm: 9 Pillowcase Pig Hoods, 2012-2013, pillowcases and eyes; copyright the artists

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47

Lensic Prese n ts

SPREAD 4.0, continued from Page 47 cities that rely on the watershed. He plans seven community dinners during the journey, inviting local farmers, ranchers, hunters, biologists, artists, and others to deepen their connection to the land by sharing knowledge and stories about the river and its environment to gain a deeper appreciation for both.

The meals will be foraged, ranched, farmed, and hunted in the areas where the feasts are staged. Lum’s intention is to visit the first seven communities by the fall of 2014 and continue toward the Gulf of Mexico the following winter.

Ligia Bouton’s performance-based project Understudy for Animal Farm deals with themes of identity and power relationships. Bouton designed a mobile cart that she’ll outfit with 30 pig’s-head masks or hoods made from patterned pillowcases and designed to be worn by members of the public.

The undertaking was inspired by George Orwell’s allegorical novel Animal

Oc tober 29 at 7 pm , $ 1 0 –$ 20 Experience Fritz Lang’s silent 1927 sci-fi masterpiece—restored and complete, including the 25 minutes of thought-to-be-lost footage rediscovered in 2008—with a live soundtrack by Alloy Orchestra! don’t miss Big Screen Classics Halloween at The Lensic!

The Man Who Fell to Earth Starring David Bowie • October 31 at 7 pm, $5

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

SPREAD 4.0 has a theme: food. All of the proposals connect, in some way, to food or agriculture.

Farm. “Even though it was a very particular political moment that he wrote that book in, it still has a resonance today in a broader sense — less in terms of things like communism and socialism, but in terms of how we all relate to people in positions of power and how we don’t always stand up to them even when they’re doing something that’s wrong,” Bouton told Pasatiempo.

She plans to photograph everyone who dons a hood and provide each participant with an access code for unlocking his or her image online after the photos have been uploaded to the project’s website. The project explores the role of the domestic sphere in maintaining power dynamics.

“There’s something about the pigs’ hoods: they’re very whimsical, they’re very fun, and the pillowcase itself is very familiar and we feel comfortable with it next to our bodies,” she said. “That part is very deceptive. There are more serious implications, I think, to putting a hood over somebody’s head in American culture. I wanted the project to walk that line of being something that was attractive and interactive but, once they put on the hood, there’s this moment of ‘Oh, this is a little bit weird,’ and ‘How do I feel about it?’ Part of it is to make a project that speaks to ideas of how power structures influence individuals and communities.” Bouton’s goal is to have the cart stationed in the Santa Fe Farmers Market by next summer.

For Mice, Entropy, Evil, and Chocolate, artist Clayton Porter envisions six white Victorian dollhouses with Plexiglas walls, each housing six living models — all female white mice. The dollhouses rest on pedestals arranged in a circle around a central pedestal to which they’re connected by a series of corridors. By way of the corridors, the mice can access a vitrine in the center to gnaw on a chocolate sculpture. The work is influenced by Northern Renaissance artist Albrecht Dürer’s print Adam and Eve in the Garden of Eden. In his proposal, Porter writes, “at Adam’s feet are a cat and mouse with symbolic meaning. The mouse represents the destructive force of Satan, slowly gnawing away at man’s good work.”

The vitrine mice, by contrast, can be seen as a damaging force pressed into service for a creative endeavor. Throughout the project’s duration, their environment will slowly change as the chocolate sculpture is eaten away. Porter plans to install a series of graphite drawings of monstrous, devouring rodents around the dollhouses. Hungry yet? ◀

details ▼ SPREAD 4.0, presented by SITE Santa Fe ▼ 7 p.m. Friday, Oct. 11 ▼ Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta ▼ $15-$50; any tickets remaining on Friday, Oct. 11, can be purchased by calling SITE at 505-989-1199

48

PASATIEMPO I October 11-17, 2013

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there is nothing like a

I HATE HAMLET James M. Keller I The New Mexican

covering the Santa Fe arts scene, Pasatiempo very occasionally finds itself facing work that its own employees have accomplished in their off hours. While we wouldn’t promote an event strictly because one of “our own” was involved, we also wouldn’t want to neglect letting readers know when something of real interest is going on. This weekend, the Santa Fe Playhouse offers the opening shows of the comedy I Hate Hamlet, and it prominently involves two names familiar to Pasatiempo’s readers, Robert Nott and Jonathan Richards.

Nott, who directs the play, studied theater at the University of Arizona and the American Academy of Dramatic Arts in New York before heading to Santa Fe 20 years ago. He formally joined the staff of The New Mexican in 2000 and spent a decade writing for Pasatiempo before assuming the newspaper’s education beat about four years ago. Jonathan Richards freelances regularly for Pasatiempo, contributing features and reviews, particularly in the area of film. He is an actor, director, novelist, and political cartoonist, and his phone started ringing off the hook when he appeared in the fourth season of the TV drama Breaking Bad. He was half of the couple from whom kleptomaniac Marie (Betsy Brandt) stole a picture frame when visiting their home during an open house. “By the way, we got the picture frame back,” Richards noted.

The play that now brings Nott and Richards together is a theater lover’s delight on several levels. It was penned by playwright Paul Rudnick, who in the late 1980s moved into a Greenwich Village apartment, 50

PASATIEMPO I October 11-17, 2013

advertised as a “medieval duplex,” which had once been occupied by the peerless thespian John Barrymore.

This set his creative juices flowing, and the result was I Hate Hamlet. The plot enrolls in a set that essentially duplicates Rudnick’s “Barrymore” apartment, and it involves a young actor (played in this production by Matt Sanford) who, coming off a role in a TV hospital drama, finds himself cast as Hamlet in a Shakespeare in the Park production in New York. The problem is that he has no interest in playing Hamlet. As he vacillates, Hamlet-like, everyone around him urges him into the part — including his girlfriend, who is utterly smitten with the idea — and suddenly who should appear to coach him in the role but the ghost of John Barrymore (as channeled here through Richards).

“I lived in New York City in late ’80s and early ’90s,” Nott said, “when Joseph Papp and Shakespeare in the Park started to draw TV and movie stars into their productions. Some critics and theatergoers objected to this as just a box-office ploy, but in some cases these actors really did bring quality to a role. Rudnick’s character of the young actor, Andrew, fits into that idea.”

I Hate Hamlet opened on Broadway in April 1991, with Evan Handler as Andrew and Scottish-born English actor Nicol Williamson as the ghost of Barrymore.

The course of rehearsals had not run smooth and, less than a month after the opening, disaster struck. Well, actually Williamson struck; he struck Handler on the derrière in the course of swordplay that did not unroll as choreographed, at which point Handler walked off the stage and out of the production forever. It was an

evening that every playgoer yearned to have seen. The media went crazy. “I learned to say ‘No comment’ in many languages,” Rudnick later recalled in an essay.

Let us assume that an analogous divergence from the script will not take place at the Santa Fe Playhouse.

That leaves us with a two-act comedy that is part theater lore, part romantic comedy, part ghost story, and all potentially hilarious. “We’ve worked throughout rehearsals trying to figure out the balance of farce, surrealism, fantasy, and realism,” said Nott, whose work as a director has almost without exception involved comic plays. “Basically, it’s a farce with the door-slamming occurring via a ghost. The delight and the danger of comedy is that you can’t always predict what an audience is going to find amusing. In serious drama, the audience usually just sits there and watches quietly, and it’s not always easy for actors to read how they’re responding. In comedy, the audience takes a more active part, so the actors learn to work with this in the course of a performance.”

This is not the first time Barrymore has served as a catalyst bringing together Nott and Richards. In 2003, Richards starred in a Santa Fe Playhouse production of a piece titled Barrymore, by playwright William Luce. It’s generally referred to as a one-man play, and indeed only one actor ever appears onstage. But there is a second part, a stage manager who feeds lines audibly to the great actor from offstage. That was Nott.

Richards is accordingly an old hand in portraying Barrymore, who belonged to a dynasty of celebrated actors. “I don’t care much about doing an impression

Photos Lynn Roylance

of him,” Richards said, “although I have gone back and looked at Barrymore doing Shakespeare in movies and film clips. Before he had his breakthrough as a classical actor, before he won international accolades with Hamlet, he had been a leading man in light comedies on Broadway. Nobody really thought he had the chops to do classics. He had a certain bearing, a sophistication, a certain urbanity. He’s somebody accustomed to the spotlight, yet one sees also a strain of self-criticism, a cynical awareness of his shortcoming, of how he may have squandered his enormous talent and the entrée to the theatrical world provided by his extraordinary acting family.”

Nonetheless, Barrymore became the defining Hamlet of the 1920s. Viewers of YouTube can see a short screen test he made in 1933 for what was to be a Technicolor film of the play — a project that never came to fruition. Orson Welles introduces the clip. Speaking from the perspective of three decades later, he calls Barrymore the finest Hamlet he had ever witnessed and describes his interpretation as “tender and virile and witty and dangerous.”

“What Rudnick really builds on here,” Richards said, “is the conceit that each new generation, each new aspiring Hamlet, is allowed to call upon an earlier player to guide him — in this case, whether he wants to or not.”

But there’s no need to ponder I Hate Hamlet very deeply. It’s a funny play, overflowing with clever dialogue and delicious zingers and, for the ghost of Barrymore, providing a terrific entrance. “In all my years on the stage,” Richards said, “this entrance pretty much tops them all.” ◀

details ▼ I Hate Hamlet by Paul Rudnick ▼ Santa Fe Playhouse, 142 E. De Vargas St. ▼ Gala opening 6:30 p.m. Friday, Oct. 11 (7:30 p.m. curtain); 7:30 p.m. Saturday, Oct. 12 & Thursday, Oct. 17; 4 p.m. Sunday, Oct. 13; continues 7:30 p.m.

Thursdays through Saturdays & 4 p.m. Sundays through Oct. 27 ▼ $20 (discounts available); $30 opening gala; $10 Oct. 17; 505-988-4262, www.santafeplayhouse.org

Osteria d’Assisi Italian Harvest Buffet!

Sunday • October 13th • 4:00-6:00

Mixed Italian Grill & Pasta, al fresco dining under a party tent!

Cash bar available.

$25 per person!

Tickets can be purchased in advance at Osteria d’ Assisi or online at cookingwithkids.net Proceeds to benefit...

Cooking with Kids for a healthy future

See new fowl Lunch and Dinner menu on the website www.osteriadassisi.com Call for reservation 505-986-5858 PASATIEMPOMAGAZINE.COM

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MOVING IMAGES pasa pics

— compiled by Robert Ker

Jonathan Silverman. 7:30 p.m. Thursday, Oct. 17.

Not rated. 98 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) Screens as part of the Santa Fe Independent Film Festival (see story, Page 31).

LOVE, MARILYN This documentary by Liz Garbus attempts to shine some new light on a well-explored topic: the life of Marilyn Monroe. Actors such as Uma Thurman, Paul Giamatti, Adrien Brody, Glenn Close, and Lauren Bacall read from the private journals of Monroe and some of her contemporaries. Not rated.

107 minutes. Center for Contemporary Art, Santa Fe.

Raft dodger: Tom Hanks in Captain Phillips, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week CAPTAIN PHILLIPS Director Paul Greengrass knows how to turn newspaper headlines into white-knuckle thrillers, having earned accolades with 2006’s United 93. This time, he tells the story of Captain Richard Phillips (Tom Hanks), whose freighter was hijacked

by Somali pirates in 2009. Rated PG-13. 133 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) DEFIANT REQUIEM The Nazis boasted of Terezín as a model internment camp where arts and culture flourished, and they duped Red Cross inspectors into not scratching the surface. Director Doug Shultz’s film approaches the story through an unfamiliar footnote: 16 concerts of Verdi’s Requiem conducted in 1944 by prisoner Rafael Schächter, who taught 150 of his starving fellow inmates the choral parts and replenished his forces as members boarded cattle cars to Auschwitz.

The narrative is interspersed with coverage of conductor Murry Sidlin leading the same piece at Terezín in 2006 with the Chorus and Orchestra of the Catholic University of America. The most affecting spans involve comments from elderly survivors who participated in Schächter’s quixotic project. This Santa Fe Jewish Film Festival screening, at 7 p.m.

Saturday, Oct. 12, only, will be followed by a Q&A 52

PASATIEMPO I October 11-17, 2013

with Sidlin plus a dessert reception. Really, dessert?

Not rated. 85 minutes. The Screen, Santa Fe. ( James M. Keller) ESCAPE FROM TOMORROW The creation of this film alone makes it the most subversive movie to come out in some time: director Randy Moore secretly shot this psychological horror pic in Disney’s theme parks without permission from the famously litigious Walt Disney Company. For some people, this angle alone will make it worth a look. Perhaps inevitably, the film’s actual story isn’t as good as it’s back story. Roy Abramsohn channels Bruce Campbell’s square-guy weirdness as Jim White, a father who has a breakdown while bringing his family on vacation. The photography — which often captures the familiar park with Buñuel-esque surreality — is the film’s draw, but the narrative and themes never add up to as much as one would hope. Not rated. 104 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) GBF Tanner (Michael J. Willett) is a gay teen outed to his entire high school when smartphone apps and the furious race to be prom queen collide, and he becomes the latest, greatest accessory for teen girls: the gay best friend. This arch and campy coming-of-age story is a self-referential, self-congratulatory “teen movie” — and a send-up of teen movies — with a curiously strong moral compass, featuring depressingly hilarious cameos by former teen stars, including Natasha Lyonne and

MACHETE KILLS The 2010 “Mexploitation” film Machete — starring Danny Trejo as a bad hombre who kicks butt and lands the ladies — apparently earned enough of a cult following that a sequel was in order.

Robert Rodriguez returns to the director’s chair for another cartoonishly violent tale. The plot isn’t as important as knowing that Mel Gibson appears and Charlie Sheen (billed as Carlos Estevez) plays the president. Rated R. 108 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MUSCLE SHOALS Documentary filmmaker Greg Camalier’s history of the famed Alabama recording mecca proposes several reasons why the town on the Tennessee River became a hotbed of hits. Not all are believable. FAME Recording Studios producer Jim Hall and the funky locally based musicians who backed such greats as Wilson Pickett, Aretha Franklin, and Percy Sledge are the big story. Hall’s history is interesting, scenes of the surrounding countryside are beautiful, and some big names — Bono, Mick Jagger, and Franklin among them — sing the place’s praises. But the real star here is the music. Rated PG. 111 minutes. The Screen, Santa Fe. (Bill Kohlhaase) See review, Page 58.

NATIONAL THEATRE LIVE: OTHELLO This staging of Shakespeare’s tragedy stars Adrian Lester and Rory Kinnear. Nicholas Hytner directs. 7 p.m. Tuesday, Oct. 15, only. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NINJA TERMINATOR In the mid-1980s, ninjas walked the earth, starring in video games, G.I. Joe cartoons, and movies. Some of those movies were good. Most were not. This is one of the bad ones, perhaps veering into “so bad it’s good” territory.

11 p.m. Friday and Saturday, Oct. 11 and 12, only.

Rated R. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) ROMEO AND JULIET Writer Julian Fellowes, who is best known these days as creator of the TV show Downton Abbey, adapts Shakespeare’s tragic romance for the big screen. Douglas Booth and Hailee Steinfeld

play the star-crossed lovers. Carlo Carlei directs.

Rated PG-13. 118 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) TAPIA Shot during the final year of the world-champion boxer’s life, this documentary is heart-wrenching and humanizing in its portrayal of Johnny Tapia. Director Eddie Alcazar provides plenty of intimacy through a series of interviews with Albuquerque’s favorite tragic hero. Tapia was the perpetual underdog who won by fighting as though he had nothing to lose. Only 8 when he lost his mother, he never forgave himself for being unable to prevent her abduction and murder. He started fighting fellow barrio kids a year later, eventually becoming a five-time Golden Gloves champion.

Out of the ring he battled a drug habit and severe depression. The film’s lighter moments help balance out the darker ones. Not rated. 81 minutes. Lensic Performing Arts Center, Santa Fe. (Loren Bienvenu) Screens as part of the Santa Fe Independent Film Festival (see story, Page 32).

THESE BIRDS WALK At a group home in Karachi, run by an aged humanitarian, live dozens of boys who were lost by their families or ran away from home. An ambulance driver who was once lost himself is responsible for driving the boys back to their villages; their struggles make his seem further away — for which he is grateful, if overworked.

Some boys want to go home, but others do not. They often ask God what he has planned for them and to help them not be alone anymore. The documentary has no narrative voice-over or on-screen text to guide the viewer; the footage unfolds like a short story.

1 p.m. Thursday, Oct. 17; 7 p.m. Saturday, Oct. 19, only. Not rated. 71 minutes. In Urdu with subtitles.

Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) Screens as part of the Santa Fe Independent Film Festival (see story, Page 31).

12 O’CLOCK BOYS In Baltimore, some boys want to be gangsters and hustlers, while others, like Pug, want to ride fourwheelers and dirt-bikes on the city streets with the 12 O’Clock Boys — legendary riders, considered criminals by local police, who ignore traffic laws to create critical mass and show off their tricks. The documentary follows Pug, an aspiring veterinarian who can’t stop fighting at school, from preteen to teenager as he learns to ride and do tricks and attempts to ingratiate himself to his idols. It’s a gritty take on creativity and cultural presence in a setting where neither seems to be encouraged by the powers that be. 3 p.m. Thursday, Oct. 17; 1 p.m. Sunday, Oct. 20, only. Not rated. 76 minutes.

Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) Shows as part of the Santa Fe Independent Film Festival (see story, Page 31).

WHEN COMEDY WENT TO SCHOOL It would be stretching the case to say that Ron Frank and Melvut Akkaya’s documentary about Borscht Belt humor is a good movie. But there’s something irresistible about it — or parts of it, anyway — and that something is the wonderful archival footage of a treasure trove of Jewish comics from the late ’40s and ’50s, cracking wise onstage at Catskills resorts and in clips from movies and early television.

To the extent — and it’s a significant extent — that the movie becomes a love letter to the Catskills resorts, it loses interest for an audience primed for comedy and becomes a cloying shuffle down memory lane. But real laughter is not to be sneezed at, and there are pockets of it scattered like jewels here. Not rated. 83 minutes.

Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 56.

THE WICKER MAN Writer Anthony Shaffer’s visually symbolic 1973 cult classic — seen here in a newly restored version that the director considers definitive — is about an island of pagans who put a police sergeant from the mainland through a macabre goose chase. Neil Howie arrives in Summerisle after receiving an anonymous letter about the disappearance of a 12-year-old girl. But no one, not even the girl’s own mother, seems to know her, arousing Howie’s suspicions. A trail of temptation, drinking songs, phallic symbols, and fertility rituals leads the devout Howie to a frightening realization: it’s his goose being cooked.

Not rated. 94 minutes. Jean Cocteau Cinema, Santa Fe. (Bill Kohlhaase) See Screen Gems, Page 60.

now in theaters BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism. Cate Blanchett will catch the Academy’s eye as Jasmine, a Park Avenue socialite who lost everything when her husband (Alec Baldwin) went to jail for financial fraud. She goes to San Francisco and moves in with her blue-collar sister Ginger (a perfect Sally Hawkins).

The rest of the cast, which includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless.

Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BUTLER At times overblown and unwieldy, an occupational hazard for a movie that covers 80 years of the civil rights movement in America, this is still a major accomplishment. We see it all through the eyes of Cecil Gaines (Forest Whitaker), a man who rises from the cotton fields of Georgia to a tenure as White House butler that extends from Eisenhower through

Reagan and sees him into retirement through Obama’s election. The fine cast includes Oprah Winfrey as his wife and star cameos as the presidents.

Rated PG-13. 132 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CLOUDY WITH A CHANCE OF MEATBALLS 2 Who would have thought that Judi and Ronald Barrett’s children’s book would yield not one feature film but two?

This sequel pits Flint (voiced by Bill Hader) against food-animal hybrids (tacodiles, etc.). The jokes are extremely lame — expect corny puns and puns about corn — but the movie is colorful and imaginative, and it even sneaks in some satire about our technologyobsessed culture. Kids will dig it, which is fortunate, because there aren’t many other family films due before the holidays. Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) DON JON Actor Joseph Gordon-Levitt makes his feature-length debut as writer and director with this romantic comedy. He stars as Don, a guy who loves bringing home different women each night or staying home with pornography. Then he meets a woman (Scarlett Johansson) so perfect that he attempts to give up both habits. Rated R. 89 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ENOUGH SAID Fans of Woody Allen’s rom-coms for adult audiences should embrace this charmer about two divorced empty-nesters ( Julia Louis-Dreyfus and, in his final performance, James Gandolfini) who fall for each other and then find that middle-age relationships come fraught with baggage and defense mechanisms. Louis-Dreyfus shows more depth and Gandolfini more softness than either one’s iconic TV roles would suggest; the two head a terrific cast that includes Catherine Keener and Toni Collette. Nicole Holofcener (Lovely & Amazing) directs them all with a generous spirit. The results are moving, honest, and often very funny. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE FAMILY Robert De Niro and Michelle Pfeiffer play the parents of a family that ends up in the witness protection program in Normandy after daddy rats out his mafia family across the Atlantic. This is a lighthearted satire of mob dramas, so if you think there aren’t going to be corny jokes and comedic examples of culture clash, then fuggedaboutit! At this point, De Niro may have spent more years spoofing his on-screen persona than he spent crafting it.

Rated R. 111 minutes. Regal DeVargas, Santa Fe. (Not reviewed) continued on Page 54

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GRACE UNPLUGGED AJ Michalka plays a teenager whose rebellious phase consists of playing Christian rock her way — a move that infuriates her born-again former-rock-star dad ( James Denton). When her career takes off, will her life spiral out of control, or will Jesus take the wheel? Rated PG. 102 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón (Children of Men) centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — and the special effects of the film itself — showcases humankind’s vast resourcefulness and potential. Cuarón’s story also celebrates how small, yet still important, we all are. To see one character’s globe-like teardrops in zero gravity, as her possible fate and her profound loneliness weigh down on her, is to be deeply moved. Rated PG-13. 91 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) INSIDIOUS: CHAPTER 2 Director James Wan brings us his second horror film in three months, after the hit The Conjuring. This story follows the family of the 2011 Poltergeist-like first Insidious film as they take advantage of the rebounding housing market to buy a new home, only to once more encounter ghosts that were not mentioned anywhere in the listing.

Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) INSTRUCTIONS NOT INCLUDED As Valentín (Eugenio Derbez) prepares for his big move from Mexico to Hollywood to realize his dream of becoming a stuntman, a former lover leaves him a surprise to take along: a screaming baby. In English and Spanish with subtitles. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) POPULAIRE Sports movies come in all forms, but this is probably the first one that has ever centered on speed typing. Set in late-’50s France, this colorful and

spicy

medium

bland

heartburn

mild

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PASATIEMPO I October 11-17, 2013

quirky (or should we say QWERTY?) film tells the story of a plucky young woman (Déborah François) who enters a typing contest with the encouragement of a potential beau (Romain Duris) and rises to compete on the global stage. In French with subtitles.

Rated R. 111 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) PRISONERS Hugh Jackman plays a humble father who takes the law into his own hands when his 6-yearold disappears and the prime suspect (Paul Dano) is let off the hook due to a lack of evidence provided by the detective on the case ( Jake Gyllenhaal). Melissa Leo, Maria Bello, and Viola Davis also lend their talents to the film. Rated R. 153 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) PULLING STRINGS Alejandro ( Jaime Camil) is a mariachi musician who needs to get a visa to come to the United States. When the woman who rejects him (Laura Ramsey) gets drunk and passes out on a street in Mexico, he helps her — and maybe, just maybe, romance blossoms. In English and Spanish with subtitles. Rated PG. 118 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) RUNNER RUNNER Justin Timberlake plays Richie, a Princeton student who loses big at online poker and, suspecting he was swindled, travels to Costa Rica to meet Ivan (Ben Affleck), the online gambling maven behind the site. It turns out Richie was swindled, but Ivan wants to hire him. Soon, the FBI wants him to take Ivan down. Rated R. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) RUSH Ron Howard’s latest, written by Peter Morgan (Frost/Nixon), follows the epic 1976 duel for the World Drivers’ Championship between dashing Brit James Hunt (Chris Hemsworth) and wonky, obsessive Austrian Niki Lauda (Daniel Brühl). There is plenty of excitement, mostly on the Grand Prix tracks. But the good stuff is stitched together painstakingly with an excess of exposition, explanation, and hand-holding of the viewer as Morgan and Howard lead us through the races, the personalities, the romances, and the season. Despite the thrill ride, it’s ultimately more a Niki Lauda than a James Hunt of a movie. Rated R. 123 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) SHORT TERM 12 Brie Larson plays Grace, the head of a staff responsible for creating a safe environment for teens in a group home. Short Term 12 demonstrates how love can come from unexpected sources and that sometimes finding a path out of the darkness is just a matter of luck. The performances are excellent and natural, and the screenplay contains no forced

emotional or moral arcs to bring easy closure — yet this is a movie filled with hope. Rated R. 96 minutes.

The Screen, Santa Fe. ( Jennifer Levin) THANKS FOR SHARING Stuart Blumberg, who made his name with a writing credit on 2010’s The Kids Are All Right, steers a sturdy ensemble in his feature-length directorial debut. Mark Ruffalo, Tim Robbins, and Josh Gad play Manhattanites who are drawn together through sex-addiction meetings, and the film extends its reach to the friends, relatives, and romantic partners in their lives. The tone veers uncomfortably between drama and comedy but stays the course thanks to strong performances and writing. Rated R. 112 minutes. Regal DeVargas, Santa Fe. (Robert Ker) TOUCH FEELY In this film from writerdirector Lynn Shelton (Your Sister’s Sister), Rosemarie DeWitt plays Abby, a successful massage therapist in Seattle. She seems satisfied and outgoing, has regular Reiki sessions with her friend Bronwyn (Allison Janney), and thinks her uptight dentist brother Paul ( Josh Pais) could use some herbal tonics for his liver and gallbladder.

She’s going to move in with her bike-mechanic beau (Scoot McNairy), and then suddenly, she finds herself repulsed by human touch. Meanwhile, Paul has mysteriously acquired a healing touch. Sounds like a creative setup for a comedy, but though the movie wants to ask probing questions, it doesn’t have the guts. Rated R. 88 minutes. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send you out of the theater wondering about the barrier that has kept them from headliner stardom. Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)

other screenings Center for Contemporary Arts 6 p.m. Monday, Oct. 14: Waterwalk. Producer and co-writer Roger Rapoport is scheduled to attend.

Regal Stadium 14 10 p.m. Thursday, Oct. 17: Carrie.

10 p.m. Thursday, Oct. 17: The Escape Plan. ◀

What’s shoWing Call theaters or check websites to confirm screening times.

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org 20 Feet from Stardom (PG-13) Fri. 2 p.m. Sat. and Sun. 2 p.m., 6:15 p.m. Mon. 2 p.m. Tue. 2 p.m., 6:15 p.m.

Love, Marilyn (NR) Fri. to Sun. 1 p.m., 3:15 p.m.

Tue. 3:15 p.m.

Populaire (R) Sat. and Sun. 4 p.m., 8:15 p.m.

Mon. 4 p.m. Tue. 4 p.m., 8:15 p.m.

Waterwalk (NR) Mon. 6 p.m.

When Comedy Went to School (NR) Fri. 7:30 p.m.

Sat. and Sun. 5:30 p.m., 7:30 p.m. Tue. 5:30 p.m., 7:30 p.m.

418 Montezuma, 505-466-5528 Escape from Tomorrow (NR) Fri. and Sat. 2 p.m., 6:20 p.m. Sun. to Tue. 6:20 p.m. Wed. 2 p.m., 6:20 p.m. Thurs. 6:20 p.m.

Ninja Terminator (NR) Fri. and Sat. 11 p.m.

Touchy Feely (R) Sat. 4:15 p.m. Sun. 2 p.m.

Wed. 4:15 p.m. Thurs. 2 p.m.

The Wicker Man: Final Cut (NR) Fri. 4:15 p.m., 8:30 p.m. Sat. 8:30 p.m. Sun. 4:15 p.m., 8:30 p.m.

Mon. to Wed. 8:30 p.m. Thurs. 4:15 p.m., 8:30 p.m. regAl deVArgAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Blue Jasmine (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.

The Butler (PG-13) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m.

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

Enough Said (PG-13) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:40 p.m. Sun. to Thurs.

1:30 p.m., 4:20 p.m., 7:20 p.m.

The Family (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m.

Thanks for Sharing (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:35 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. regAl StAdium 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com Bonnie and Clyde (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

Captain Phillips (PG-13) Fri. to Wed. 12:30 p.m., 3:30 p.m., 4 p.m., 7 p.m., 7:15 p.m., 10 p.m., 10:15 p.m.

Carrie (R) Thurs. 10 p.m.

Cloudy With a Chance of Meatballs 2 3D (PG) Fri. and Sat. 12 p.m., 2:20 p.m., 4:50 p.m. Sun. 4:50 p.m.

Mon. and Tue. 12 p.m., 2:20 p.m., 4:50 p.m.

Wed. 4:35 p.m.

Cloudy With a Chance of Meatballs 2 (PG) Fri. to Wed. 12:15 p.m., 2:55 p.m., 5:20 p.m., 7:35 p.m., 10 p.m.

The Escape Plan (R) Thurs. 10 p.m.

Grace Unplugged (PG) Fri. to Wed. 12:20 p.m.

Gravity (PG-13) Fri. to Sun. 2:45 p.m., 7:45 p.m., 10:15 p.m. Mon. to Wed. 2:45 p.m., 7:45 p.m., 10:15 p.m.

Gravity 3D (PG-13) Fri. to Wed. 12:05 p.m., 12:25 p.m., 2:25 p.m., 3:45 p.m., 4:55 p.m., 5:15 p.m., 7:05 p.m., 7:30 p.m., 9:20 p.m., 10 p.m.

2:40 p.m., 5:10 p.m., 7:50 p.m., 10:20 p.m.

Instructions Not Included (PG-13) Fri. to Wed. 12:50 p.m.

Machete Kills (R) Fri. to Tue. 1:20 p.m., 4:30 p.m., 7:10 p.m., 7:25 p.m., 9:50 p.m., 10:10 p.m. Wed. 1:20 p.m., 4:30 p.m., 7:25 p.m., 9:50 p.m., 10:10 p.m.

Prisoners (R) Fri. to Wed. 12:55 p.m., 4:35 p.m., 8 p.m.

Pulling Strings (PG) Fri. to Wed. 1:10 p.m., 4:10 p.m., 7:15 p.m., 9:55 p.m.

Romeo & Juliet (PG-13) Fri. to Wed. 1 p.m., 4:15 p.m., 7:20 p.m., 10:05 p.m.

Runner Runner (R) Fri. to Wed. 1 p.m., 4:25 p.m., 7 p.m., 9:30 p.m.

Rush (R) Fri. to Wed. 12:45 p.m., 3:50 p.m., 7:20 p.m., 10:20 p.m.

STARTS TODAY AT THEATRES EVERYWHERE! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

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”

Claudia Puig,

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LOS ANGELES TIMES

the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Defiant Requiem (NR) Sat. 7 p.m.

Muscle Shoals (PG) Fri. 4:35 p.m., 7 p.m., 9:15 p.m.

Sat. 12 p.m., 2:20 p.m., 4:35 p.m. Sun. 3:15 p.m., 5:30 p.m., 7:45 p.m. Mon. 4:35 p.m., 7 p.m., 9:15 p.m. Thurs. 4:35 p.m.

ShortTerm 12 (R) Fri. 2:30 p.m. Sat. 10 p.m.

Sun. 1 p.m. Mon. 2:30 p.m. Thurs. 2:30 p.m.

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15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Captain Phillips (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m.

Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs.

4:30 p.m., 7:15 p.m.

Cloudy With a Chance of Meatballs 2 3D (PG) Fri. 4:35 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m.

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

Cloudy With a Chance of Meatballs 2 (PG) Fri. 4:35 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:35 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:35 p.m., 7 p.m.

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

Grace Unplugged (PG) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:05 p.m., 4:50 p.m., 7:30 p.m.

Mon. to Thurs. 4:50 p.m., 7:30 p.m.

Gravity 3D (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m.

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

Gravity (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m.

Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m.

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

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

Insidious: Chapter 2 (PG-13) Fri. 5 p.m., 7:35 p.m., 9:55 p.m. Sat. 2:25 p.m., 5 p.m., 7:35 p.m., 9:55 p.m.

Sun. 2:25 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs.

5 p.m., 7:35 p.m.

Instructions Not Included (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:35 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:35 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m.

Machete Kills (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:25 p.m.

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

Runner Runner (R) Fri. 4:45 p.m., 7:20 p.m., 9:40 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:20 p.m., 9:40 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.

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55

movIng Images film reviews

Borscht belters Jonathan Richards I For The New Mexican When Comedy Went to School, documentary, not rated, 83 minutes, Center for Contemporary Arts, 2.5 chiles I would be lying if I said Ron Frank and Melvut Akkaya’s documentary about Borscht Belt humor was a good movie. But there’s something irresistible about it, or parts of it anyway, and that something is the wonderful archival footage of a treasure trove of Jewish comics from the late ’40s and ’50s, cracking wise onstage at Catskills resorts and in clips from movies and early television. Some of the survivors of that era, including Jerry Lewis, Jackie Mason, Mort Sahl, and an emaciated Sid Caesar, are interviewed extensively about the old days in Sullivan and Ulster County resorts like Grossinger’s, Brown’s, Kutsher’s, and the Concord, where in the nurturing embrace of mostly Jewish vacationers (“A gentile,” Mason says, “was something you saw only in the movies”), mostly Jewish comedians honed their craft and sharpened their wits for the big time.

“The mountains, that’s where you learned,” Caesar remembers. “If they’re not laughing, you better close it down quick.” Lewis adds, “It was a laboratory. In those days, comics had someplace to be bad.” And one thing was more important than talent. “If you had a car,” Mason says, “you were the first one to be booked,” because you could give the other performers a ride upstate.

They talk about the Catskills as a safe place to fail, but of course there’s no safe place to fail consistently.

If you were bad more than you were good, you pretty quickly felt the call of law school or medical school or the family clothing business. The ones we see here are the ones who were good more often than they were bad, and who endured. Most of them were men, although we do see glimpses of women like Molly Picon and Fanny Brice and Totie Fields, and later

56

PASATIEMPO I October 11-17, 2013

Sid Caesar and his fiancée Florence at Avon Lodge in the Catskills; below, Jerry Lewis, Larry King, and Mickey Freeman

Joan Rivers. Almost all of them were Jewish, and white, although Dick Gregory shows up briefly. But he seems to be appearing at the Playboy Club, which was decidedly not the Catskills.

The context of comedy is a cyclical thing. The golden age of Borscht Belt comedy was born out of the death of vaudeville and burlesque and the Yiddish theater, and the movie reaches back with wonderful clips and stills of some of the classic acts from those venues, like Smith and Dale and Eddie Cantor. It in turn flourished for a few decades and then died away with the rise of television and situation comedy.

Frank and Akkaya package their documentary in narration, written by Lawrence Richards and delivered by comedian Robert Klein, that wanders through Jewish history going as far back as Abraham and fills us in on the crowding into Manhattan’s Lower East Side of Jews escaping the persecution of Europe (“More dense than Calcutta,” a historian tells us). And once they’d gotten established in business and made some money, Mason reflects, Jews didn’t want to go to Europe on vacation — that was where they’d escaped from. So they went to the Catskills.

There’s some nice footage of the mountains, but to the extent — and it’s a significant extent — that the

movie becomes a love letter to the Catskills resorts (at its peak, the area boasted more than 450 of them, from huge hotels to little guest houses), it loses its interest for an audience primed for comedy and becomes a tepid and cloying shuffle down memory lane, of interest only to those who traveled that road in the day. Klein is OK as the messenger, but he doesn’t bring anything special to his hosting duties.

Real laughter is not to be sneezed at, and there are pockets of it scattered like jewels through When Comedy Went to School. It’s a joy to see all-but-forgotten master dialect storytellers like Myron Cohen and Mickey Freeman deadpan their way through a joke, to remember the insane nonsense babble of Danny Kaye and Sid Caesar, to see clips from the standup routines of Rodney Dangerfield and Henny Youngman, to reach ahead into the next generation of greats like Woody Allen, Billy Crystal, and Joan Rivers, all of whom cut their comedy teeth at those mountain resorts. We even learn that Buddy Hackett and Lenny Bruce were roommates, that Sid Caesar started as a saxophone player, and that Larry King lost his virginity romancing a lonely vacationer late one night on the baseball field at Grossinger’s.

So if the movie lumbers along for far too much of its running time with cheesy dramatizations and sociological treatises and hokey accounts of the mating dances of the Catskills, it redeems itself with jokes and stories and fond reminiscences from the great comics who learned and performed onstage — and those, like Jerry Seinfeld, who watched from the back of the house and knew that was what they wanted to do when they grew up. Even when it stretches its delivery system to include clips from later television appearances and movies like Jerry Lewis’ The Bellboy or Mel Brooks’ History of the World: Part I, you don’t mind, because it all comes out of that same melting pot of humor.

As Sid Caesar says, “You learned to laugh at your situation. What a gift!” ◀

Middletown

Written by Will Eno Directed by Gail Springer

Oct. 11, 12—7pm Oct. 6, 13—2pm

al

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ee

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$15/$12 Reserved Seating; $5 Students & Seniors Will Eno has been described as a post-modern Samuel Beckett, and Middletown as a contemporary version of Thornton Wilder’s Our Town—a uniquely twenty-first century existential vision of Middle America.

NOTE: Fri. & Sat. performances TIME: 7pm | Sun. Matinees: 2pm FOR TICKETS call the Tickets Santa Fe Box Office: 505-988-1234 or www.ticketssantafe.org Performing Arts DePArtment sAntA fe University of Art AnD Design 1600 st. michAel’s Drive sAntA fe, new mexico

Season Four Defiant Requiem

Oct 12, 7 pm at The Screen Conductor Murry Sidlin in person Dessert Reception

what’s happening

fin

This Weekend collectors’ sunday

October 13, 2–3 pm Gallery conversation with Gerald G. Stiebel and Curator of Photography Katherine Ware. two art professionals in new york, Gerald stiebel and his wife, Penelope Hunter-stiebel, started buying photography in the 1970s. Gerald will talk about diving into this new collecting field, the stories behind some of the pictures, and his successes and missteps along the way.

Free with regular museum admission. sundays are free for new Mexico residents.

Next Monday

new Mexico: tHe artists’ century October 21, 10–11:30 am Public lecture: “The Great Depression and the War Years.”

Presentations by independent scholar lois rudnick, Kathy Flynn of the national new deal Preservation association, and tey Marianna nunn, Visual arts director of the national Hispanic culture center. Free for members of the Museum of new Mexico Foundation. $5 donation for nonmembers.

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

      q   com e deepe n yo ur practice daily m e d i tati o n s i ts : 7:00 am, 12: 20 p m, 5 : 30 p m

New Israeli Cinema

Nov 16 - 24, various venues Award winning films from Cannes, Tribeca & more

Flix & Chopstix

Dec 25 starting 2 pm at CCA Two Mel Brooks favorites & Chinese food!

      - 

Fall Practice Period: Silent Illumination

with Shinzan Palma and Joshin Brian Byrnes

        :

Zazenkai – Day-long Meditation Retreats       -  :

A spicy mix of the best of Jewish cinema www.SantaFeJFF.org 505.216.0672

Tickets on sale now

Fall Sesshin – Intensive Meditation Retreat Please call or visit our website for complete details. s a n ta f e , n e w m e x i c o 505-986-8518 w w w. u p a y a . o r g u paya @ u paya . o rg

PASATIEMPOMAGAZINE.COM

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SSIO ADMI

NS

moving images film reviews

Thursday, November 7, begins at 8:30am to 10:30am

Mick Jagger and music producer Jerry Wexler early literacy service learning project

RSVP 505.983.1621

admission@riograndeschool.org Busy November 7? Schedule a private visit.

5/6th grade annual bonding hike

Learn more about RGS' integrated, thematic programming.

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58

PASATIEMPO i October 11-17, 2013

Riparian rhapsody Bill Kohlhaase I The New Mexican Muscle Shoals, music documentary, rated PG, The Screen, 3 chiles What made a small Alabama river town the center of the pop-music universe beginning in the 1960s? Director Greg “Freddy” Camalier’s documentary on the unlikely recording mecca of Muscle Shoals offers several answers, none of them definitive. It was “the sound,” says Keith Richards. Jimmy Cliff says it was because of a “field of energy” there.

Steve Winwood says, “It’s an enigma.”

The answer Camalier pushes is the water. From the film’s opening scenes of clouds, falling droplets, lapping waves, and placid swamps, the first-time director embraces the area’s liquid features. He introduces a tale of a Native American woman who heard the river sing. The alwayspoetic Bono concurs. “It always seems to come out of the river. Even in Liverpool, the Mersey sound, then of course the Mississippi, and here you have the Tennessee River. It’s like the songs come out of the mud.”

Actually, the sound and the songs came from Rick Hall’s FAME (Florence Alabama Music Enterprises) Recording Studios and the local musicians who gathered there to back artists destined to become some of the greatest hit makers of their time. Hall, the film’s central figure, came out of a hardscrabble childhood to obsess about creating hits, and beginning with Arthur Alexander’s “You Better Move On,” his studio produced countless Top 40 singles, hosting Percy Sledge, Wilson Pickett, Otis Redding, Joe Tex, Aretha Franklin, and the Rolling Stones, among others.

Maybe the biggest reason Muscle Shoals spawned so many chart-toppers was due to the local rhythm section FAME employed, a group known as “The Swampers.” These musicians brought out the best in everyone — especially R & B vocalists like Pickett. “A lot of people could not believe that my whole band was white guys,” Percy Sledge says of them. “Greasy” is how Aretha Franklin describes them. She liked them so much she took them to New York with her to finish recording the album that became I Never Loved a Man the Way I Loved You. Only the title tune was recorded in Muscle Shoals.This suggests that it was the people, not the terrain, that brought the town glory. After all, it’s hard to picture Richards wandering the riverbank for inspiration before recording “Brown Sugar” with the rest of the Stones.

Hall’s drive to produce hits led him to record Bobbie Gentry and the Osmonds, but his greatest triumphs were with R & B. Muscle Shoals has too many contemporary interviews, too many scenes of the idyllic countryside, and not enough examples of the hard work that goes into recording music.

It’s a near miss that’s full of hits. Go to hear them. ◀

DON’T MISS ONE OF THE YEAR’S BEST FILMS* •

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IDEAS in Psychiatry presents

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6:00p Friday, Oct 11

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This lecture is free and open to the public

Tickets and full schedule available NOW at ticketssantafe.org

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Friday Oct 11 1:00p - Love, Marilyn* 2:00p - 20 Feet 3:15p - Love, Marilyn* 4:30p - Maria Aquendo lecture 7:30p - Comedy…*

30 days

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Must reside within home delivery area.

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* indicates shows will be in The Studio at CCA, our new screening room for $8.00, or $6.00 CCA Members!

6:00p Monday, Oct 14 With producer Roger Rapoport in person!

Reception begins at 6:00p, film at 7:00p

Massively entertaining and heartfelt!”

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A.O. SCOtt,

This screening is dedicated to the late Richard Harris, co-writer and legendary New Mexico travel writer

Sat-Sun Oct 12-13

Mon Oct 14

Tues Oct 15

1:00p - Love, Marilyn* 2:00p - 20 Feet 3:15p - Love, Marilyn* 4:00p - Populaire 5:30p - Comedy…* 6:15p - 20 Feet 7:30p - Comedy…* 8:15p - Populaire

2:00p - 20 Feet 4:00p - Populaire 6:00p - Waterwalk

2:00p - 20 Feet 3:15p - Love, Marilyn* 4:00p - Populaire 5:30p - Comedy…* 6:15p - 20 Feet 7:30p - Comedy…* 8:15p - Populaire

Weds-Sun Oct 16-20 SF Independent Film Fest

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59

Fertility rites and wrongs Bill Kohlhaase I The New Mexican The Wicker Man, cult classic, not rated, Jean Cocteau Cinema, 4 chiles Anthony Shaffer’s The Wicker Man has haunted my consciousness ever since I first saw it at some art house or university film festival a year or two after its release in 1973. The story of a British police officer who travels to the remote Scottish island of Summerisle to investigate the disappearance of a young girl is akin to John Fowles’ novel The Magus and Shirley Jackson’s short story “The Lottery.” Like The Magus, it takes place in a world that is at once erotic, surreal, and duplicitous. The Wicker Man’s shocking conclusion recalls that of “The Lottery.” It’s the film’s visual imagery that populates our dreams. There’s the horrific final scene, framed in a sunset. And who can forget the strange eye on the dinghy that brings the police officer to the isle; the portrait of a face bearded in leaves that hangs outside The Green Man Inn (or the repugnant human manifestation inside); or the sight of a nude Britt Ekland twisting sensuously against the wall of her bedroom?

Truth be told, I don’t remember if that nudity was included in the first version of the movie I saw. The Wicker Man, trimmed by film distributors and censors, has gone through a series of variously restored versions over the 40 years since its original release — not to mention the embarrassing, even comic 2006 remake starring Nicolas Cage. A 92-minute 35 mm print was recently discovered at the Harvard Film Archives, the result of a Facebook campaign conducted by Studiocanal, which holds the worldwide-distribution rights. Director Robin Hardy, now 84 years old, confirmed it as the version he had prepared for U.S. theatrical release. It has been digitally remastered and includes material not seen in its original release. This version of the film premiered in New York and Los Angeles in September.

Shaffer’s story centers on police sergeant Neil Howie (played by Edward Woodard), who receives an anonymous letter from Summerisle regarding the disappearance of Rowan Morrison. The strangeness starts as soon as he lands his float plane off the harbor master’s quarters. No one seems to want to bring him to shore in the dinghy with that strange eye. Once on land, no one can identify the young girl from the photo Howie has brought. But they know her mother. Howie 60

PASATIEMPO I October 11-17, 2013

visits Mrs. Morrison, whose sweet shop displays chocolate hares and cakes in the shape of prone children. The mother denies that the girl in the picture is her daughter. Howie is left alone with Mrs. Morrison’s younger daughter and coaxes her into admitting that she knows Rowan. Rowan, she says, is a hare.

Howie checks into The Green Man, where he is disgusted by the bawdy song the clientele sings about the landlord’s daughter, Willow (Ekland). He heads up to his room but not before going outside, where he finds multiple couples engaged in sex. Before climbing into bed, he kneels to pray, and we’re shown a flashback of Howie conducting communion. The blood and body of Christ set us up for the blood and body that follows.

Howie’s prayers don’t allow him to rest easy. During a long musical sequence with ritualistic overtones, Willow calls to him from her adjoining room. Howie is tempted by her call and briefly opens the door between their rooms as if to go to her. He has second thoughts and slams it shut. He’s teased by Willow the next morning for his self-righteous reluctance. His virginity, it turns out, matters.

ARETHA FRANKLIN • ALICIA KEYS • MICK JAGGER • BONO STEVE WINWOOD • GREGG ALLMAN • KEITH RICHARDS CLARENCE CARTER • JIMMY CLIFF • PERCY SLEDGE • WILSON PICKETT

“GET READY TO SING ALONG, AND

GOOD LUCK STAYING IN YOUR SEAT.”

–Steven Whitty, NEWARK STAR-LEDGER

ONE OF THE YEAR’S MOST ENTERTAINING AND ENRICHING NONFICTION FILMS.

“

Moving and joyful, ‘Muscle Shoals’ is must-see stuff for anyone who loves the music.”

–Marshall Fine, THE HUFFINGTON POST

“A winning tribute to the coastal Alabama studio, musicians, and engineers who laid down some of the greatest pop tracks of the late ‘60s and early ‘70s.”

– Alan Scherstuhl, THE VILLAGE VOICE

“MUSIC LOVERS WILL GET

PLENTY OF THRILLS

hearing first-hand accounts of how such classic tracks as Aretha’s ‘Respect’ and the Stones’ ‘Brown Sugar’ were created.”

–Dennis Harvey, VARIETY

HHHH”

“

–Jim Farber, NY DAILY NEWS

Geraldine Cowper and Edward Woodward; opposite page, from top to bottom, Christopher Lee and Edward Woodward

On the way to visiting a local school, Howie finds a man leading a group of young boys in a very suggestive song around a maypole. Inside, the teacher and her female students are studying phallic symbols. They deny knowing Rowan. Yet there’s one empty desk. Howie opens it and inside finds a beetle tied to a string circling a nail. “The little beetle goes round and round, always the same way, you see, until it ends up right up tight to the nail, poor old thing,” one of the girls tells him. Howie is shocked at the girl’s seeming indifference to the insect’s situation. It’s not until later that we realize the beetle’s plight is Howie’s. A visit to the local graveyard and an exhumation yield some ghastly surprises.

At the time of its release, it was easy to see The Wicker Man as a symbol of the struggles that had begun in the 1960s between the established authorities and the counterculture movement. The residents of Summerisle have apparently cast off any sense of Judeo-Christian morality and have opted for practicing rituals based on nature and seasonal cycles. Here Lord Summerisle, played by Christopher Lee, encourages the local population in their pantheism, but without a convincing display of belief himself. Today, the movie seems a clash between cruel paganism and rigid Christianity.

Much of the film’s celebrated horror springs from this conflict. Though it’s easy to sympathize with Howie at the film’s gruesome end, it’s also easy to fault him for his rigidity. His beliefs seem every bit as false as those of the pagans of Summerisle.

The Wicker Man, despite its horror, is something of a musical. The folk song that accompanies the film’s opening scenes as well as those aired in The Green Man, gives it a suggestion of innocence (it also ties the film to the counterculture movement). Not until the flame-driven end, when the music becomes more ritualistic and sinister, does this innocence dissolve.

Yet Summerisle’s residents, as they seek to guarantee next year’s harvest, are happy and celebratory. Even Rowan Morrison. ◀

GRADE A-.”

“

–Leah Greenblatt, ENTERTAINMENT WEEKLY

MuSclE SHOalS: FRi aT 4:35, 7:00 and 9:15; SaT aT 12:00, 2:20; 4:35; Sun aT 3:15, 5:30 and 7:45; MOn aT 4:35, 7:00 and 9:15; THuRS aT 4:35

SHORT TERM 12

SHORT TERM 12: FRi aT 2:30; SaT aT 10:00aM; Sun aT 1:00; MOn and THuRS aT 2:30

October 16-20, 2013

PASTRIOLOGY Thursday at 7:00

We Will Be Closed

Tuesday and Wednesday for the installation of our NEW STATE-OF-THE-ART HD DCP (Digital Cinema Package) projection system offering the BRIGHTEST, CLEAREST, LARGEST picture in town.

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

61

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Sunny side up

Palacio Café 209 E. Palace Ave., 505-989-3505 Breakfast and lunch 7 a.m.-5 p.m. daily Counter and table service Vegetarian options Patio dining in season Takeout available Credit cards, local checks Noise level: quiet to lively chatter

•

The Short Order The cheerful disposition of Damian and Maria Muñoz goes a long way, making up for the few flaws you’ll experience at Palacio Café, a cute little one-room restaurant nestled between Otero and Cienega streets on Palace Avenue. There’s a warm, welcoming glow to the cozy, nononsense space, where you can get decent food — breakfast burritos, pancakes, soup, sandwiches, salads, a burger, and enchiladas — served speedily and with a smile. Recommended: Pear salad, green chile stew, vegetarian sandwich, and breakfast burrito with red or green chile.

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.

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PASATIEMPO I October 11-17, 2013

In a 2011 TED lecture, writer and entrepreneur Ron Gutman discussed the power of smiling. Research shows, Gutman said, that a smile has the same effect on the brain’s reward mechanism as eating 2,000 bars of chocolate or receiving roughly $25,000 in cash. Smiling can reduce the levels of stress-enhancing hormones like cortisol and increase the levels of mood-enhancing hormones like endorphins. It reduces overall blood pressure and makes you appear not only more likable and courteous but also more competent.

Maybe Damian Muñoz, owner of Palacio Café, heard that lecture, because he breaks into a huge, toothy wholeface grin more often than anyone else I know. Even in the middle of a busy lunch rush, he occasionally pops out of the kitchen to greet customers at the counter, bring food to a table, or stop by to make sure you’re enjoying your meal. His wife, Maria, takes orders, answers the phone, runs food, and buses tables, but she’ll make you feel like you’re the most important person in the room. That cheerful disposition definitely goes a long way, making up for the few flaws you’ll experience at this cute little one-room café nestled between Otero and Cienega streets.

The breakfast menu is short and sweet, which is good in my book, because having too many choices before I’m sufficiently caffeinated just boggles my mind. Options range from a traditional egg-based breakfast to loaded omelets, pancakes, and huevos rancheros. Whether you prefer red or green chile, the breakfast burrito is a great way to start the day. Reasonably sized and easily toted, the hand-held version is stuffed with a perfect balance of scrambled egg, tangy cheddar, and sweet, starchy hash browns (and bacon or sausage, if you choose). Neither chile is particularly spicy — the red is bittersweet, the green smoky with a lingering black-pepper-like warmth.

Wash it down with a piping-hot cup of freshly brewed Aroma coffee.

Given that the lunch menu includes a dozen sandwiches, salads, a burger, and enchiladas, later in the day you may find yourself in the throes of decision-making paralysis.

At least one soup — usually two or three — will be available each day. On our visits, these included minestrone; tortilla; a rich mushroom with a nice balance of creaminess and earthiness; and a robust, beef-based green chile stew with excellent chile flavor and plenty of tender potato nuggets. Use a fluffy fresh flour tortilla to soak up some of the hearty broth.

For something lighter, try the generous pear salad.

Candied pecans; loads of funky, pungent blue cheese; and what looked to be an entire fresh pear, diced, were tumbled on top of crisp fresh greens in mine. A standard, nondescript balsamic vinaigrette was served on the side.

The tomato-mozzarella panini is a little on the gooey, gloppy side, the pesto mayonnaise slathered on and

a thick slice of milky mozzarella only partially melted.

Helping balance it out are the strong sweetness of brightred roasted pepper, the bread’s excellent crunchy crust, and peppery arugula. Whether you eat a meat-free diet or not, the vegetarian sandwich is a winner. A pleasantly light but crispy and colorful combo of arugula, tomato, bright and nutty sunflower sprouts, cool cucumber, shredded carrot, pungent thinly sliced red onion, and mildly sharp cheddar is stacked between slices of soft wheat bread and accented by zesty-sweet honey mustard.

The club sandwich is so loaded with Boar’s Head meats and cheeses that it has to be served on its side. Aside from the crunchy bacon and the roasty-hot green chile, not much stands out, but it’s a generous, satisfying lunch all the same.

You’ll get a garlicky pickle spear with most sandwiches.

Jarritos sodas and Mexican Coca-Cola are in the cooler, but why not opt for the house-made lemonade, which has an ideal balance of sour and sweet?

While you’re noshing, pause to appreciate the relaxed ambience of the cozy little space. Southerly sunlight pours in through a bank of French windows, lending the place — with its rustic-looking vigas and well-worn brick flooring — a warm, welcoming glow. A huge portrait of Our Lady of Guadalupe watches over things from one bright-red wall. It’s a no-nonsense dining room — a far cry from the swanky lunch and brunch places elsewhere in town. But sometimes all you need is decent food in an easy, unassuming space, served speedily — and with a smile. ◀

Check, please Lunch for four at Palacio Café: Cup, green chile stew ........................................ $ 4.50 Pear salad ........................................................... $ 8.75 Tomato-mozzarella panini ................................. $ 8.25 Club sandwich ................................................... $ 9.75 Half vegetarian sandwich & cup, ....................... $ 8.00 mushroom soup Lemonade .......................................................... $ 2.75 TOTAL ............................................................... $ 42.00 (before tax and tip) Breakfast for two, another visit: Two breakfast burritos ....................................... $ 13.00 Large coffee ........................................................ $ 2.25 TOTAL ............................................................... $ 15.25 (before tax and tip)

Fine Wine Sale

One time only - purchase rare 1979-2007 vintages from La Posada’s Wine Spectator rated cellar at 2007 costs ThurSday, OcTOber 17Th 4:00 Pm TO 7:00 Pm FuegO reSTauranT aT La POSada reSOrT 330 e. Palace avenue Join us for an evening of wine tasting, great deals, fine food and entertainment from Pat malone

Full wine list available at laposadadesantafe.com/dining/ Featured wines include: Domaine de la Romanee-Conti, La Tache, Vosne-romanee 2005 and echezeaux, 2005; Louis Latour, montrachet, grand cru, 1999; Opus One, 2004; Shafer, hillside Select, 1999-2004 and more Information: 505-954-9672 330 E. Palace Avenue, Santa Fe • laposadadesantafe.com

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PASATIEMPOMAGAZINE.COM

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pasa week

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

Friday, Oct. 11 gallery/museum openings

Bill Hester Fine art 830 Canyon Rd., 505-660-5966. Sinuosity, paintings by Carolyn Schrock, reception 5-8 p.m., through October.

Blue rain gallery 130-C Lincoln Ave., 505-954-9902. In the Flow, new paintings by Doug West, reception 5-7 p.m., through October.

Center for Contemporary arts — muñoz Waxman gallery 1050 Old Pecos Trail, 505-982-1338. Atomic Surplus, multidisciplinary group exhibit surveying the global nuclear legacy; also, Tony Price and the Black Hole, exhibit of ephemera from the Los Alamos Black Hole salvage yard and works from the estate of the artist Tony Price, reception 6-8 p.m., suggested $5 donation, through Jan. 5 (see stories, pages 36 and 38).

Convergence gallery 219 W. San Francisco St., 505-986-1245. Sky Watcher, paintings by Katherine Irish Henry, reception 5-7 p.m., through Nov. 3. gerald peters gallery 1011 Paseo de Peralta, 505-954-5700. Presence, Place, and Perspective, new works by Don Coen, Elizabeth (Buff) Elting, Karen Kitchel, and Don Stinson, reception 5-7 p.m., through Nov. 5. greenberg Fine art 205 Canyon Rd., 505-955-1500, It Could Be Anywhere, paintings

by Bruce Cody, reception 5-7 p.m.

Hunter Kirkland Contemporary 200-B Canyon Rd., 505-984-2111. Bright Waters Two, paintings by Peter Burega, reception 5-7 p.m., through Oct. 28. la posada de santa Fe resort and spa 330 E. Palace Ave., 505-954-9668. Animal paintings by Sarah J. Webber, reception 4 p.m. phil space 1410 Second St., 505-983-7945. Drawing Room, works on paper by Eugene Newmann and John Connell, reception 5-8 p.m., through Nov. 8.

The secret gallery 920 Baca St., Motherlode, paintings, assemblage, and video installations by Rebecca Wheeler and Shelley Horton Trippe, reception 6-8 p.m., for more information call 505-310-5284.

Tom ross gallery 409 Canyon Rd., 505-984-8434. New paintings

by Dirk Kortz, reception 5-7:30 p.m., through Oct. 25.

Vivo Contemporary 725 Canyon Rd., 505-982-1320. The Universe Next Door, 14 gallery artists explore the “next door” of media, reception 5-7 p.m., through October.

Worrell gallery 103 Washington Ave., 505-989-4900, The Golden Glow of Fall, new works by Rosie Sandifer, reception 5-7 p.m.

Pasa’s Little Black Book......... 65 Exhibitionism...................... 66 At the Galleries.................... 67 Museums & Art Spaces........ 67

64

PASATIEMPO I October 11-17, 2013

Nüart Gallery shows new paintings by Erin Cone, 670 Canyon Rd.

ClassiCal musiC

st. John’s College Concert series Pianist David Bolotin, violinist Christine Chen, and cellist Dana Winograd perform music of Mendelssohn and Shostakovich, 12:10 p.m., Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.

TgiF EPIK Performances by the Santa Fe Concert Association, First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16.

in ConCerT

John Tank The New York City-based jazz saxophonist is joined by Bert Dalton on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Museum Hill Café, $25, 505-983-6820.

In the Wings....................... 68 Elsewhere............................ 70 People Who Need People..... 71 Pasa Kids............................ 71

nosotros Latin dance band, 9 p.m., 8:15 tango demonstration, La Tienda Performance Space, 7 Caliente Rd., Eldorado. $10.

THeaTer/danCe

antonio granjero and entreFlamenco Company 8 p.m., The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234, today and Saturday only, final weekend.

Dos Patrias: La Poesía de Cuba Staging of works by Cuban poets accompanied by music and song, in Spanish with English translations, 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $8 and $10, 505-424-1601, FridaySunday through Oct. 20.

I Hate Hamlet Santa Fe Playhouse presents a play

by Paul Rudnick, directed by Robert Nott, 6:30 p.m. opening night gala, 7:30 p.m. curtain, 142 E. De Vargas St., $30, santafeplayhouse.org, 505-988-4262, Thursday-Sunday through Oct. 27 (see story, Page 50).

Middletown Greer Garson Theatre presents Will Eno’s comedy, 7 p.m., SFUA&D, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org, through Sunday Oct. 13.

The Other Santa Fe Performing Arts presents performance artist Cohdi Harrell’s production, 8 p.m. today and Saturday, Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 505-984-1370, sfperformingarts.org, contains nudity.

calendar guidelines Please submit information and listings for Pasa Week

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

Te Amo, Argentina Multimedia performance with tango dancers Miriam Larici and Leonardo Barrionuevo, string quartet The Capitol Ensemble, pianist Brian Pezzone, and double bassist Pablo Motta, 7:30 p.m. the Lensic, $20-$40, 505-988-1234, ticketssantafe.org.

books/talks

Holism: Philosophy, language, and things A St. John’s College community lecture by Joshua Kates, 7:30 p.m. Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 505-984-6070.

outdoors

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

events

Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 505-670-2599 or 505-231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. show House santa Fe Debut of a show house transformed by Santa Fe’s top interior designers; tours 11 a.m.-4 p.m.; Fashion Fusion Party 5-8 p.m., tour tickets $15; $10 for students; party tickets $50; tickets available at David Naylor Interiors, 111 St. Francis Dr., 505-988-3170. spread 4.0 SITE Santa Fe’s recurring public dinners designed to generate financial support for artistic innovation; finalists include Axle Contemporary, Ligia Bouton, and New Mexico Acequia Association, 7 p.m. Santa Fe Farmers Market Pavilion, 1606 Paseo de Peralta, $15-$50 sliding scale, tickets available at SITE Santa Fe only, 505-989-1199 (see story, Page 46).

tec St., 505-820-0150 317 aztec 317 Az nter dinner agora shopping Ce Vista Grande, ida en Av 7 d courtyar 70 Eldorado, 505-466-12 e inn th at ge agoyo loun 3 E. Alameda St., 30 a ed am al e th on 505-984-2121 nt anasazi restaura Anasazi, Rosewood Inn of the 505-988-3030 e., 113 Washington Av e betterday Coffe 505-555-1234 905 W. Alameda St., nch resort bishop’s lodge ra Lodge Rd., ps ho Bis 97 & spa 12 505-983-6377 Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at el Mes 505-983-6756 e., Av ton ing 213 Wash Cowgirl bbQ , 505-982-2565 319 S. Guadalupe St. te Café the den at Coyo 5-983-1615 50 , St. r ate W .

W 2 13 duel brewing 5-474-5301 1228 Parkway Dr., 50

niGHtliFe

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

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

Cowgirl bbQ Happy Hours with Jody Jones, cross-cultural country soul, 5-7:30 p.m; roots rock guitarist Jono Manson, 8:30 p.m., no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Posada de santa Fe resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. low ’n slow lowrider bar at Hotel Chimayó de santa Fe Bienvenu Revolver Trio with Loren Bienvenu, Andy Kingston, and Cody Winning, jazz, 9 p.m., no cover. tiny’s Western swing and honky-tonk with The Tumbleweeds, 8:30 p.m., no cover. the underground at evangelo’s DJ Optamystik, 9 p.m., call for cover. upper Crust Pizza Dana Smith, original country-tinged folk, 6-9 p.m., no cover.

Pasa’s little black book lton el Cañon at the Hi 88-2811 5-9 50 , St. 100 Sandoval spa eldorado Hotel & St., 505-988-4455 o 309 W. San Francisc Rd., 505-983-9912 el Farol 808 Canyon evangelo’s o St., 505-982-9014 200 W. San Francisc erging arts High Mayhem em -2047 38 5-4 50 ., Ln er 2811 Sil Hotel santa Fe ta, 505-982-1200 1501 Paseo de Peral asters ikonik Coffee ro -0996 28 5-4 50 1600 Lena St., St., 505-982-3433 rcy Ma .

W la boca 72 ina la Casa sena Cant 5-988-9232 50 125 E. Palace Ave., at la Fonda la Fiesta lounge , 505-982-5511 St. 100 E. San Francisco a Fe resort nt la Posada de sa Ave., 505-986-0000 e lac Pa E. 0 33 a and sp ar g ts Center lensic Performin St., 505-988-1234 o isc nc Fra 211 W. San e lodge th at ge un lodge lo Francis Dr., St. N. 0 at santa Fe 75 505-992-5800 rider bar low ’n slow low de santa Fe ó ay im Ch l at Hote 505-988-4900 e., Av 125 Washington

12 Saturday Gallery/MuseuM oPeninGs

Henington Fine art 802 Canyon Rd., 505-690-9160. Cowgirl Up! and Western Myth, Legends, and Legacies, works by S.J. Shaffer and David DeVary, reception 6-8 p.m., through October.

in ConCert

Cedric burnside Project and Jimmy “duck” Holmes Mississippi blues artists, 7 p.m. Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, 505-982-1851, $25 in advance,brownpapertickets.com, $28 at the door (see story, Page 26). rock 4 Food Performances by the Boomroots Collective, DJ A’ight, and Anvil Cloud, proceeds benefit Warehouse 21 and The Food Depot, 2-9 p.m., Saturday, Oct. 12, Warehouse 21, 1614 Paseo de Peralta, donations of nonperishable food or $5 and up suggested.

ZZ top Legendary rock band, 8 p.m., Tewa Ballroom, Buffalo Thunder Resort and Casino, Pojoaque Pueblo off U.S. 84/285, $55-$75, tickets.com.

tHeater/danCe

antonio Granjero and entreFlamenco Company 8 p.m., The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234.

Dos Patrias: La Poesía de Cuba Staging of works by Cuban poets accompanied by music and song, in Spanish with English translations, 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $8 and $10, 505-424-1601, Friday-Sunday through Oct. 20.

I Hate Hamlet Santa Fe Playhouse presents a play by Paul Rudnick, directed by Robert Nott, 7:30 p.m., 142 E. DeVargas St., $20; discounts

the Matador 116 W. San Francisco St., 505-984-5050 the Mine shaft tavern 2846 NM 14, Madrid, 505-473-0743 Molly’s kitchen & lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music room at Garrett’s desert inn 311 Old Santa Fe Trail, 505-982-1851 omira bar & Grill 1005 S. St. Francis St., 505-780-5483. the Palace restaurant & saloon 142 W. Palace Ave, 505-428-0690 the Pantry restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo italian Grill 540 Montezuma Ave., 505-984-2645 rouge Cat 101 W. Marcy St., 505-983-6603 san Francisco street bar & Grill 50 E. San Francisco St., 505-982-2044 santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 second street brewer y 1814 Second St., 505-982-3030

available, santafeplayhouse.org, 505-988-4262, Thursday-Sunday through Oct. 27 (see story, Page 50).

Middletown Greer Garson Theatre presents Will Eno’s comedy, 7 p.m., SFUA&D, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org, through Sunday.

The Other Santa Fe Performing Arts presents performance artist Cohdi Harrell’s production, 8 p.m. Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 505-984-1370, sfperformingarts.org, contains nudity.

books/talks

Just us Chickens Poet Kathy Gilbert and artist Terre Reed read from and sign copies of their newly released book, 1-3 p.m., The Feed Bin, 1202 W. Alameda St., 505-982-0511.

events

Contra dance New England folk dance with live music by The Thrifters, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, 505-820-3535.

Fiesta Fela Third annual Santa Fe festival of African art and culture; African music, drumming, dancing, and art; 11 a.m.-7 p.m., Railyard Park, afreekasantafe.org, 505-919-9194.

Joe West’s Psychedelic Folk and bluegrass Festival Lineup includes Family Lotus, Joe West & The Santa Fe Revue, Todd & The Fox, and Will and the Won’ts, noon-midnight Madrid railyard, $15; $10 in advance at the Mine Shaft Tavern (505-473-0743) and at Candyman Strings and Things (851 St. Michael’s Dr., 505-983-5906) no charge for kids under 13 (see story, Page 28).

pasa week

continued on Page 69

second street brewery at the railyard 1607 Paseo de Peralta, 505-989-3278 steaksmith at el Gancho 104-B Old Las Vegas Highway, 505-988-3333 sweetwater Harvest kitchen 1512-B Pacheco St., 505-795-7383 taberna la boca 125 Lincoln Ave., Suite 117, 5 05-988-7102 thunderbird bar & Grill 50 Lincoln Ave., 505-490-6550 tiny’s 1005 St. Francis Dr., Suite 117, 505-983-9817 the underground at evangelo’s 200 W. San Francisco St., 505-819-1597 upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 vanessie 427 W. Water St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia diner 326 S. Guadalupe St., 505-988-7008

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exhibitionism A peek at what’s showing around town

bruce Cody: Starlite Reflections, 2013, oil on canvas. An exhibition of Bruce Cody’s work, It Could Be Anywhere, opens at Greenberg Fine Art on Friday, Oct. 11, with a 5 p.m. reception. Cody paints scenes that evoke a bygone era, which includes vintage movie theaters and motels, steam trains, and life in urban and small-town America.

The gallery is at 205 Canyon Road. Call 505-955-1500.

John Connell (1940-2009): Beat Up Country Folks, not dated, graphite and iron oxide on paper. Phil Space (1410 Second St., 505-983-7945) presents Drawing Room, an exhibit of works on paper by Eugene Newmann and John Connell. Newmann explores the human figure in abstract imagery based on paintings from various historical periods. Many of Connell’s works also deal abstractly with the figure. He is known for using nontraditional materials and handmade pigments. The show opens Friday, Oct. 11, with a 5 p.m. reception.

marina brownlow: Inae, 2013, monoprint. Vivo Contemporary (725 Canyon Road) presents The Universe Next Door, an exhibition of works by 14 gallery artists, including Marina Brownlow, Ro Calhoun, Ilse Bolle, Joy Cambell, and George Duncan. Vivo artists work in a variety of media such as photography, book art, glass, and encaustic. The reception is Friday, Oct. 11, at 5 p.m. Call 505-982-1320.

66

PASATIEMPO I October 11-17, 2013

s.J. shaffer: The Camino, 2013, colored pencil and acrylic wash on panel. Two shows are opening at Henington Fine Art: David DeVary’s Cowgirl Up! and S.J. Shaffer’s Western Myth, Legends, and Legacies. Shaffer makes colorful, illustrative paintings, and DeVary works in a pop Western style. The reception is Saturday, Oct. 12, at 6 p.m.

The gallery is at 802 Canyon Road. Call 505-690-9160.

Peter burega: Little Spring Bay, 2013, oil on wood panel.

Bright Waters Two is an exhibit of abstract paintings by Peter Burega at Hunter Kirkland Contemporary (200-B Canyon Road), in which he explores relationships of form and space. Working subtractively, he scrapes away layers of paint to reveal depths within the works. The show opens with a 5 p.m. reception on Friday, Oct. 11. Call 505-984-2111.

At the GAlleries

liBrAries

Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Mannequin, Lee Friedlander’s photographic series, through Jan. 5, 2014.

Blue Rain Gallery 130-C Lincoln Ave., 505-954-9902. Alberto Valdés (1918-1998): Selected Paintings, through Oct. 18 (see review, Page 44).

Canyon Road Art Brokerage 618 Canyon Rd., 505-995-1111. Michael Lawton: The Panoramic Works, 1969-2013, photographs, through Sunday, Oct. 13.

Casweck Galleries 203 W. Water St., 505-988-2966. Illustrations and oil paintings by Ronald Kil, through Sunday, Oct. 13.

Commissioner’s Gallery — New Mexico State Land Office 310 Old Santa Fe Trail, 505-827-5762. Córdova x 2, paintings by Amy Córdova and Matthew Córdova, through October.

David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Add-Verse, photo and video project by Allan Graham and Gloria Graham; Any Position Limits the View (We Are Only Here for a Spell), text- and language-based art by Allan Graham (aka Toadhouse); through Oct. 19.

Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. The Invisible Thread, paintings

by Elise Ansel, through Oct. 26.

Ernesto Mayans Gallery 601 Canyon Rd., 505-983-8068. Loud Whisper, work by Kathleen McCloud, through Oct. 25.

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

Exceptions to the Rule, sculpture and wall pieces

by Carol Ware and Nathaniel Hesse; paintings

by David Forlano, through November.

Gebert Contemporary 558 Canyon Rd., 505-992-1100. Painting in 2013, work by Dirk De Bruycker, through Nov. 12.

Jane Sauer Gallery 652 Canyon Rd., 505-995-8513. A Decade of Seasons, work by abstract painter Hilario Gutierrez, through Oct. 22.

Manitou Galleries 123 W. Palace Ave., 505-986-0440. New Mexico Vision, works by Arthur Lopez, Miguel Martinez, and Alvin Gill-Tapia, through Oct. 18.

Meyer East Gallery 225 Canyon Rd., 505-983-1657. First Sun, paintings by Ricardo Fernandez, through Oct. 18.

Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800. Ernest Withers: A Life’s Work, through Nov. 24.

New Concept Gallery 610 Canyon Rd., 505-795-7570. Early works by abstract painter Reg Loving; group show of works by gallery artists, through Nov. 4.

Nüart Gallery 670 Canyon Rd., 505-988-3888. Desiderata, paintings by Erin Cone, through Oct. 20.

Patina Gallery 131 W. Palace Ave., 505-9863432. Ingrained, works in wood by Liam Flynn and Gustav Reyes, through Oct. 27.

Peyton Wright 237 E. Palace Ave., 505-989-9888. Charles Hinman: Painting as a Three-Dimensional Statement, through Nov. 15.

Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 505-986-4589, group show of book art, through Dec. 13.

Santa Fe Clay 545 Camino de la Familia, 505-984-1122. In/Site, works by Meredith Brickell and Lynn Duryea, through Oct. 26.

Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7200. 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., 505-473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6041. Visit stjohnscollege.edu for hours. $40 fee to nonstudents and nonfaculty.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday.

Laboratory of Anthropology Library Museum of Indian Arts & Culture, 505-476-1264.

Open 1-5 p.m. Monday-Friday, by museum admission.

New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 505-467-6825.

Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours.

Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Friday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. MondayFriday to current students (call for details).

Visit santafe.edu/library for online catalog.

Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6780.

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., 505-955-4860.

Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.-6 p.m. Thursday-Saturday. Closed Sunday.

Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 505-955-2810.

Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.-6 p.m. Friday-Saturday. Closed Sunday.

Supreme Court Law Library 237 Don Gaspar Ave., 505-827-4850. Online catalog available at supremecourtlawlibrary.org.

Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & Art spAces refer to the daily calendar listings for special events. hours subject to change on holidays and during special events.

Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. Atomic Surplus, Tony Price’s “atomic art,” photographs from the Los Alamos Historical Society archives, nuclear-age vintage ads; through Jan. 5, 2014.

Gallery hours available online at ccasantafe.org or by phone, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Modern Nature: Georgia O’Keeffe and Lake George, through Jan. 26, 2014. Open 10 a.m.-5 p.m. SaturdayThursday, 10 a.m.-7 p.m. Friday; closed Sunday. $12; seniors $10; NM residents $6; students 18 and over $10; NM residents no charge the first Friday of each month.

Museum of Contemporary Native Arts 108 Cathedral Pl., 505-983-1666. Changing Hands: Art Without Reservations 3/Contemporary and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines; Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; through December. Open 10 a.m.-5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1250.

Heartbeat: Music of the Native Southwest • What’s New in New: Recent Acquisitions, through December • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Open 10 a.m.-5 p.m. daily.

NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays. Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200.

Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through April 27, 2014 • New World Cuisine: The Histories of Chocolate, Mate y Más, through January 5, 2014 • Multiple Visions: A Common Bond, collection of toys and folk art.

Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays; school groups no charge.

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

Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014.

Dida hall’s book art is shown in the group exhibit at rotunda Gallery, state capitol

Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays.

New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Collecting Is Curiosity/Inquiry • A Life in Pictures: Four Photography Collections, through Jan. 19, 2014 • 50 Works for 50 States: New Mexico, through April 13, 2014 • Back in the Saddle, paintings, prints, photographs, and drawings of the Southwest, through Jan. 12, 2014 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. daily. 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.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 505-988-8900. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission.

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 505-455-3334. Fashion designs by Patricia Michaels, through November.

Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.4 p.m. Saturday; donations accepted.

SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199.

Open 10 a.m.-5 p.m. Tuesday, Thursday, and Saturday; 10 a.m.-7 p.m. Friday; closed Wednesday; $10; seniors and students $5; 10 a.m.-noon Saturday, no charge; Friday no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m. daily.

Donations accepted.

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In the wings MUSIC

Earwaves on SomaFM grand opening An evening of experimental, electronic, and new music and video, with J.A. Deane, Michael Kott and CelloCosmos, and Dwight Loop, 4 p.m.2 a.m. Saturday, Oct. 19, Lumenscape Studios, 601 Frontage Rd., Budaghers, Santa Fe Pro Musica Tchaikovsky Serenade featuring Carol Redman on flute, 6 p.m. Saturday, Oct. 19, 3 p.m. Sunday, Oct. 20, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 505-988-4640, santafepromusica.com or ticketssantafe.org.

Serenata of Santa Fe The chamber music ensemble’s season continues with No Stone Unturned, music of Messiaen, Brahms, and John Harbison, 3 p.m. Sunday, Oct. 20, performers include Debra Ayers, L.P. How, and Christof Huebner, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org.

Geri Allen, Terri Lyne Carrington, and Esperanza Spalding Jazz trio, 7 p.m.

Sunday, Oct. 20, the Lensic, $30-$60, 505-988-1234, ticketssantafe.org.

Jeffrey Foucault and Kris Delmhorst Singer/songwriters, 7:30 p.m. Sunday, Oct. 20, Gig Performance Space, 1808 Second St., $20 in advance at brownpapertickets.com; $25 at the door.

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

Tuesday, Oct. 22, Santa Fe Sol Stage & Grill, 37 Fire Pl., $25 in advance, $30 at the door, 505-988-1234, ticketssantafe.org.

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

Wednesday, Oct. 23, Santa Fe Community Convention Center, $30, ticketssantafe.org, 505-988-1234, $35 at the door, 21+.

Christianne Miranda Jazz vocalist, with Bert Dalton, Andy Zadrozny, and John Trentacosta, 7 p.m. Friday, Oct. 25, Museum Hill Café, $25, 505-983-6820.

Santa Fe Men’s Camerata Choral concert Feel the Spirit, 3 p.m. Saturday, Oct. 26, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., $20 at the door, student discounts available, santafemenscamerata.com.

Apollo’s Fire Baroque ensemble, 4 p.m. Sunday, Oct. 27, Duane Smith Auditorium, Los Alamos High School campus, 1300 Diamond Dr., ticketssantafe.org, 505-988-1234.

Birds of Chicago Roots duo, 7:30 p.m. Monday, Oct. 28, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $22 in advance at brownpapertickets.com, $25 at the door.

Leni Stern African Trio Jazz guitarist with Senegalese musicians Mamadou Ba and Alioune Faye, 7:30 p.m.

Monday, Oct. 28, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.

Alloy Orchestra The instrumental trio performs live accompaniment for the 1927 silent film Metropolis, 7 p.m. Tuesday, Oct. 29, the Lensic, $10-$20, ticketssantafe.org, 505-988-1234.

Majesty of Music and Mathematics: Voyages of Discovery IV The Santa Fe Symphony performs works illustrating mathematical concepts; remarks by Santa Fe 68

PASATIEMPO I October 11-17, 2013

Institute’s Cris Moore and an overhead multimedia presentation, 7:30 p.m., Saturday, Nov. 2, the Lensic, $22-$76, 505-983-1414 or 505-988-1234, ticketssantafe.org.

Iva Bittová Czech avant-garde vocalist and violinist, 7:30 p.m. Friday, Nov. 8, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.

Jasper String Quartet Music of Hayden, Beethoven, and Sarabande, 3 p.m. Sunday, Nov. 10, $20-$65, ticketssantafe.org, 505-988-1234.

Robert Cray Band Blues guitarist, 7:30 p.m. Sunday, Nov. 10, the Lensic, $34-$54, ticketssantafe.org, 505-988-1234.

Richard Smith Finger-style guitarist, 8 p.m. Thursday, Nov. 14, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.

Charles Lloyd & Friends Jazz reedist and composer, with Reuben Rogers on bass, Eric Harland on drums, and Bill Frisell on guitar, 7 p.m. Tuesday, Nov. 19, the Lensic, $20-$45, 505-988-1234, ticketssantafe.org.

Serenata of Santa Fe Windstream, music of Beethoven, Thuille, and Poulenc, 3 p.m., Sunday Nov. 24, Scottish Rite Center, 463 Paseo de Peralta, $25; discounts available, 505-989-7988.

Roger Landes and Douglas Goodhart Bouzouki and fiddle music from the Irish, French, French-Canadian, and Balkan traditions, 7:30 p.m., Thursday, Dec. 12, Gig Performance Space, 1808 Second St., $15.

Upcoming events Ian Moore Austin-based blues-rock guitarist, 7:30 p.m., Thursday, Dec. 12, Maria Benitez Theater at The Lodge at Santa Fe, 750 N. St. Francis Dr., $25 in advance at brownpapertickets.com; $29 at the door.

Ralph Stanley and the Clinch Mountain Boys The elder statesman of Appalachian and bluegrass music, 7:30 p.m., Thursday, January 30, 2014, the Lensic, $29-$79, ticketssantafe.org, 505-988-1234.

THEATER/DANCE

Motherhood Out Loud Staged reading by For Giving Productions theater company against a backdrop of TV and stage illustrations by George Wachsteter, 6 p.m., Saturday, Oct. 19, Casweck Galleries, 203 W. Water St., 505-988-2966.

The Met Live in HD Shostakovich’s opera The Nose, 11 a.m. and 6 p.m., Saturday, Oct. 26; Verdi’s opera Falstaff, 11 a.m. and 6 p.m., Saturday, Dec. 14, the Lensic, $22-$28, ticketssantafe.org, 505-988-1234.

National Theatre Live in HD Macbeth, 7 p.m. Tuesday, Nov. 5; 50th anniversary event showcase, 7 p.m.

Tuesday, Nov. 12; the Lensic, $22, discounts available, ticketssantafe.org, 505-988-1234.

Balé Folclórico da Bahia Brazilian folk dance, 7 p.m. Wednesday, Nov. 13, the Lensic, $25-$45, ticketssantafe.org, 505-988-1234.

The Mountaintop Fusion Theater presents Katori Hall’s drama reimagining events the night prior to the assassination of Martin Luther King Jr., 8 p.m. Friday and 2 and 8 p.m. Saturday, Nov. 15-16, the Lensic, $20-$40, student discounts available, ticketssantafe.org, 505-988-1234.

Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m. Friday-Sunday, Nov. 15-24, Greer Garson Theatre, SFUA&D, 1600 St. Michael’s Dr., $12-$15, discounts available, 505-988-1234, ticketssantafe.org.

Funk and reggae fusion band michael Franti & spearhead perform oct. 23 at the santa Fe community convention center.

The Secret War Monologist Mike Daisey’s new work exploring national security, privacy, and freedom, 7 p.m.

Thursday and Saturday, Nov. 21 and 23, the Lensic, $10, ticketssantafe.org, 505-988-1234.

The Second City Comedy-theater troupe, 7 p.m. Saturday, Dec. 7, the Lensic, $27-$44, 505-988-1234, ticketssantafe.org.

Paula Poundstone Standup comedian, 7:30 p.m. Friday, Dec. 13, the Lensic, $27.50 and $35, 505-988-1234, ticketssantafe.org.

HAPPENINGS

Fashion Heat 2013 Native fashion as art show, 4:30-6:30 p.m. Saturday, Oct. 19, Eldorado Hotel and Spa, 309 W. San Francisco St., $10, ticketssantafe.org, 505-988-1234.

Michael Nichols The photographer discusses his work with elephants, lions, and sequoias and signs copies of his book Earth to Sky: Among Africa’s Elephants, a Species in Crisis, 7 p.m., Tuesday, Oct. 22, the Lensic, $15-$75, 505-988-1234, ticketssantafe.org.

Esperanza Shelter for Battered Families Masquerade Ball Silent auction, music by theatrical jazz quartet Le Chat Lunatique, and dinner, 6 p.m. Saturday, Oct. 26, Santa Fe Community Convention Center, $125, table discounts available, esperanzaball.com, 505-474-5536.

Lannan Foundation events Jeremy Scahill, author of Dirty Wars: The World Is a Battlefield, and Tom Engelhardt, 7 p.m. Wednesday, Oct. 30; a Lannan Literary Series event with Luís Alberto Urrea and Michael Silverblatt, 7 p.m., Wednesday, Nov. 20; Nothing Personal: The Dark Room Collective Reunion Tour with Natasha Trethewey, Major Jackson, Thomas Sayers Ellis, John Keene, Tisa Bryant, and Sharan Strange, 7 p.m., Thursday, Dec. 12, the Lensic, $6, students $3, ticketssantafe.org, 505-988-1234.

Design Lab: Next Nest SITE Santa Fe and Design Santa Fe present an exhibit of new domestic forms and design concepts, Saturday-Friday, Nov. 2-29, opening reception 5-7 p.m., Saturday, Nov. 2, SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199.

FUZE-SW Food + Folklore Festival Food conference with national and local chefs and authors, speakers include James Campbell Caruso and Cordelia Thomas Snow. FridaySunday, Nov. 8-10, Museum of International Folk Art, $250, 505-476-1146, for updates visit fuzesw.museumofnewmexico.org.

Holiday Pie Mania Auction of pies from local chefs and bakers; 1-5 p.m. Saturday, Nov. 9, Builders Source Appliance Gallery, 1608 Pacheco St., $5 in advance, $7 at the door, proceeds benefit The Food Depot, thefooddepot.org, 505-471-1633.

Recycle Santa Fe Art Festival Recycled-art market, juried exhibit, and trashfashion contest, Friday-Sunday, Nov. 15-17, Santa Fe Community Convention Center, 201 W. Marcy St., recyclesantafe.org.

An Evening With the Harvey Girls Premiere screening of the The Harvey Girls: Opportunity Bound, followed by a reception with the filmmaker, 4-7 p.m., Sunday, Nov. 17, New Mexico History Museum Auditorium, 113 Lincoln Ave., $80-$100, tickets available at the museum shop or by calling 505-982-9543.

pasa week

from Page 65

12 Saturday (continued) Santa Fe Artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 505-310-1555.

Santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 505-983-4098.

Santa Fe Jewish Film Festival The season opens with Defiant Requiem, a documentary about prisoners’ performances of Verdi’s Requiem at Terezín concentration camp during World War II and conductor Murry Sidlin’s recent Defiant Requiem concerts at Terezín; a Q & A with Sidlin follows the film, 7 p.m., The Screen, SFUA&D, 1600 St. Michael’s Dr., $15 in advance at santafejff.org or $20 at the door.

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

Show House Santa Fe Debut of a show house transformed by Santa Fe’s top interior designers; tours 11 a.m.-6 p.m.; $15; $10 for students; tickets available at David Naylor Interiors, 111 St. Francis Dr., 505-988-3170.

OutdOOrS

Over the Mountain Before State road 4 Dorothy Hoard leads a historical hike toward Apache Springs, passing pre-1930s roads and old mountain routes. Meet at 9:30 a.m. at Pajarito Environmental Education Center, 3540 Orange St., Los Alamos, to carpool or meet at 10 a.m. at Forest Rd. 181; visit pajaritoeec.org or call 505-662-0460 for more information.

Star Party Gala at the Galisteo Basin Preserve Buffet dinner, bluegrass music with the Kitty Jo Creek Band, guided tour of the night sky with astronomer Peter Lipscomb, 5-9 p.m., U.S. 285 and Astral Valley Rd., 5 miles south of Eldorado, $35; $15 for children under 16, 505-982-0071.

NIGHtlIFe

(See Page 65 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover.

Cowgirl BBQ Indigie Femme, folk and roots, 2-5 p.m., cover band Chango, 8:30 p.m., no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Posada de Santa Fe resort and Spa The Pat Malone Jazz Trio with Kanoa Kaluhiwa on sax, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., no cover.

Sweetwater Harvest Kitchen Hawaiian slack key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nancy and Cyndi, 8:30, no cover. the underground at evangelo’s DJ Guttermouth, 9 p.m., call for cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; JEM, Jay Cawley, Ellie Dendahl, and Michael Umphrey, guitars and vocals, 8:30 p.m.close; call for cover.

13 Sunday ClASSICAl MuSIC

enchantment Chamber Music All Saints/Day of the Dead concert and art show; the chamber group performs works of J.S. Bach, Schubert, and Strauss, with an exhibit of Northern New Mexico-style santos

by Ellen Chávez de Leitner and her daughters, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., 505-988-1975, $28; discounts available; tickets available at the door or through chavezdeleitner.com.

Santa Fe Community Orchestra Fall concert featuring an all-American program; music of Aaron Copland, John Alden Carpenter, and William Grant Still, 2:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave.; 1 p.m., folk music preconcert by the Acoustic Ensemble of SFUA&D in the museum courtyard, no charge (see story, Page 24),

IN CONCert

Cuba Pacha A cappella artist imitates Cuban acoustic instruments,1:30 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, $10; $5 for children, 505-992-0591, Sundays through November.

World Blues tour Featuring Taj Mahal, Vusi Mahlasela, Fredericks Brown, and Deva Mahal, 7:30 p.m. the Lensic, $25-$55, ticketssantafe.org, 505-988-1234.

tHeAter/dANCe

Dos Patrias: La Poesía de Cuba Staging of works by Cuban poets accompanied by music and song, in Spanish with English translations, 2 p.m., Teatro Paraguas, 3205 Calle Marie, pay-what -you-wish, 505-424-1601, Friday-Sunday through Oct. 20.

I Hate Hamlet Santa Fe Playhouse presents a play by Paul Rudnick, directed by Robert Nott, 4 p.m.

142 E. De Vargas St., $20; discounts available, santafeplayhouse.org, 505-988-4262, ThursdaySunday through Oct. 27 (see story, Page 50).

Middletown Greer Garson Theatre presents Will Eno’s comedy, 2 p.m., SFUA&D, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org.

BOOKS/tAlKS

Mark rudd A conversation with the activist, an early organizer with Students for a Democratic Society and the Weather Underground, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

Wildcat Coal Mines Historian Bill Baxter examines the roots of the town of Madrid, 2 p.m., Cerrillos Hills State Park visitor center, 16 miles south of Santa Fe off NM 14, 505-474-0196, donations accepted.

eVeNtS

railyard Artisans Market 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta.

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

NIGHtlIFe

(See Page 65 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover.

James Brown, Mid-South Coliseum, Memphis, TN, 1965, by Ernest Withers, Monroe Gallery of Photography, 112 Don Gaspar Ave.

Cowgirl BBQ Boris McCutcheon pays tribute to Townes Van Zandt, noon-3 p.m., no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s R & B jam band Tone & Company, 8:30 p.m., no cover. la Fiesta lounge at la Fonda Classic movie night, 6-10 p.m., no cover. la Posada de Santa Fe resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover. the underground at evangelo’s Nerdy movie night, 7 p.m., no cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

14 Monday BOOKS/tAlKS

Henry Shukman and rodger Kamenetz The poets read from their collections Archangel and To Die Next to You, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226 (see Subtexts, Page 12).

Monte Verde, Chile revisited: A Southern View of the First Americans A Southwest Seminars lecture with Thomas Dalton Dillehay, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775.

What Is Art Supposed to Be? Spanish Colonial Art Society lecture by Andrew L. Connors, 2-3 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, 505-982-2226, $10.

NIGHtlIFe

(See Page 65 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

the underground at evangelo’s Eighties night with DJ Guttermouth, 9 p.m., no cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

15 Tuesday ClASSICAl MuSIC

Notes on Music Illustrated presentation with pianist/conductor Joseph Illick on the music of Verdi, 7:30 p.m., United Church of Santa Fe, 1804 Arroyo Chamiso Road, $20, 505-988-1234, ticketssantafe.org.

IN CONCert

Steve earle and the dukes Roots rockers, 7:30 p.m. Greer Garson Theatre, SFUA&D, 1600 St. Michael’s Dr., $42-$62, 505-988-1234, ticketssantafe.org.

tHeAter/dANCe

National theatre live in Hd Othello, 7 p.m. the Lensic, $22, discounts available, ticketssantafe.org, 505-988-1234.

BOOKS/tAlKS

John Brandi The poet reads from his collection The World, the World, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

Al riske The author reads from his book Sabrina’s Window, 4:30 p.m., Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave., 505-428-0321.

NIGHtlIFe

(See Page 65 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover.

Cowgirl BBQ Alt-country/alt-rock band A House for Lions, 8 p.m., no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

69

Time Under Mexico’s Light Cristina Kahlo discusses the work of her great-grandfather Guillermo Kahlo, an early-20th-century photographer in Mexico City, 6 p.m., Tipton Hall, SFUA&D, 1600 St. Michael’s Dr.

EVENTs

Paleoamerican odyssey conference Paleoamerican artifacts are displayed as part of the three-day conference, 7 a.m.-7 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $25 to view the artifacts; visit paleoamericanodyssey.com for full conference details, through Saturday. santa Fe Independent Film Festival The fifth season continues with Tapia, a documentary on the famed New Mexico boxer, 7 p.m.,the Lensic, $10-$15, see santafeiff.com for a full schedule of feature films and shorts; individual ticket prices vary; festival passes $150, call 505-988-1234 or visit ticketssantafe. org for individual tickets or passes, through Oct. 20 (see stories, pages 31 and 32).

NIGHTLIFE

Andrew Smith Gallery shows photographs by Ansel Adams, 122 Grant Ave.

El Farol Canyon Road Blues Jam, 8:30 p.m.-midnight, no cover.

La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 7:30 p.m., no cover.

The Underground at Evangelo’s Karaoke with DJ Optamystik, 9 p.m., no cover.

Vanessie Pianists Doug Montgomery, 6-8 p.m. and John Randal, 8 p.m.-close, no cover.

16 Wednesday books/TaLks

brainpower & brownbags lecture The monthly series continues with Sherry Smith on her book Hippies, Indians, and the Fight for Red Power, noon-12:45 p.m., Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 505-476-5200.

The Impact of NGos on International Relations A World Affairs Discussion with author and radio host Craig Barnes, presented by the Santa Fe Council on International Relations, 11:30 a.m.-1:30 p.m., Bishop’s Lodge Ranch Resort and Spa, 1297 Bishops Lodge Rd., $32, sfcir.org, 505-982-4931.

Lannan Literary series Authors Jamaica Kincaid and Robert Faggen, 7 p.m. the Lensic, $6, students $3, ticketssantafe.org, 505-9881234 (see story, Page 14).

The Red and the White: The saga of a Mixed-Race Family in 19th-Century Montana Andrew Graybill explores race relations in late-19th-century Montana.

School for Advanced Research boardroom, 660 Garcia St., 505-954-7203, no charge.

Twentieth-Century Photographer Margaret bourke-White The weekly New Mexico Museum of Art docent talk series continues, 12:15 p.m., 107 W. Palace Ave., by museum admission, 505-476-5075.

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PASATIEMPO I October 11-17, 2013

EVENTs

Not Your Mama’s Nopalitos Jim Hastings (“the Gringo Gourmet”) takes cooking prickly pear to a new level; cooking demonstration and tasting, 6:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, no charge, 505-690-5105. santa Fe Independent Film Festival The fifth season opens with the John Sayles thriller Go for Sisters, 6:30 p.m., CCA Cinematheque, $10; see santafeiff.com for a full schedule of feature films and shorts; individual ticket prices vary; festival passes $150, 505-988-1234, ticketssantafe.org, through Oct. 20 (see story, Page 31).

oUTdooRs

Green Hour Hike Hosted by Los Alamos’ Pajarito Environmental Education Center, 9:30-10:30 a.m., East Fork trailhead, call 505-662-0460 or join the PEEC family nature Yahoo group at groups.yahoo. com/groups/peecfamilynature.

Nature hike The Nature Conservancy hosts a hike at Santa Fe Canyon Reserve, 1-2:30 p.m., meet at the preserve near the intersection of Upper Canyon and Cerro Gordo roads, email robert_martin@ tnc.org or call 505-946-2029 for reservations, no charge.

NIGHTLIFE

(See Page 65 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7:30-9:30 p.m., no cover.

Cowgirl bbQ Singer/songwriter Bat, 8 p.m., no cover.

La Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

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

Tiny’s Mike Clymer and Nick Wimett’s electric jam, 8:30 p.m.-close, no cover.

The Underground at Evangelo’s Rock band Colorphase, 9 p.m., call for cover.

Vanessie Pianist John Randal, 7 p.m.-close, no cover.

17 Thursday GaLLERY/MUsEUM oPENINGs

Faces from an america dream Photographs by Martin J. Desht documenting deindustrialization in Pennsylvania at the end of the 20th century, opening reception 3-5 p.m., Santa Fe Community College Main Hall, 6401 Richards Ave., 505-428-1533, through Nov. 15. santa Fe University of art & design Marion Center for Photographic Arts, 1600 St. Michael’s Dr., 505-473-6341. Five Mexican Photographers, group show by photographers using 19th-century processes, reception 7:15 p.m.

THEaTER/daNCE

I Hate Hamlet Santa Fe Playhouse presents a play by Paul Rudnick, directed by Robert Nott, 7:30 p.m., 142 E. DeVargas St., $10, 505-9884262, Thursday-Sunday through Oct. 27 (see story, Page 50).

books/TaLks

Cotton Mather and Those Puritans Lecture by Lib O’Brien, a descendant of Cotton Mather’s brother Timothy, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 505-982-9274.

(See Page 65 for addresses) ¡Chispa! at El Mesón Pianist John Rangel, 7:30-9:30, no cover.

Cowgirl bbQ Eclectic vocalist Sarah Gillespie, 8 p.m., no 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 The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

La Posada de santa Fe Resort and spa The Pat Malone Jazz Trio with Kanoa Kaluhiwa on sax, Jon Gagan on bass, and Malone on guitar, 6-9 p.m., no cover.

Low ’n slow Lowrider bar at Hotel Chimayó de santa Fe Gerry Carthy, tenor guitar and flute, 8 p.m., call for cover.

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

Rouge Cat DJ Feathericci, 9:30 p.m.-close, $3, 21+.

The Underground at Evangelo’s DJ Guttermouth, 9 p.m., no cover.

Vanessie Pianist John Randal, 7 p.m.-close, no cover.

▶ Elsewhere AlbuquErquE Museums/art spaces

albuquerque Museum of art & History 2000 Mountain Rd. N.W., 505-243-7255.

Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. TuesdaySunday; 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.

516 arts 516 Central Ave. S.W., 505-242-1445. Art at the Border: 21st Century Responses, artists address the sociopolitical environment of the U.S.Mexico border, reception 6-8 p.m. Saturday, Oct. 12, through Jan. 4, 2014.

Harwood art Center 1114 Seventh St. N.W., 505-242-6367.

Disaster/Resilience, artwork exploring social justice issues; Faces of the Elderly, photographs

by Hal Kahn; through Oct. 25. Open 10 a.m.4 p.m. Monday-Friday, no charge.

Boston, by Michael Lawton, Canyon Road Art Brokerage, 618 Canyon Rd.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261.

En la Cocina With San Pascual, works

by New Mexico artists. Open 10 a.m.-5 p.m.

Tuesday-Sunday.

UNM Art Museum Center for the Arts, 505-277-4001. The museum celebrates its 50th anniversary with exhibits of works from the permanent collection, through Dec. 21: From Raymond Jonson to Kiki Smith • Andy Warhol’s Snapshots and Takes • From Rembrandt to Pollock to Atget • Agnes Martin: The Early Years 1947-1957 • Life’s a Beach, work

by Martin Parr, through Dec. 14. Open 10 a.m.4 p.m. Tuesday-Saturday; $5 suggested donation.

Events/Performance

Albuquerque International Balloon Fiesta Balloon races, night flights, and special events, through Oct. 13, 5000 Balloon Fiesta Parkway, 505-821-1000.

Chatter Cabaret Featuring horn player Brian O’Connor; music of Schubert and John Harbison, 5 p.m. Sunday, Oct. 13, Hotel Andaluz, 125 Second St., $25, brownpapertickets.com.

Chatter Sunday Tromba Mundi Trumpet Ensemble performs new works for trumpet, a reading by poet Lisa Gill follows; 10:30 a.m. Sunday, Oct. 12, The Kosmos, 1715 Fifth St. N.W., $15 at the door only, discounts available, chatterchamber.org.

Jake Shimabukuro The ukulele virtuoso performs at 7:30 pm., Sunday, Oct. 13, KiMo Theatre, 423 Central Ave., $20-$30, ampconcerts.org or kimotickets.com.

Southwest Gay and Lesbian Film Festival More than 70 films and 30 programs, Oct. 11-20, screenings at the Guild Cinema, 3405 Central Ave. S.W., visit swglff.com for tickets and a full schedule of events.

los alamos Museums/Art Spaces

Mesa Public Library Art Gallery 2400 Central Ave., 505-662-8253. Expressions in Book Art, work by members of the Santa Fe Book Arts Group, through October.

Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens.

Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m.

Saturday, visit pajaritoeec.org for events schedule, no charge.

Events/Performance

Los Alamos Light Opera The Mystery of Edwin Drood, musical by Rupert Holmes, 7:30 p.m. Friday and Saturday, Oct. 11-12,2:30 p.m. Sunday, Oct. 13, Duane Smith Auditorium, Los Alamos High School, 1300 Diamond Dr., $12; discounts available, losalamoslightopera.org.

madrid

Madrid/Cerrillos Studio Tour Private studios open 10 a.m.-5 p.m. Saturday and Sunday, Oct. 12-13, visit madridcerrillosstudiotour.com for a tour map and link to artists’ websites, 505-470-1346.

taos Museums/Art Spaces

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.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Harwoods • Burt Harwood: Historic Photographs • Highlights From the Taos Municipal Schools Historic Art Collection; visit harwoodmuseum.org for full schedule of ancillary events. Open 10 a.m.-5 p.m. TuesdaySaturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

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

Fall for Antiques show and sale, Oct. 11-13; talks for antiques collectors at 11 a.m. and 2 p.m. by gallery owner and auctioneer Robert Parsons and museum director Peter Seibert, Saturday, Oct. 12, by museum admission; free to Taos County residents. Open 10 a.m.-5 p.m. daily.

NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge.

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

Ron Barsano: The Naked Truth, paintings, through Nov. 4. Open 10 a.m.-5 p.m. TuesdaySunday. $8; seniors $7; students $5; ages 12 and under no charge; Taos County residents no charge on Sunday.

The Taos Inn 125 Paseo del Pueblo Norte, 575-751-3752. Pressing on at the Taos Inn: Nine Artists/Nine Approaches, third annual printmakers’ show, through Feb. 12.

▶ People who need people Artists

Recycle Santa Fe Art Festival 2013 Visit recyclesantafe.org for application and details on participating in the 15th annual show held Nov. 15-17 at the Santa Fe Community Convention Center; for more information contact Sarah Pierpont, 505-603-0558, skpierpont@yahoo.com.

Santa Fe Society of Artists Fall jury for new members held Oct. 26; applications and details available online at santafesocietyofartists.com/become-a-member, or call 505-455-3496 for information.

Filmmakers

Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.

Musicians

Santa Fe Bandstand Applications to perform at the 2014 Santa Fe Bandstand are being accepted; Nov. 29 deadline for submissions; visit santafebandstand.org.

Volunteers

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 lvsf.org or call 505-428-1353.

Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 505-316-3596, alanna@railyardpark.org.

St. Elizabeth Shelter Help with meals; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.

Santa Fe Community Farm Maintain the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; 9:30 a.m.-4 p.m. daily, except Wednesdays and Sundays; details available online at santafecommunityfarm.org.

Spanish Colonial Arts Society Office and grounds workers needed; docents needed all year long at the Museum of Spanish Colonial Art; contact Linda Muzio, 505-9822226, Ext. 121, education@spanishcolonial.org.

▶ Pasa Kids The Food Depot L.O.V.E. program Child-friendly projects for ages 3 and older (accompanied by an adult) are available between 1 and 3 p.m. the third Friday of each month; contact Viola Lujan, 505-471-1633, Ext. 11, or vlujan@thefooddepot.org.

Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 505-988-4226. ◀

abiquiú studio tour

Landscape by Roger Firestone

Feeling antsy? Head north on a scenic road trip to the annual Abiquiú Studio Tour Saturday through Monday, Oct. 12-14.

The self-guided tour affords an up-close and personal view of area artists’ working environments and creations. The Abiquiú Studio Tour runs from 10 a.m. to 5 p.m. each day. Visit abiquiustudiotour. org for directions and links to artists’ websites.

PASATIEMPOMAGAZINE.COM

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