Pasatiempo August 1, 2014

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

August 1, 2014

Jeane george weigel Truchas ModernisM

innovative native cuisine Open for lunch and dinner daily.

1501 Paseo de Peralta, Santa Fe 505-955-7805 dine@hotelsantafe.com

Food... it’s our Forte!

Open for Lunch & Dinner EVERYDAY (Join us for Sunday Brunch, too)

Visit us online: www.santacafe.com for Instant Gift Certificates, reservations & recipes

231 washington ave • reservations 505•984•1788 2

PASATIEMPO I August 1 - 7, 2014

Reception with the artist Saturday, August 2 • 3–5pm

hand arTes gallery County Road 75, #137 • Truchas 505.689.2443 • handartesgallery.com

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D R . S U N YAT- S E N

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Apprentice Scenes

HUANG RUO

“...dazzling, innovative, and exotic, and brilliantly executed...”

—San Francisco Chronicle

One of the best entertainment values of the summer.

Don’t miss the stars of tomorrow!

“...moments of driving rhythm...alternate with passages of intense lyricism” —The New York Times Dr. Sun Yat-sen takes an intimate look behind the struggle to overthrow China’s ancient monarchy and delivers a thrilling blend of Eastern,

two performances of fully-staged scenes from popular operas.

Each evening offers a different program.

Western, folk and classical music styles. This American premiere offers a most unique night at the Opera. Don’t miss it!

Adults: $15, Youth: $5 (ages 6-22)

8:00 pm August 8, 14

8:00 pm August 10, 17

SEASON

20 14 THROUGH AUGUST 23

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Long considered one of the best young artist programs in the world, the Opera’s singing and technical apprentices take the spotlight for

PASATIEMPO I August 1 - 7, 2014

ENJOY A BACKSTAGE TOUR, OFFERED MONDAY – SATURDAY AT 9 AM!

CARMEN Double Bill

Bizet

DON PASQUALE

THE IMPRESARIO American Premiere

Mozart

Donizetti

FIDELIO

LE ROSSIGNOL

DR. SUN YAT-SEN

Huang Ruo

Beethoven Stravinsky

www.SantaFeOpera.org 505-986-5900

COMMUNITY LECTURE

The Joy of x:

A Guided Tour of Math Wednesday, August 6 7:30 p.m.

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

Viewed through the right lens, the universal language of math connects to literature, philosophy, law, medicine, art, business, and even pop culture and current events.

It underpins every aspect of our lives, from finding the perfect romantic partner to understanding how Google works. Yet few of us understand math well enough to appreciate its beauty, prompting world-class mathematician Steven Strogatz to bring math to the masses through a regular New York Times column. Strogatz shares what’s worked – and what hasn’t – in his efforts to democratize math, providing compelling clues on how to connect future generations to this increasingly critical discipline.

Steven Strogatz is the Jacob Gould Schurman

Professor of Applied Mathematics at Cornell University and author of Nonlinear Dynamics and Chaos, Sync, The Calculus of Friendship, and The Joy of x.

STEVEN STROGATZ

SFI’s 2014 Community Lecture series is generously sponsored by Thornburg Investment Management

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room

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Open Daily from 11:30 am to Midnight Covered Balcony Happy Hours H.H. Food Specials $5 House Margaritas $5 Glass Wine $3 Select Beers 4-6 pm and 10pm-Midnight

Southwestern Style • One-of-a-kind Pieces Reasonable prices every day of the year

Our Warehouse Showroom features over 8000 sq. ft. of handcrafted furniture. Please come in, you’ll be pleasantly surprised.

SANTA FE COUNTRY FURNITURE 505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza

525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com

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Bodhi Bazaar • Cost Plus World Market • Dell Fox Jewelry Eidos Contemporary Jewelry • El Tesoro Café • Get It Together Kioti • Mercedes Isabel Velarde Fine Jewelry And Art On Your Feet • On Your Little Feet • Op. cit. Bookstore

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Teca Tu A Paws-Worthy Emporium & Deli

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Pandora’s • Pranzo Italian Grill Raaga Restaurant • Ristra Restaurant Rock Paper Scissor SalonSpa • Santa Fe Pens Teca Tu-A Pawsworthy Pet Emporium

F R E E PAR K I N G

500 Montezuma Avenue • www.sanbusco.com

F R I E DMA N W I L S O N FRAMES 6

PASATIEMPO I August 1 - 7, 2014

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santafenewmexican.com/subscribe | 986-3010

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THE MuSEuM of NEw MExico fouNdATioN

24th Annual Benefit

Navajo Rug Auction  Saturday, August 2, 2014

in the courtyard of the Palace of the Governors Santa fe, New Mexico Preview at 9 a.m. • Auction at 11 a.m.

Admission is fREE • Bid cards are just $5 for more information please call, 505.982.3016 ext. 21

Rug Auction Benefits Education, Acquisitions, and Public Programs at State Museums and Monuments

RESIDE

HOME

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PASATIEMPO I August 1 - 7, 2014

2014 santa fE indian MarkEt EvEnts

Join Marti at the E ldorado HotEl

for tHrEE opEnings

Three Special Collections wednesday, august 20, 2:00-5:30pm Major early pottery by Nampeyo Jewelry by Kenneth Begay Recently discovered collection of Western Apache baskets (ca. 1900) Western Apache Baskets, olla is 21” high

Our Annual DeVargas Opening thursday, august 21, 4:00-7:00pm

Historic & contemporary American Indian pottery & jewelry received by Marti in recent months Show continues Friday, August 22 through Sunday, August 24, 11:00am-5:00pm Bowguard, mosaic inlay of Blue Gem turquoise, jet, and shell depicting a Rainbow God, framed in silver, original leather, 4¼" long x 3½" wide

A Special Exhibition of Raymond Sequaptewa Jewelry friday, august 22, unveiled at 2:00pm 25 pieces made for Marti over the past year Raymond Sequaptewa Pendant, tufa-cast silver with attached earrings of turquoise and shell, 3½" long, signed

all shows are in the devargas room at the Eldorado and will continue through sunday, august 24, 11:00am-5:00pm.

Martha Hopkins struever Santa Fe Gallery: () - Online Gallery: www.MarthaStruever.com PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

August 1 - 7, 2014

www.pasatiempomagazine.com

ON THE COVER 46 Back to the garden Artist Meridel Rubenstein’s Photosynthesis — the first of a planned three-part photographic exhibit at David Richard Gallery — explores the often-troubled relationship between humans and the natural world. Rubenstein’s work on the series led to a more involved site-specific project underway in Iraq. In conjunction with Nature Iraq, an NGO committed to restoring marshlands drained under Saddam Hussein’s regime, she is developing a wastewater garden called Eden in Iraq, which acknowledges the war-torn nation as the site of the fabled paradise. On the cover is Rubenstein’s Summer Solstice (2009-11).

MOVING IMAGES

BOOKS 18 22

60 62 64

In Other Words Sspice Oddities Gary Paul Nabhan’s Cumin, Camels, and Caravans

CALENDAR

MUSIC AND PERFORMANCE 26 30 32 35 36

ART 48 50 52 54

Bound by Flesh The Last Sentence Pasa Pics

Desert Chorale Restless Requiem Terrell’s Tune-Up In for the long haul Pasa Tempos CD reviews Onstage Just some old-fashioned love songs Opera redux Capsule reviews

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Pasa Week

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Star Codes Restaurant Review: The Kitchen Window

Art in Review James Drake Hung Liu Rotation and revolution Art of Space Welcome to the Hotel Castañeda The railway children Mike Brodie’s Period of Juvenile Prosperity

In Pasatiempo’s July 25 issue, a painting on page 51 (Art in Review) was misidentified as José Aragón’s Our Lady of San Juan de los Lagos. It is an 18th-century pigment-on-hide depiction of the Virgin of Guadalupe, by an unknown artist, from the collection of the Museum of International Folk Art. In the captions on page 59 (Viajes Pintorescos y Arqueológicos), the School for Advanced Research was misidentified as the School for American Research (the organization’s previous name).

ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday

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

by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501.

Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com

Remote Portrait V,

by Hung Liu

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

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

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

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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com ■

STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Iris McLister, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2014 The Santa Fe New Mexican

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Robin Martin Owner

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Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852

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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

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

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

The Trusted source

jewelry fashion rugs nadelbachphoto.com(c)

61 Old Santa Fe Trail | Santa Fe, NM 87501 505.983.9241 | maloufontheplaza.com

PASATIEMPOMAGAZINE.COM

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L AU R A S H E P P H E R D Exquisite Hand-Selected Items from Central Asia

ATELIER

Handbags Scarves Shawls Tunics

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Plus a beautiful collection of silk jackets made in New Mexico!

65 w. marcy street santa fe, nm 87501 505.986.1444 laurasheppherd.com •

Graceful Lighting for Every Space

The New Mexico Actors Lab and the Santa Fe Playhouse present

Visit the Dahl Lighting Showroom to see the unique designs from Hubbardton Forge Lighting.

Explore wall sconces with innovative combinations of natural materials: forged metalwork, glass, and fine hardwoods…even copper and slate.

BY

A. R. GURNEY

AUGUST 1 – 17

Thursdays-Saturdays 7:30, Sundays 4:00 hubbardtonforge.com

1000 Siler Park Lane, Suite A Santa Fe, New Mexico 87507-3169 505.471.7272 • Fax 505.471.9232 Mon-Fri 8am - 5pm & Sat 10am - 2pm

www.dahllighting.com 12

PASATIEMPO I August 1 - 7, 2014

Directed by Robert Benedetti

Starring Jonathan Richards, Barbara Hatch, Tallis Rose, and Nicholas Ballas

Adults $20, Seniors and Students $15

www.SantaFePlayhouse.org or call 988-4262

FROZEN JAMES MCMURTRY

THE RAILYARD E AN T A F

CONTINUING

AUGUS T AT THE RAILYARD

S

INDIGENOUS FINE ART MARKET

RAILYARD PARK SUMMER MOVIE SERIES Every other Friday throughout summer • 8 -10:30pm AUGUST 1 • BLUES BROTHERS Come to R&B Heaven with Jake and Elwood Blues!

AUGUST 15 • MILAGRO BEANFIELD WAR Director Robert Redford’s Northern New Mexico classic with all-star cast of Sonia Braga, Christopher Walken, Ruben Blades and more.

AUGUST 29 • FROZEN Come sing along to this year’s biggest hit for kids of all ages!

Bring a picnic or choose one from Dr. FieldGoods.

Presented by Heath Concerts • heathconcerts.org

MORE MOVIES IN THE RAILYARD PARK! AUGUST 23 • 8 -10:30pm Native American Showcase Film. Presented by SWAIA

RAILYARD PLAZA SUMMER CONCERT SERIES AUGUST 2 • 7-9:30pm JAMES MCMURTRY Stephen King says “the truest, fiercest songwriter of his generation.” With Johnny Burke.

AUGUST 9 • 7-9:30pm Blues singer extraordinaire JANIVA MAGNESS

AUGUST 14 -17 • El Museo Cultural OBJECTS OF ART SANTA FE 65 + exhibitors with Fine, Folk and Tribal Art from around the world. Presented by M2 • objectsofartsantafe.com AUGUST 15-17 • Warehouse 21 VOASIS Soaking Up the Summer with Desert Chorale’s hot, fun pop series. Produced by NBC’s The Singoff’s Deke Sharon.

Desertchorale.org for showtimes & tickets AUGUST 19-21 • El Museo Cultural THE ANTIQUE INDIAN AMERICAN ART SHOW When the world comes to Santa Fe for the best in American Indian art, its heritage will be found here.

Presented by M2 • antiqueindianartshow.com AUGUST 21-23 • Railyard Park & Plaza INDIGENOUS FINE ART MARKET A celebration of Native Art and the cultures that inspire it.

Come experience Santa Fe’s newest market for fine Native American art! Presented by IFAM • indigefam.org AUGUST 23 • 5-9pm / Railyard Plaza & Sanbusco Center ZOZOFEST Bring the kids and leave your glooms. See the big guy at Sanbusco Center and celebrate at the Water Tower!

Presented by Santa Fe Kiwanis Club • Burnzozobra.com/zozofest

Food trucks and fun on the Railyard Plaza.

Presented by Heath Concerts • heathconcerts.org

AUGUST 25 & 27-31 • Warehouse 21 O’KEEFFE Carolyn Wickwire in Lucinda McDermott’s one-woman show.

Presented by Flower & Bone Productions http://okeeffe-santafe.brownpapertickets.com for times & tickets

AUGUST 2-9 • Warehouse 21 SLOW GIRL A tale of bullying and forgiveness.

Presented by For Giving Productions Warehouse21.org for times & tickets

AUGUST 29 • 5-7pm / All Railyard Galleries LAST FRIDAY ARTWALK Experience the variety of exceptional art galleries and their offerings in the Railyard with the music of Swing Set under the Water Tower. santaferailyardartsdistrict.com

AUGUST 31 • 6:30-9pm Zydeco Queen ROSIE LEDET

SANTA FE FARMERS MARKET Tues 8am -1pm & Sat 7am-12 Railyard Plaza & Shade Structure www.santafefarmersmarket.com SANTA FE ARTISTS MARKET Saturdays 8am-1pm / Railyard Park www.santafeartistsmarket.com

RAILYARD ARTISAN MARKET Sundays 10 am- 4 pm / Farmers Market Pavilion • www.artmarketsantafe.com

WAREHOUSE 21 OPEN JAM NIGHT Wednesdays / 7-9pm www.warehouse21.org

SECOND STREET BREWERY Live Music Thursday-Sunday / 6-9 pm Tuesday - Acoustic Open Mic www.secondstreetbrewery.com

AXLE CONTEMPORARY PERFORMANCE ART SERIES Fridays & Saturdays / Shade Structure Various times and artists • www.axleart.com

ALL EVENTS ARE FREE UNLESS NOTED

W W W. R A ILYAR D S A N TA F E .C OM

PASATIEMPOMAGAZINE.COM

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SAN T I AGO Grace August 1 – 16, 2014 Artist’s Reception: Friday, August 1st 5 – 7 pm

130 Lincoln Avenue, Suite C Santa Fe, New Mexico 87501 505.954.9902 www.blueraingallery.com

The Road Less Traveled (detail) Oil on canvas, 40" h x 40" w

W

Wheelwright Museum OF THE AMERICAN INDIAN

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Here Comes the Storyteller!

Joe Hayes Returns to the Wheelwright Museum!

Executive Chef, Tom Kerpon

• any appetizer • any entrée • any dessert • $34 plus tax & gratuity

Santa Fe’s premier storyteller is back with stirring tales of the great Southwest. A favorite event for all ages!

Free Admission

July 19 through August 10, 2014 Saturday and Sunday Evenings at 7:00 p.m.

505.819.4035

Bring a chair or blanket for festival seating on the museum grounds.

1297 Bishop’s Lodge Rd.

704 Camino Lejo • Museum Hill | 505-982-4636 | www.wheelwright.org

Reservations recommended. bishopslodge.com

Dine Alfresco among beautiful gardens and views!

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PASATIEMPO I August 1 - 7, 2014

Funded by the FRIENDS of the Wheelwright

Come and join us on our beautiful patio.

We feature in-season specials daily in addition to our menu.

Friday for lunch our chef Cristian Pontiggia will be on the patio offering specials from our outdoor grill.

Also come try our Burrata caprese salad, a traditional Italian favorite.

Festival oF song

Buon Appetito!

986-5858 • 58 S. Federal Place • Santa Fe, NM 87501 • www.osteriadassisi.com

Iris Rhizome Sale Saturday, August 2, 2014 • 10:00 am - 12 noon DeVargas Mall 10:30 am Live Auction Iris grown in Santa Fe and surrounding areas.

(Don’t be late!)

Sponsored by the Santa Fe Iris Society

$5 MILLION BACK TO YOU

In partnership with The Santa Fe Opera Festival of Song is a series of intimate one-hour recitals featuring stars of The Santa Fe Opera, followed by meet-the-artist receptions. corinne Winters, soprano, steven Blier, pianist sunday, august 3, 2014 4:00 pm

Paul groves, tenor, Joseph illick, pianist friday, august 8, 2014 4:00 pm

Brenda rae, soprano, in sun suh, pianist sunday august 10, 2014 4:00 pm

tickets: $45 & $75 location: st. John’s United methodist church

stars oF american Ballet

Two different programs with a world premiere on Wednesday, August 13 wednesday, august 13 and thursday, august 14, 2014 | 7:30 pm These principals and soloists from New York City Ballet are young and spirited, performing with boundless energy and exacting technique. You will swoon! tickets: $27–$100 location: lensic Performing arts center

ticketssantaFe.org | 505 988 1234 PerformancesantaFe.org | 505 984 8759

PASATIEMPOMAGAZINE.COM

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2014 Back to School Magazine

Museum Hill Café 710 Camino Lejo • Santa Fe, NM 87505 505.984.8900

Friday Nights Only Happy “2” Hours 4 – 6

SATURDAY, AUGUST 2, 2014

All wine by the glass $7.00 All speciality drinks also $7.00 All beers $3.50 and Our new little plates menu all $7.00 vvv

Friday Night Dinner 5 – 8 A very tasty dinner menu and Fabulous Desserts

A GUIDE TO THE 2014-15 ACADEMIC YEAR

Back to School

UNA GUÍA PARA EL AÑO ACADÉMICO 2014-15

In English & Spanish!

Everything parents need to know to prepare for the school year, including:

BENEFITING

ALBUQUERQUE

LUJAN CENTER EXPO NEW MEXICO

FAIRGROUNDS

ANTIQUE SHOW Over 200 Dealers!

AUGUST 9TH 9am-5pm AUGUST 10TH 10am-4pm $10 Saturday & Sunday | $15 2-Day Pass

• SFPS calendar

• Dress code information

• Registration information

• Dollars4Schools program

CHARITY SNEAK PREVIEW AUGUST 8TH 2pm-7pm

• Bus information

• A look at Santa Fe’s new schools

www.greatsouthwesternantiqueshow.com

• School supply lists

• A message from Superintendent Joel Boyd

ANTIQUES & ART AUCTION

• School lunch information

Get your copy Saturday, August 2nd in the

santafenewmexican.com 16

New Music this Fri. Tonight “ Celadon Bossa Nova“ with Melanie Monsour - Piano Paul Brown Rio - Bass Julie Polly Yates –Tapia VocalsFerber Tim-Drackert – Guitar Percussion

PASATIEMPO I August 1 - 7, 2014

$75 donation at the door

R.G. MUNN Auctioneers

SCHEDULED CONVENIENTLY BEFORE AND AFTER THE SHOW

AUGUST 7TH 7pm PREVIEW 12pm-6:30pm AUGUST 11TH 10am PREVIEW throughout the Show www.rgmunnauctions.com

STAR CODES Heather Roan Robbins

Summertime, and the living is moody. While the sun and

Mercury in Leo ripen friendships, Venus and Mars in self-protective water signs make us introspective. We may feel less adventurous, hungrier for more intimacy and solitude, and cranky when we don’t feel safe. A recent Venus/Pluto opposition underlining the ephemeral quality of life continues to challenge us to open our hearts wider. With Mars now in Scorpio, if we get ticked off we may sting deeply, so approach disagreements as chances for exploring rather than setting off mutually destructive stubbornness.

As the weekend begins, the friendly Libra moon has us reexamining our relationships and habits. Sabers may rattle for no good reason over the weekend as Mars squares Jupiter and Mercury. Later in the weekend Mercury conjuncts Jupiter, bringing a more global perspective. It helps to hear heartwarming stories and ingenious solutions from faraway places.

But go light on the cheerful advice: that Scorpio Mars can sharpen our sarcastic skepticism if troubles are taken too lightly.

Next week, look for new avenues of expression and new ways to use gifts as Saturn trines Chiron. Toward week’s end we’re called to let go of outdated goals or old anger and get creative about next steps as Mars trines Neptune, though we may lose some momentum in the process. But underneath is a chance to dream, and in that is fresh direction.

Friday, Aug. 1: Feel the primal edge under the pretty surface; the peaceful Libra moon and healing Venus encourage helpfulness, collaboration, and practical applied aesthetics. But a serious, competitive edge, sharpened by a Mars-Jupiter square, can give us the energy to do what needs to be done. Nighttime flows smoothly if we direct that physical Mars charge.

Saturday, Aug. 2: An optimistic, lackadaisical thread weaves through as Mercury conjuncts Jupiter in Leo. We can appreciate the finer things in life. And when things don’t go well, we’ll tell you in grandiloquent terms.

A generous morning develops a reactive barb tonight as Mercury squares impatient Mars while the moon enters stubborn, sultry Scorpio.

Sunday, Aug. 3: Dreams and news echo ongoing conflicts this morning as the moon conjuncts Mars. It gives us something to think about, but we may not be ready to talk about it. Look for something missing, whether concrete or ineffable, as the moon trines Neptune midday. We can find small resolutions this afternoon as long as we don’t lock our stubborn horns.

Monday, Aug. 4: We can feel grim this morning as the broody Scorpio moon conjuncts Saturn, aware of time passing, flowers fading, and work to be done. Let’s deal but not make it worse than it is. Midday, the heart softens and beauty eases back in, even if we still need a fair amount of privacy.

Tuesday, Aug. 5: A summer breeze blows in; the Sagittarius moon lightens the mood and calls us outside and into summer. We’re more impatient with recent delays and challenged to follow through on grittier projects. Get perspective; listen for international news and connect with faraway friends.

Wednesday, Aug. 6: Be tactful, but ask tricky questions and be open in response as the Sagittarius moon trines Venus and Uranus. Cut through the fluff: fresh honesty can bring surprising solutions. The mood is funny and irreverent, with lurking unspoken depths. Update technical equipment and communicate online.

Thursday, Aug. 7: Let go of old anger, desire, or ambition that’s no longer relevant and redirect energy and resources as Mars trines Neptune. This afternoon, take a progress report from friends and family and support their victories. We can accomplish under the durable Capricorn moon as long as we know when to share control and when to direct. ◀ www.roanrobbins.com PASATIEMPOMAGAZINE.COM

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IN OTHER WORDS book reviews In the Kingdom of Ice: The Grand and Terrible Polar Voyage of the USS Jeannette by Hampton Sides, Doubleday, 480 pages In 1873 George Washington De Long — an aspiring American hero who as a teenager had, tellingly, changed his middle name from Francis — developed a severe case of “pagophilia”: a penchant for living on ice. The condition would influence every subsequent decision of his life.

That summer, the 28-year-old Navy lieutenant was part of a rescue mission in the Arctic, taxed with finding survivors of the probably mutiny-stricken ship Polaris. Rather than dissuade him from venturing away from a happy home and a loving wife, the “lonely grandeur” of the “purest wilderness De Long had ever seen” had made him a pagophile.

Not just that, but De Long was now a determined explorer with a new mission: to reach, at last, the North Pole. With honor and renown, he would solve the millennia-old mystery of what the uppermost place on earth was like. De Long’s pursuit propels the narrative of Santa Fe-based author Hampton Sides’ latest epic, In the Kingdom of Ice, which proves once again that Sides can tell a story like few others. Sides parallels his protagonist in his superlative briskness and agility; he steers his tale with the innate intuition of a masterful navigator.

In the Kingdom of Ice is in some senses an indirect sequel to Sides’ exemplary 2006 work, Blood and Thunder, about Kit Carson and America’s expansion westward. Where was there to go after Manifest Destiny had driven the U.S. to the Pacific? The spirit of conquest had hardly dwindled, and in the post-Civil War era, young men were particularly keen to demonstrate their bravery — if not on the battlefield then somewhere comparably glorious.

The fervor of scientific theories, experiments, and inventions in the mid-19th century added to the sensation of agitated curiosity.

As De Long saw it, America’s next discovery would be geographic and scientific — and of course it would confirm that the nation, though just 100 years old, was already an indomitable world leader.

De Long needed a patron, someone who would be willing to spend many thousands of dollars on what could well turn out to be a fool’s errand or, worse, a fatal disaster.

New York Herald owner James Gordon Bennett Jr. was a “cool man sitting on a warm pot of money,” some of which he was glad to offer to the explorer. Bennett was not immune to the “Arctic bug” or to the news stories it would precipitate. Bennett is the kind of real-life figure with so many idiosyncrasies that he seems fictional. He preferred generating news to merely reporting it (for instance, he orchestrated Henry Stanley’s journey into 18

PASATIEMPO I August 1-7, 2014

Africa to find David Livingstone), and he had few qualms about fabricating the news when it suited him, as when he published an item about animals escaping from the zoo in Central Park and massacring passersby. Bennett also had a tendency to commit acts to which New York high society did not respond favorably, such as racing carriages around New York while naked and once, in the presence of ladies, mistaking a grand piano for a toilet.

On July 8, 1879, after grand expenditures by Bennett, extensive preparations, and the formation of a team of 33 adventurers — including a Herald reporter — the USS Jeannette launched from San Francisco, heading north and, if all went according to plan, into the history books.

All did not go according to plan. (If it had, Kingdom would have been a very short book.) Widely held beliefs about the Arctic — such as the open polar sea theory, according to which an easily navigable sea surrounded the North Pole — were quickly debunked. The Jeannette’s officers and crew were forced to improvise and strip away all pretense.

True natures emerged. It is here where Kingdom is most thrilling: in its depictions of characters. Among the Jeannette’s team were a naturalist who hoarded animal carcasses, an Inuit who hunted brilliantly and spoke to the moon, and a proud, syphilitic navigator. The Herald reporter proved to be a grudge-collecting pun fiend, to the chagrin of his colleagues and the amusement of the reader. While De Long himself is more shadowy, his tendency toward understatement is revealing, as when he called a “hell-gate” of ice shards a “ticklish thing.”

Kingdom is part thriller, part mystery, and even part romance. Timeless mythological and legendary qualities emerge; there are elements of Sisyphean effort and quixotic aspiration. (There is even an actual bout with a windmill.) But above all it is a classic adventure story, with dramatic scenes of traversing ice, sea, and seemingly prehistoric lands.

How consequential the Jeannette’s expedition ultimately was is not addressed with as much detail as are its inception and journey. Its repercussions are less obvious than those of, say, Kit Carson’s campaign against the Navajo.

Sides alludes to an aftermath marked by “considerable controversy,” a tempting hint left ambiguous. However, this is fitting. The Arctic itself defies simple explanation and conclusion. It inspires “wellsprings of myth, fable, and belief” but no answers. Even today — as the Arctic ice thins — its future provokes fraught conjecture.

— Grace Labatt Hampton Sides reads from and signs copies of In the Kingdom of Ice at 6 p.m. Friday, Aug. 1, at Collected Works Bookstore, 202 Galisteo St., 505-988-4226. more book reviews on Page 20

SUBTEXTS Navajo ninja In Jet Black and the Ninja Wind, a teenage girl must travel from the Navajo reservation in New Mexico to the mountains of Japan and back again to protect a hidden family treasure. She has been trained for this journey all her life by her mother, in treacherous games and chases in the desert, during which she learns martial arts and other skills, such as how to make herself invisible. In Japan, Jet joins forces with her grandfather and cousin, who know the challenges she faces.

Cowritten by husband-and-wife team Leza Lowitz and Shogo Oketani, Jet Black is a young-adult novel for fans of martial arts, Japanese folklore and mythology, and girls who kick ass, literally and figuratively.

The plot-heavy narrative also includes themes of young love, loss, and grief, and it ultimately connects to the legacy of the Navajo code talkers. This is Lowitz and Oketani’s first effort in the exploding genre of YA literature. Lowitz writes poetry and fiction; she is the author of Yoga Poems and other works. Oketani, an editor, translator, and martial artist, is the author of J-Boys: Kazuo’s World, Tokyo 1965.

The authors’ interests and skills inform the prose, which is rich with intrigue and action sequences as well as moments of contemplation. “Ojiisan and Hiro might have been matagi, hunting the bear for its many moons of meat, cooking grease that would fill two vats, precious powerful medicines, and heavy covering to use as warmth in the snow-covered thick of winter, but Jet was not a hunter. Now she was the hunted,” they write. Lowitz and Oketani, who live in Japan, read from and sign Jet Black and the Ninja Wind at Garcia Street Books (376 Garcia St.) on Sunday, Aug. 3, at 2 p.m. For more information call 505-986-0151.

— Jennifer Levin

Santa Fe Chamber Music Festival: Upcoming Concerts All concerts this week @ SFA: St. Francis Auditorium at the New Mexico Museum of Art, 107 W. Palace Ave.

YOUNG COMPOSERS STRING QUARTET PROJECT

WED AUG 6 @ SFA

ALL HANDEL

AUG 2

NIGHT MUSIC

AUG 3 + 4

SAT 5 PM @ SFA

SUN + MON 6 PM @ SFA

World-renowned, Grammy award-winning mezzo-soprano Sasha Cooke performs one of Handel’s most passionate cantatas, La Lucrezia.

Also, his Piano Suite No. 5, “The Harmonious Blacksmith” and Flute Sonata in C Major.

John Harbison’s magical Twilight Music.

Beethoven’s “Moonlight” Sonata.

Schoenberg’s beloved Verklärte Nacht.

Artists include Philip Myers, Daniel Phillips, Ida Kavafian, Victor Santiago Asuncion, and Tara Helen O’Connor.

SPONSORED BY THORNBURG INVESTMENT MANAGEMENT

MONDAY CONCERT SPONSORED BY OMAHA STEAKS

1 - 3 PM COMPOSER RYAN CHASE AND FLUX QUARTET 3 - 5 PM COMPOSER TONIA KO AND FLUX QUARTET These workshops are free and open to the public! American composer Ryan Chase’s honors include an ASCAP Morton Gould Young Composer Award, among many others.

The Chicago Classical Revue describes composer Tonia Ko’s work as “exploring, expansive, meditative, calm.”

Amazing Music.

Masterful Performances.

Through August 25!

An array of artists and masterworks are straight ahead!

The radiant, Grammy award-winning mezzo-soprano Sasha Cooke sings Lowell Liebermann’s Four Seasons, with the composer as pianist, and Haydn’s dramatic Arianna a Naxos.

Over 300 years ago, violinist Heinrich Ignaz Franz Von Biber was dazzling audiences with his violin sonatas.

MUSIC AT NOON noon @ SFA

Generously sponsored by the Edgar Foster Daniels Foundation

BEETHOVEN, DVOŘÁK & LIEBERMANN

NEW MUSIC WITH FLUX QUARTET

TUE AUG 5

Daniel Phillips and Kathleen McIntosh perform marvelous music by “The Original Biber”! Experience String Quartets by emerging talents Ryan Chase and Tonia Ko, as part of the Festival’s Young Composers String Quartet Project. And enjoy a Festival

AUG 8

MOZART, SCHUBERT, CHOPIN PIANO

Pre-Concert Talk: 5 pm @ SFA Composer Lowell Liebermann with Marc Neikrug

Pre-Concert Talk: 5 pm @ SFA Composer Julian Anderson with Marc Neikrug

Anderson’s String Quartet No. 2.

Grammy Award winner, mezzo-soprano Sasha Cooke performs the New Mexico premiere of Lowell Liebermann’s Four Seasons with the composer as pianist. Also, Beethoven’s exuberant Clarinet Trio in B-flat and Dvorák’s ˇ sweeping and sublime Piano Quartet No. 2.

The cutting edge FLUX Quartet – violinists Tom Chiu and Conrad Harris, violist Max Mandel, and cellist Felix Fan – performs the United States premiere of London Philharmonic composer-in-residence Julian Anderson’s String Quartet No. 2!

THU AUG 7

Violinists Ida Kavafian and Jessica Lee, violists Steven Tenenbom and Choong-Jin Chang, and cellist Peter Stumpf perform Mozart’s String Quintet No. 5 in D.

coming up next!

AUG 7

THU 6 PM @ SFA

FRI 6 PM @ SFA

Two piano four hands compositions by Mozart and Schubert performed by Victor Santiago Asuncion and Pei-Yao Wang.

MOZART STRING QUINTET

co-commission, the United States premiere of London Philharmonic composer-in-residence Julian All of this, and so much more –

YOUTH CONCERTS

Free for children and accompanying adults!

Marc Neikrug, Artistic Director

THE ORIGINAL BIBER

MOZART, HAYDN, WEBER

AUG 9

AUG 10 + 11

SAT 5 PM @ SFA

SUN + MON 6 PM @ SFA

Experience musical gems, some dating back over 3 centuries! Works by C.P.E. Bach, Telemann and, yes, Heinrich Ignaz Franz Von Biber performed by chamber music superstars.

The sensational Sasha Cooke returns to perform Haydn’s dramatic Arianna a Naxos with pianist Pei-Yao Wang. The famed Johannes String Quartet plays Mozart’s sparkling String Quartet No. 21 in D, and is joined by David Shifrin for Weber’s inspirational Clarinet Quintet!

SPONSORED BY THORNBURG INVESTMENT MANAGEMENT

MONDAY CONCERT SPONSORED BY OMAHA STEAKS

MON AUG 4 10 AM @ SFA Tara Helen O’Connor, flute Victor Santiago Asuncion, piano

MON AUG 11 10 AM @ SFA David Shifrin, clarinet Johannes String Quartet

RESERVE YOUR SEATS NOW! 505.982.1890 SantaFeChamberMusic.com Ticket Office: NM Museum of Art, 107 West Palace Avenue

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

PASATIEMPOMAGAZINE.COM

19

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4 New Musical Readings beginning at 1:30 on August 9th.

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PASATIEMPO I August 1-7, 2014

Places of Mystery, Power & Energy by Bill Worrell, Irie Books, 262 pages Vortexes, those places where the energies of the universe, both good and bad, tend to concentrate, are said to be especially prevalent in the American Southwest. What exactly constitutes a vortex and what sorts of energies gather there is largely undefined. Yet the human attraction to them is undeniable. The title of Bill Worrell’s Places of Mystery, Power & Energy, especially those words power and energy, may make you wonder what kind of New Age spell the author is trying to cast. The claim on the cover that Worrell has solved the mystery behind the Sedona vortexes doesn’t help. But don’t be cynical. In his own way, that’s exactly what he has done.

Worrell believes there is infinite energy scattered throughout the universe, and he gets right to what that energy is when comparing the energy in Santa Fe and Sedona with that in Dumas and Ralls, Texas. Wind may give the physical energy nod to the Texas locations, but Santa Fe and Sedona “counterbalance” them with “more intense solar radiation beaming down through less atmospheric pollution.” Then there’s psychic energy, which can “be more concentrated in some areas than in others.” Worrell destroys rational argument: “Just because someone cannot tune into the energy and forces of a Sedona vortex or tune into a spiritual presence in a certain place does not issue proof these things are not there.” Then he makes you feel the energy for yourself.

Worrell — a Southwestern sculptor and painter whose work is informed by the Native antiquity he has seen while rambling around Arizona, New Mexico, and Texas — is definitely tuned in. The introductory chapters set the stage for a trove of stories, lore, and accounts of strange physical occurrences. We’re spirited to Mitchell County, Texas, and to Chimayó; introduced to heroic characters; and made to see that a certain sort of energy is contained in the landscape, generated by its geography, history, and folklore. “These are true writings and stories,” Worrell claims. He has a knack for discovering the myth of a place and then making readers believe it. He also has an eye for natural and not-so-natural features and a talent for weaving together tales passed down via books and barrooms. His remembrance of the Artisan art supply store on Canyon Road makes a legend of its location. He finds 140 years of “antiquity” at a Texas roadside stop, site of a forgotten Indian battle, where a musician friend tells him he has talked with spirits who speak German. In short, Worrell finds magic everywhere.

That magic isn’t limited to location. He talks about “the energies of personalities” and considers whether human behavior can touch these energies (this in a story about grave robbing). He rationally discusses the effect of “invisible forces” in our lives and shows the harm they can do.

In a chapter about Sedona, he suggests that if you go looking for a place’s energy, it will find you. That seems to be Worrell’s method. He’s one guy you can believe when he says he’s experienced the epicenter of a vortex.

And he has witnesses.

— Bill Kohlhaase

DESERT SERENADE Drones, Fences, Cacti, Test Sites, Craters and Serapes 12 JULY – 31 AUGUST 2014 An exhibition from the Lannan Collection featuring works by

RENATE ALLER SUBHANKAR BANERJEE TOM MILLER TREVOR PAGLEN VICTORIA SAMBUNARIS JAMES TURRELL EMI WINTER

ARTIST RECEPTION Saturday 9 August from 5 to 7pm Lannan Foundation Gallery GALLERY HOURS Saturdays and Sundays noon to 5pm or by appointment 309 Read Street, Santa Fe, NM Tel. 505.954.5149

309 Read Street, Santa Fe, NM 87501 Tel. 505.954.5149

www.lannan.org IMAGE: Emi Winter, Spoonbill, 2003, Oil on Masonite, 90 x 28 inches overall, Collection Lannan Foundation.

PASATIEMPOMAGAZINE.COM

21

Paul Weideman I The New Mexican

rose to

DAMASCUS

G

A book about spices, their trade routes, and more

ary Paul Nabhan weaves a fascinating story in his new book, Cumin, Camels, and Caravans: A Spice Odyssey. He tracks the pathways along which traders carried spices — piquant and pungent, delicious and dreamy — from their places of origin to the rest of the world. His account is peppered with recipes as well as essays on cardamom, cloves, Damascus rose, saffron, vanilla, tuocha pu-erh, and 20 other spices.

Nabhan delves into the origins of globalization; the “ecological imperialism” that began with Old World-New World trade in the 15th century; and recent lapses of cross-cultural civility, especially involving ethnic groups that collaborated to transport spices to farflung locales for the pleasure of all. “In a moment when both Arab Muslims and Sephardic Sephardic Jews are among the most maligned peoples in the world, and the subject of a rising frequency of hate crimes, it would do well for the rest of humanity to acknowledge our collective debt to these peoples,” he writes. He looks at New Mexico, and readers learn that many early European New Mexicans were not only Spanish but also Jewish or Arab and that many “traditional New Mexican” recipes likewise have origins in cultures outside of Spain.

In a wide-ranging interview, Nabhan (the W.K. Kellogg Endowed Chair in Sustainable Food Systems at the University of Arizona) discussed the etymology of Budhagers, a wayside stop between Albuquerque and Santa Fe; the virtues of potent spices (and of blue corn) harvested from arid parts of the world; and whether the quality of sap from New Mexico’s contemporary pistachio trees can come close to that from Mastichochoria on the Greek island of Chios.

That gummy sap, known as mastic, has a multitude of uses in the Mediterranean, including as a key ingredient in breads, candies, and lamb stews.

22

PASATIEMPO I August 1-7, 2014

Pasatiempo: In your book, you mention Northern New Mexican folklorist and author Cleofas Jaramillo several times. One passage is about her recipe for a lamb and garbanzo bean stew.

Gary Paul Nabhan: My ethnobotanist friend Gene Anderson, who had just completed his book A Soup for the Qan [a translation of a 14th-century book about Chinese cuisine], by chance opened up [Jaramillo’s] 1939 booklet, Potajes Sabrosos [later translated as The Genuine New Mexico Tasty Recipes], and recognized a virtually identical recipe from China 700 years earlier. The only missing ingredient was mastic from Mediterranean pistachio trees.

Pasa: You grew up in a Lebanese American family in a Greek American neighborhood. Where?

Nabhan: In the Indiana dunes on the edge of Lake Michigan. I came to the Southwest for the first time when I was 17, and the landscape sort of pulled me. Some of my family emigrated from Lebanon, through New Mexico, to El Paso. There are a lot of Nabhans in southern New Mexico and El Paso. Camille Flores [who was at one time editor of Pasatiempo] is a Nabhan and is a second cousin of mine.

Pasa: Did you have any experience in Santa Fe before you began working on the book?

Nabhan: I had several mentors who live in that area. One was at Roybal’s store, which used to be in the downtown area and had an herb collection, and another was Estevan Arellano, up in Embudo. It was a whole bunch of people who sort of got me on the road looking at these things.

Estevan [in particular] got me to realize it’s not just the traditions of crypto-Jews [that are] hidden in Northern New Mexico, but also those of crypto-[Muslims].

New Mexico is sort of a cauldron of those influences, from sopaipillas to some of the lamb and garbanzo stews.

I would say perhaps it’s one of three or four places where these ideas are most strongly expressed in the United States. One of the most stunning aspects for me about the New Mexico connection is that when the Sephardic Jews and Arabs did get to New Mexico, many [of them] became spice traders. Within 50 years they were the largest traders of vanilla, allspice, chocolate, chiles, and achiote, the natural red dye that’s in a lot of Yucatan foods.

You can imagine sheep- and goat-herders [from the past] in those high, dry mesas between Albuquerque and Truth or Consequences. It’s that kind of very austere landscape that the aromatic spice that probably triggered globalization came from. It didn’t come from Baghdad or Rome or Athens. The innovations often came from people who had to use their creativity in areas of low productivity.

Pasa: And some of these plants are amazing. You get the impression that some of the spice gums from trees struggling to exist in harsh environments are intense just because of the hardship.

Nabhan: That’s right. The arid adaptations are the ones that produce the very potent chemicals, the aromatic oils, in leaves and gums. They’re protective mechanisms against evaporation and browsing by herbivores and the heat. It’s this wonderful paradox that the chemicals that allow them to barely survive in very difficult climates are the same ones that have extraordinary medicinal and culinary potency.

Pasa: It was fascinating reading about your first approach to a frankincense tree in the Dhofar area of Oman. You found a crystallized piece of sap exuded from a weeks-old slash from a harvester’s knife. continued on Page 24

PASATIEMPOMAGAZINE.COM

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PASATIEMPO I August 1-7, 2014

Gary Paul Nabhan, continued from Page 23

!

Nabhan: It’s my favorite passage in the book, and we’re actually having a dinner a week after the book-signing at Collected Works, where I’ll be making a frankincense curry with a chef. It’s pretty exciting to see it back as a culinary component.

Pasa: One recipe you give is for marak minj, or green-lentil curry with frankincense, ginger, and Omani spices. An ingredient is a complex spice mixture called bizar a’shuwa.

Nabhan: People are so particular about spice mixes like that. It’s sort of this incredibly esoteric pursuit. One time I went to an organic farmers market in Lebanon, and they had this wonderful za’atar mix with wild-harvested ingredients. But later, when I was packing to leave my uncle’s house, he saw the za’atar in my suitcase and he went over, took the bag out, and threw it in the garbage. He said, “You can only get za’atar from us, because other people’s za’atar might be adulterated.” It comes down to a subtle difference in one or two spices in a mixture of 12, and they think it may be toxic to you. It’s almost like a religion.

Pasa: Another local item you mention is buñuelos. Are those the same as sopaipillas?

Nabhan: Sopaipillas are a derivative. Look at the zala¯ biya recipe in the book, and you see that what we have is really a simplified version of something very ancient, probably going back to the Persians. What it has lost is the saffron and sometimes the cardamom-orange sauce. The Arabs and Jews love distilling down orange juice either into vinegars or syrups.

These traditions and slightly diluted forms made it all the way from Persia, through the Middle East, the Arabian Peninsula, across North Africa, into Spain, and then they reached New Mexico in the 17th and 18th centuries.

Capirotada [traditional bread pudding] is another one. I can’t tell you how many places I’ve been where I’ve asked where the tradition of capirotada comes from and they say something like, “Well, it comes from my grandmother; this is one of the oldest traditions in Baja California, and it was created here.” After you hear this five times around the world, you begin to see that people feel it’s endemic to their identity now and can’t imagine it comes from someplace else.

Pasa: And thus some of the points you make in Cumin, Camels, and Caravans seem a bit subversive, challenging culinary traditions that people see as truly Hispanic.

Nabhan: It’s the same if you tell someone in Aleppo that chiles are not native to there. They will say peppers are in the Bible and the Koran; they’ve been here since the beginning. And I’ve heard the same thing said in the Old World about prickly pear.

The thing that’s hard to talk about, because I’m so enthused, is that this is also a dark history; there are winners and losers. The term culinary imperialism is not hyperbole. We change people and break down cultures when we demand that they speak our own language, which is what the Roman Catholic Church did with Latin and what Islam did with Arabic, so that even if you’re in the far reaches of China, you have to chant the Koran in Arabic.

The same thing is true in a very visceral way with imposing cuisines that change people. [Another] theme of the book is that if you want to truly understand the risks and benefits of what we now call globalization, just look at the spice trade. It wasn’t invented in 1492 or by the stock market.

The 1 percent had been dominating the economy of the world’s cuisines for 3,500 years. ◀

details You turn to us.

▼ Gary Nabhan reads from and signs copies of Cumin, Camels, and Caravans ▼ 6 p.m. Tuesday, Aug. 5 ▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226

AUGUST

CALENDAR OF EVENTS

4

MON

7

THURS

8

FRI

12

TUE

14

THURS

Dental Assistant Pinning Ceremony Noon to 1 p.m., Jemez Rooms

505-428-1258

Planetarium Presents Backyard Astronomy 8 to 9 p.m., West Wing, $5/$3

505-428-1744

AARP Back to Work 50+ Info Session 10 a.m. to Noon, Jemez Rooms

Nurses Pinning Ceremony

1 p.m., Health & Sciences Center

855-850-2525

505-428-1258

Learning Center District Board Meeting 5 p.m., Board Room

505-428-1148

SFCC Governing Board Meeting

5:30 p.m., Board Room 505-428-1148 Board packet materials and information at www.sfcc.edu/about_SFCC/governing_board.

Planetarium Presents Danger: Solar Storm

8 to 9 p.m., West Wing, $5/$3

‘

505-428-1744

R E G I S T E R N O W F O R FA L L C L A S S E S The programs at SFCC are set up in a way that made it easy for me to continue my studies – now I’m going for my bachelor’s degree.

Brenden Romero, SFCC Class of 2014, A.A. in Business Administration Pursuing a bachelor’s degree in Business Administration/Marketing at the Santa Fe Higher Education Center

MORE KIDS CAMPS: SWIMMING, COOKING, GRAPHICS, ETC. PLUS...

Through August 15 — 2014 Arts and Design Juried Student Exhibition at the Visual Arts Gallery August 25 — Credit classes begin We’re designing a new SFCC website! Help shape it and how it will serve your needs. Scan the QR code or visit www.surveymonkey.com/s/SFCC2014 to complete a short survey.

LEARN MORE. 505-428-1000 www.sfcc.edu

Saturday & Sunday August 2-3, 2014 10am-4pm Featuring the Peruvian Paso Horses of La Estancia Alegre!

Meet the colorful characters who put the “Wild” in “Wild West”!

See Peruvian Paso horse shows both days Hear about the fascinating life of Kit Carson from his great-grandson, John Carson Talk to Sheriff Pat Garrett about his troubles with Billy the Kid! Hear educational talks about New Mexico lawman Elfego Baca and Territorial justice Try flint knapping, hide tanning, archery and other activities!

Plus wagon rides, old west gun fights and hands-on crafts for kids And much more! All in the setting of a 200-acre Spanish ranch and living history museum!

Adults: $8 Seniors (62+), Teens (13-17): $6 Children 12 & Under: Always Free!

Just south of Santa Fe at 334 Los Pinos Rd. I-25 Exit 276, follow “Las Golondrinas” signs. For more info and a schedule: 505-471-2261 or golondrinas.org

6401 Richards Ave., Santa Fe, NM 87508

EMPOWER STUDENTS, STRENGTHEN COMMUNITY. EMPODERAR A LOS ESTUDIANTES, FORTALECER A LA COMUNIDAD.

Programs funded in part by Santa Fe Arts Commission and the 1% Lodgers Tax, The Santa Fe County Lodgers’ Tax Advisory Board, New Mexico Arts and New Mexico Humanities Council

PASATIEMPOMAGAZINE.COM

25

James M. Keller I The New Mexican

hen the Santa Fe Desert Chorale presents the Requiem by Wolfgang Amadè Mozart in three performances beginning Aug. 7 — two in Santa Fe, one in Albuquerque — it will be essaying a piece that is as problematic as it is revered. All music lovers encounter this masterwork sooner or later, and some find that their relationship with it blossoms into an obsession. But eventually they have to grapple with a curious question: Precisely who wrote the music they have come to love so deeply?

The obvious answer is Mozart, but the whole truth is more complicated. A dose of mystery has surrounded Mozart’s Requiem from the outset, and it didn’t take long after the composer’s death, in December 1791, for commentators nourished by Gothic novels to build an elaborate mythology around the piece. Their story was, in its way, irresistible. Penurious Mozart answers the door (on a dark and stormy night, perhaps) to find a stranger shrouded in gray who invites him to compose a Requiem (a funeral mass) in exchange for a generous commission fee. He accepts the job, of course, but comes to believe that he has entered into a bargain with the Grim Reaper — that the Requiem he is writing is to lament his own demise. His fears come true and he dies — poisoned by Salieri? — before he can finish the piece. You may remember all this from Peter Shaffer’s 1979 Pushkin-derived play Amadeus or from the movie adaptation that followed in 1984.

As with many legends, a grain of truth lies at the core, but a serious look at the work’s history and at Mozart’s biography makes the whole business still strange but less spooky. Mozart, who sometimes suffered from cash-flow problems but was in no way destitute, received a commission for a Requiem in the early summer of 1791. The offer was communicated by an agent of the person who would pay for the commis26

PASATIEMPO I August 1-7, 2014

sion, and the intermediary did not tell Mozart who that patron was or why he wanted a Requiem. We know that the offer came from Count Franz von WalseggStuppach, a music enthusiast who may have known Mozart through musical or Masonic connections. The count’s young wife had died that past February, and he had decided to memorialize her in two ways. He commissioned a sculptor to carve an elaborate monument for her grave, and he invited Mozart to write a Requiem mass, which he intended to have performed every year on the anniversary of her death.

The count hosted chamber music sessions twice a week at his castle 50 miles southwest of Vienna, and one of his eccentricities was to commission compositions from composers and copy them over in his own hand before distributing them to the assembled musicians. Just 50 years ago there surfaced an account penned in 1839 by Anton Herzog, a schoolteacher and one the count’s musical colleagues, that detailed this process. He insisted that nobody was fooled about the authorship of the music they played. “Usually we suggested that it was [by] the Count himself,” wrote Herzog, “because from time to time he actually composed some small things; he smiled and was pleased that we (as he thought) had been mystified; but we were amused that he took us for such simpletons. We were all young, and thought this an innocent pleasure which we gave to our lord.” It seems odd that Mozart should not have known about this. Musicians enjoy gossip as much as anyone else, and Mozart partook of it with gusto. The composers in Count Walsegg’s circle must have spoken about his habit, and if word of it reached Mozart’s ears, he probably would have guessed who was commissioning the Requiem. In fact, the commissioning of the Requiem followed the same pattern as the commissioning of Count Walsegg’s chamber music. When the count finally got around to performing the piece, in 1793, he conducted from a

score that bore the title “Requiem composto del Conte Walsegg” (“Requiem composed by Count Walsegg”).

Mozart accepted the commission but kept getting interrupted from the project, first to write his opera La clemenza di Tito for coronation festivities in Prague (where he traveled accompanied by his pupil Franz Xaver Süssmayr), then to compose Die Zauberflöte for a commercial theater production in Vienna. Not until autumn could he focus on the Requiem. Around November 20 he fell ill, and two weeks later he died at the tender age of 35. He left the Requiem far from complete. Of its 14 movements, he had finished only the first. Eight other movements were substantially completed, at least in their essentials, though most of the orchestration was not done. For five of the requisite movements, Mozart had left nothing.

Count Walsegg had already advanced half the generous commission fee, and Mozart’s widow, Constanze, must have envisioned two scenarios: either she could return the money he had paid (most of which was already spent) or she could deliver a completed Requiem. The latter option was more attractive, but it would require enlisting a surrogate Mozart to fill in the many blank pages. The obvious choice was Süssmayr, but he and Constanze had a falling out just then, and she turned instead to another Mozart pupil, Joseph Leopold von Eybler. He completed some of the orchestration but got no further than that. Constanze then turned to at least one and perhaps two other composer friends — neither worked out — before making peace with Süssmayr, who turned the torso into a complete work. He composed three movements from scratch (possibly drawing on ideas Mozart had discussed with him), filled out the orchestration (largely ignoring what Eybler had done in that regard), and elsewhere simply repeated music from Mozart’s continued on Page 28

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Santa Fe Desert Chorale, continued from Page 26

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completed sections, retrofitting different texts as necessary. People who love Mozart’s Requiem particularly for its Sanctus, Benedictus, or Agnus Dei sections (unlikely but not impossible) should be gently advised that what they are admiring is not by Mozart at all but rather by Süssmayr.

Whether Count Walsegg knew that the score he received was only partially

by Mozart we do not know. Perhaps it did not particularly worry him, since he was intent on its being considered “Walsegg’s Requiem.”

Süssmayr’s completion of the Mozart Requiem reigned as the standard version for years, beginning with the work’s initial publication in 1800, and there is good reason to pay attention to it. Even if Süssmayr was no Mozart, he was at least a competent composer; and apart from Mozart’s family, he was closer than anyone else to the master during the months when the Requiem was taking form. When he took over responsibility for finishing the score, he may even have drawn on instructions he received from the dying composer. His completion has nonetheless come in for criticism, particularly on the grounds that he lacked the skill in counterpoint that Mozart would doubtless have brought to bear on the piece if he had lived long enough to finish it. Quite a few 20th-century scholars have therefore proposed other solutions to the Requiem conundrum. Today performers may choose among more than a half dozen serious competing editions that accept, adapt, or reject Süssmayr’s completion in strikingly different ways.

The one the Desert Chorale will use is a relatively recent effort by pianist and musicologist Robert Levin, a devoted and deeply informed Mozartian.

It was premiered in 1991 and published in 1993. Joshua Habermann, the Desert Chorale’s music director, writes in a program note, “The completion by scholar and pianist Robert Levin that we present seeks not to replace Süssmayr, but rather to take the best of his ideas and change as little as possible, doing so only where Süssmayr’s completion departs from the expected norms of Mozart’s time.” The most notable novelties of Levin’s reconstruction involve contrapuntal writing, particularly an extended “Amen” fugue provided for the end of the Lacrimosa movement The completion by scholar and pianist Robert and a solid Osanna fugue to conLevin that we present seeks not to replace clude the Sanctus movement. Levin also makes free to rework Süssmayr’s Süssmayr, but rather to take the best of his orchestration throughout. But where ideas and change as little as possible. some of the available completions — Joshua Habermann have aspired to obliterate Süssmayr’s input to Mozart’s score, Levin recognizes that Süssmayr was closer to the source than anyone else, and he accordingly embraces Süssmayr’s work whenever he can. Levin’s completion of the Mozart Requiem aims to draw on all available period information pertaining to the piece, to honor the accretions of performance tradition that seem admirable, and to stir in a generous measure of original creativity. For aficionados of the Mozart Requiem, the Desert Chorale’s performances may shine a new light on an old favorite. ◀

details ▼ Santa Fe Desert Chorale, with members of the St. Martin’s Chamber Choir of Denver and the Santa Fe Symphony; directed by Joshua Habermann ▼ Mozart’s Requiem, along with the composer’s motet Ave Verum Corpus and the Laudamus te of his C-minor Mass (with mezzo-soprano Susan Graham), among other works ▼ 8 p.m. Thursday, Aug. 7, and Saturday, Aug. 9 Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place 4 p.m. Sunday, Aug. 10, Immanuel Presbyterian Church, 114 Carlisle Blvd. S.E., Albuquerque ▼ Tickets ($15-$120 in Santa Fe, $25-$75 in Albuquerque) are available through the Desert Chorale’s box office at 505-988-2282, www.desertchorale.org.

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PASATIEMPO I August 1-7, 2014

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TERRELL’S TUNE-UP Steve Terrell

In for the long haul

When I read in the press release for NRBQ’s Brass Tacks that the band has been around nearly 50 years, I thought it was a typo. But it wasn’t. It indeed was the mid-1960s, back during the Great Society era, when Kentucky natives Terry Adams, a true keyboard kook, and guitarist Steve Ferguson met up with bassist Joey Spampinato and formed the band. And though they didn’t produce any huge hits, in the years to come The Q established itself as a band for music lovers in the know — a group that would record albums with Carl Perkins, Skeeter Davis, and wrestling icon “Captain Lou” Albano; that could play Sun Ra-like jazz excursions, rootsy-bluesy rockers, and sweet McCartney-like melodies; and that championed outsider music like The Shaggs and song-poems.

Members came and went through the years, though for about a two-decade period the lineup of Spampinato, drummer Tom Ardolino, and guitarist “Big” Al Anderson, a part-time Santa Fe resident, endured. After Anderson left in 1994, Joey’s guitarist brother, Johnny Spampinato, stepped in, and the band played on for another 10 years.

The group broke up in 2004, after Adams was diagnosed with cancer. But he beat the disease and kept playing with a new, self-named group.

In 2011 The Terry Adams Rock & Roll Quartet reclaimed the name NRBQ. I was skeptical about this.

Until recently, I didn’t even listen to the “comeback” album, Keep This Love Goin’, or the live album, We Travel the Spaceways, that followed. How could it be The Q without at least one Spampinato? But just a few seconds into Brass Tacks and I realized I was wrong. I immediately loved it for the same reasons I loved NRBQ in the first place. Adams is still in great form, but new Qs Scott Ligon and Casey McDonough both sing and write some fine tunes. In fact, my immediate favorite on Brass Tacks was McDonough’s country-flavored “Fightin’ Back” (“You know my name is Casey/But you always call me Jack”).

Other highlights are the snappy opening track, “Waitin’ on My Sweetie Pie,” which sounds like a cross between country and Caribbean music, “Greetings From Delaware” (an ode to credit cards with a chameleon melody that seems to switch from The Knack to Steely Dan and several shades in between), and “This Flat Tire,” in which tires on a car talk to one another in herky-jerky rhythm. The band has long had a talent for creating songs that at first glance seem easy and 30

PASATIEMPO I August 1-7, 2014

lighthearted but on closer examination turn out to be at least somewhat twisted. Such is the case with “I’d Like to Know,” which sounds like it could be an outtake from The Beatles’ Rubber Soul. It’s a one-sided conversation between passengers on a bus or train. A listener assumes they’re strangers until the narrator sings, “By the way, I have seen you before/Mostly on Tuesdays and Fridays.” Stalker alert!

NRBQ has long been known for inspired covers, from the early days when they did a rocking version of “Accentuate the Positive” to their 2004 album,

Dummy, where they turned the 1950 Sammy Cahn/ Nicholas Brodszky tune “Be My Love” into a sweet country song. On Brass Tacks they make the Rogers and Hammerstein chestnut “Getting to Know You” a bouncy future NRBQ classic. I’m just getting to know this latest configuration of NRBQ, but right now I’m hoping they last another 50 years. Get to know the band yourself at www.nrbq.com.

Also recommended: Long in the Tooth by Billy Joe Shaver. This is a guy who could have rested on his laurels for the remaining years of his life just for his songs that Waylon Jennings covered on Honky Tonk Heroes back in the early ’70s. Of course, resting on anything isn’t in Shaver’s nature — though he did take six years off between this and his preceding album, Everybody’s Brother. (He does have a

▼

good excuse for at least part of that time, standing trial for shooting a guy outside a bar in Waco, for which he was acquitted.) Even though he’s getting “long in the tooth,” like the title says, at almost 75, he’s still writing some fine songs and singing like the tough old bird he is. “I’m still doing more than most men do,” he brags in the title song. He proves it here.

Few in his chosen profession could pack so many great songs into an album. The opening tune, “Hard to Be an Outlaw,” is the story of an old hell-raiser.

He sings it with his old pal (and character witness) Willie Nelson — who includes this recording on his latest album, Band of Brothers. In the last verse, Shaver and Nelson put down the modern Nashville “outlaws,” singing, “They go and call it country, but that ain’t the way it sounds/It’s enough to make a renegade want to terrorize the town.” The chorus of the song starts out declaring, “It’s hard to be an outlaw who ain’t wanted anymore.” This is followed by “The Git Go,” a minor-key state-of-the-universe address (with a dark harmonica

by Mickey Raphael, Nelson’s longtime harp-tooter) in which Shaver laments politics, war, religious hypocrisy, and relations between the genders.

“Money breeds war, as long as there’s a man alive/Rich kids go to college, and the poor kids fight/High-rollers crap out every time, roll a soldier’s bones like loaded dice/War is the beast that makes every mother cry.”

(Nelson does his own version of this on Band of Brothers.) That rich man/ poor man dichotomy surfaces again in “Checkers and Chess,” where Shaver sings, “I learned all the rules to their game/Fair and square you play ’em, but you’re losin’ just the same.../Rich man gets the money, poor man gets the blame.”

Shaver gives us honky-tonk tunes, like the Johnny Cash-flavored “Music City USA” (“One Sunday evening found me Lord/In a corner booth at Linebaugh’s/ Drinking black coffee and eating chili/Like Marty Robbins and Ernest Tubb”) and “Last Call for Alcohol,” along with a bluegrass-influenced “Sunbeam Special” and even a Tex-Mex flavored “American Me,” featuring Joel Guzman on accordion. And the title song, which reminds me of some long-lost Ray Wylie Hubbard workout, features a crunchy, funky beat and Tony Joe White on background vocals. “Used to go bear huntin’ with a switch/Sleep all week with a Salem witch,” he sings. I believe him. And I think her magic rubbed off. Feel it at www.billyjoeshaver.com. ◀

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PASA TEMPOS

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AMY LAVERE Runaway’s Diary (Archer Records) Amy LaVere possesses a gravelly, twangy, yet childlike voice that can really belt out a song and that is perfectly suited to chronicling her life as a teenage vagabond on her new concept album, Runaway’s Diary. It’s a trip through roadside juke joints and sweaty hookups with plenty of classic- and alt-country flavor. Autobiographical original songs and some key covers are woven together into a narrative that is simultaneously energetic and mournful as well as deceptively psychologically complex. Musical and thematic juxtaposition makes it easy to miss, at first, that the honky-tonk-flavored “Big Sister” and “Self Made Orphan” are about incest and parental neglect. LaVere takes a bluesy turn on a cover of Townes Van Zandt’s “Where I Lead Me” and echoes the same kind of rim-rocked ambivalence on John Lennon’s “How?” LaVere’s own lyrics have the feel of diary entries, a sort of litany of self-reflective complaints or pleadings that provide a back story for her travels. Songs like “Snowflake,” in which she asserts that she can raise herself, even scold herself when she needs it, are heartbreakers. But the rousing, almost Dixieland-jazz finale, “I’ll Be Home Soon,” will have anyone who has ever returned to old stomping grounds after an acrimonious time away ready to sing along: “And get it together/Go see my mother/She can’t know where I’ve been/I’ll be home soon/Where’s the trumpet?/Where’s the crowd?/Where’s the ticker-tape parade?” — Jennifer Levin LONE Reality Testing (R&S Records) Somewhere just to the right of the EDM explosion is a group of electronic musicians that doesn’t quite fit the glow-stick vibe and massive sound systems of the arena shows and festivals currently traversing the country. These people make music that occasionally works in clubs but is better suited to the privacy of headphones when you’re in your bedroom or on a train. They are the grandchildren of 1990s artists such as Aphex Twin and Boards of Canada. The latest album by Matt Cutler — who produces music in this lineage under the name Lone — more recalls ’00s artist Mylo, right down to the narrator that opens the record. This voice is plain-spoken yet wide-eyed; it’s on your level yet invites you into a larger world. The album reflects a rich, varied landscape, one that keeps afoot with the kinds of music currently shared across social media — often detachedsounding and indirect, highlighted by dragging beats and melodies that feel layered in cobwebs. Every so often, Cutler shakes off this malaise and puts some spring in the album’s step, affecting house music and hip-hop, with songs like the Beatnuts-esque “2 is 8.” These songs, particularly “Airglow Fires,” sound fantastic in a social setting, yet the introspective nature of the album reveals itself more fully in moments of solitude. Cutler chose his nom de plume well.

— Robert Ker

ChristopherBenson

Withheld Narratives August 1-29. 2014

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PASATIEMPO I August 1 - 7, 2014

THE ART OF OUTDOOR DINING Santa Fe Opera Apprentice Shows Monday, August 4th Dinner Seating: 5:00 pm to 6:00 pm Performance: 6:30 pm - 8:00 pm Reservations Required - $15 Cover Charge

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ON STAGE Some old-fashioned love songs: Corinne Winters and Steven Blier

This summer, soprano Corinne Winters is not just making her Santa Fe Opera debut as Soong Ching-ling in the company’s production of Dr. Sun Yat-sen; she is also celebrating the release of her first recital CD, which the GPR label began circulating on July 29. Titled Canción Amorosa: Songs of Spain, it is a collection of songs in four Spanish dialects by 12 composers, of whom the most recognized are Xavier Montsalvatge and Joaquín Nin. (Also famous is Federico García Lorca, although his musical compositions have been overshadowed by his literary achievements.) She is assisted by Steven Blier, one of the most engaging collaborative pianists on the planet. On Sunday, Aug. 3, Performance Santa Fe’s Festival of Song series sponsors Winters and Blier in a live rendition of their recorded recital, which doubles as a release party.

The music starts at 4 p.m. at St. John’s United Methodist Church (1200 Old Pecos Trail). To purchase tickets ($45 general admission, $75 reserved seating), call 505-988-1234 or visit www.ticketssantafe.org or www.performancesantafe.org. — J.M.K.

THIS WEEK

Making Mary: Schola Cantorum

Schola Cantorum of Santa Fe has put together a program titled Echoes of Mary to complement the New Mexico History Museum’s current show Painting the Divine: Images of Mary in the New World. Director Billy Turney leads the vocal ensemble in a dozen Marian works, some of which will be included in the group’s tour to Ireland next summer. Among the highlights are motets by Renaissance masters Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria and Baroque music from the cathedrals of Mexico and Cuba by Francisco López Capillas and Esteban Salas y Castro. The first performance is 2 p.m. Sunday, Aug. 3, at the New Mexico History Museum, 113 Lincoln Ave. Entrance is by the museum admission fee. The program is repeated at 7 p.m. on Aug. 10 at the Loretto Chapel, 207 Old Santa Fe Trail ($20 tickets online at www.schola-sf.org or at the door), and on Aug. 17 at the Santuario de Guadalupe, 417 Agua Fría St. (with admission by donation).

For information, call 505-474-2815. — J.M.K.

Wild and Woody: Tribute to Woody Shaw

Dario Acosta

Woody Shaw is the man of the hour when trumpeter J.Q. Whitcomb leads a tribute concert at the Center for Spiritual Living on Friday, Aug. 1. Shaw was hanging with the cool cats on Newark’s modern jazz scene from his teen years. Not fully appreciated during his lifetime — at least on the level of, say, Lee Morgan, Freddie Hubbard, Donald Byrd, and Art Farmer — Shaw was a standout on the trumpet as well as a genius composer and improvisor. He recorded about two dozen progressive albums, beginning with 1970’s Blackstone Legacy with Gary Bartz, Ron Carter, and Lenny White. He died at age 44 in 1989. Whitcomb’s bandmates for the Friday gig are trombonist Ben Finberg, pianist John Rangel, bassist Andy Zadrozny, and drummer John Trentacosta. The music begins at 7:30 p.m. at the Center for Spiritual Living, 505 Camino de los Marquez, 505-983-5022. Tickets cost $15 at the door. — P.W.

Plus or minus: Handel’s turn

George Frideric Handel might not be keen that a concert devoted entirely to his music is being presented under the rubric Bach Plus. Though born within a month of each other in German towns only 80 miles apart, Bach and Handel never met. Twice it seemed as if they might, but Handel developed schedule conflicts — or, some suspect, wriggled out — both times.

This Bachless Bach Plus program, presented by Santa Fe Chamber Music Festival, comprises three pieces by Handel: his C-major Flute Sonata (played by flutist Tara Helen O’Conner and harpsichordist Kathleen McIntosh), his E-major Keyboard Suite (with pianist Victor Santiago Asuncion), and his cantata La Lucrezia (featuring mezzo-soprano Sasha Cooke, pictured), the last being a gloss on Livy’s account of a rape and suicide that led to the overthrow of the Roman Kingdom and the establishment of the Roman Republic in 509 B.C.E. The performance takes place on Saturday, Aug. 2, at 5 p.m. in the St. Francis Auditorium of the New Mexico Museum of Art, 107 W. Palace Ave. For tickets ($35-$45), call the festival at 505-982-1890 or 888-221-9836, ext. 102, or contact www.ticketssantafe.org (505-988-1234). — J.M.K. PASATIEMPOMAGAZINE.COM

35

James M. Keller I The New Mexican

Opera Redux These capsule reviews are greatly abbreviated from full reviews that ran in The Santa Fe New Mexican immediately following the opening of each production. They have also been updated to reflect significant cast changes. The complete original reviews can be found at www.santafenewmexican.com.

Chica Mexicana: Carmen

D

irector Stephen Lawless’ production of Georges Bizet’s Carmen sets the action around 1960 somewhere along the U.S./Mexico border, where Carmen’s cohorts are smuggling (and snorting) cocaine. You don’t have to invest much thought in this though; as with so much in the production, ideas are superimposed lightly on the piece’s framework rather than worked deeply into its texture. Placing the action in our hemisphere rather than Bizet’s seems to matter little. The production makes striking use of black-and-white film clips, some vintage, others newly shot in a similar style. They are well selected and might be more effective if they were used more sparingly, but they will help hold the audience’s attention in an era addicted to broadcast images.

Midway through the production’s run, soprano Ana María Martínez assumed the title role, a much-needed upgrade. Apart from bringing her beguiling soprano to bear on some of opera’s most familiar tunes (her “Séguedille” is memorably fine), she imparts sexual allure without being overly vulgar about it. She portrays a cool, confidant Carmen who is spoiling for trouble because it comes naturally. Her arrival seems to have inspired the rest of the cast, and performances that seemed humdrum on opening night had perked up a month later. As Don José, tenor Roberto De Biasio hits firm, powerful notes (if sometimes swallowing his tones), and his initial stolidity has relaxed just a bit.

Bass-baritone Kostas Smoriginas, as bullfighter Escamillo, seemed underpowered on opening night, but now he is projecting more forcefully. He still enters passed out and stoned, atop a drugstore bull, and moves on to an Elvis impersonation (now toned down a touch). Soprano Joyce El-Khoury, as Micaëla, was the strongest cast member initially, and her appealing interpretation has grown still more engaging. Hurrahs are due to the eight boy choristers, who sing and act with panache. There’s not much by way of choreography in this Carmen, and the fight scenes are bland.

Costumes are variegated and unsurprising; for the Gypsy girls, the style tends toward mid-century hooker. This production is entertaining, stronger in its overall effect than in its details. ◀

Additional performances of Carmen take place at 8 p.m. on Aug. 2, 6, 11, 16, 18, 20, and 23.

Three’s Company: Silliness dominates in Don Pasquale

L

aurent Pelly’s production of Donizetti’s Don Pasquale is desperate to show everyone a good time, but it doesn’t make this opera more lovable in the process. Jam-packed with sight gags, its lowbrow approach evokes the aesthetics of a sitcom, although in this case a sitcom that would have little chance of progressing beyond a pilot episode. The plot revolves around a single malicious joke: Dr. Malatesta tricks the aging bachelor Don Pasquale into thinking he has married a young widow (“Sofronia”) who makes his life miserable — a ruse that circuitously leads to Pasquale’s nephew Ernesto’s gaining the hand of said widow (in reality named Norina). Pelly never grapples with why Malatesta unleashes this mischief, nor does he make us care whether Ernesto and Norina get together or not, since both are presented as dislikable characters. At the nub is Don Pasquale, a seminal basso buffo part entrusted to English baritone Andrew Shore, who displays not much of a voice and largely comes across as a passive sourpuss who simply serves as the butt of the joke. The originally scheduled soprano having departed, the part of Norina is now divvied up between Brenda Rae (Aug. 4, 9, and 13) and Shelley Jackson (Aug. 19 and 22). Jackson, a company apprentice, showed agility and coloratura sparkle on opening night.

Rae, a more seasoned professional, possesses a strongly centered tone that can resound with near-deafening pungency, but her interpretation is confident. Tenor Alek Shrader, as Ernesto, navigates the altitudes of his part with facility, crafting well-structured phrases and investing his music with affection. One regrets that Pelly detracts from his musical achievement by pil-

ing on so much distracting shtick. One thing Don Pasquale really does have going for it is its music, and Pelly does not let it shine in its own right. Baritone Zachary Nelson renders the part of Malatesta honorably, making less impression than he did last season as Mozart’s Figaro. The principal set — Don Pasquale’s sitting room — is literally turned upside down when Norina/ Sofronia takes over his life. Corrado Rovaris conducts with precision in the pit. ◀ Additional performances of Don Pasquale take place at 8 p.m. on Aug. 4, 9, 13, 19, and 22.

Top, Roberto De Biasio (Don José) and Ana María Martínez (Carmen); right, Brenda Rae (Norina) and Andrew Shore (Don Pasquale)

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PASATIEMPO I August 1-7, 2014

Cleverly combined: The Impresario and Le rossignol

I

n a new production by director Michael Gieleta, Mozart’s The Impresario and Stravinsky’s Le rossignol coalesce into a smart, inventively synchronized entity that is greater than the sum of its parts. The Impresario, a divertissement penned for a Viennese court entertainment, is a silly throwaway about a beleaguered opera producer trying to survive the rivalries of his leading singers. Mozart endowed it with only an orchestral overture, two arias, and two vocal ensembles. Gieleta expands it with extra Mozart compositions, ranging from a short canon to full-blown concert arias. Everything is fitted with English words by Ranjit Bolt, who molds the piece into a slightly overlong backstage farce in which temperamental opera stars vie for roles in a production of Stravinsky’s Le rossignol, around a score of which the participants huddle as The Impresario ends. That tableau returns to open and close the second half of the evening, with James Macnamara’s stunning sets of Stravinsky’s opera growing out of it and retreating back to it Transformers-like. The decor for Le rossignol includes projected images allusive to Picasso, Matisse, Calder, Miró, and Tanguy, and the Nightingale itself often perches in a tree inspired by a Man Ray coat-hanger mobile.

Conductor Kenneth Montgomery elicits polished playing from the orchestra. Of the singers, soprano Erin Morley gives a top-flight performance, her voice elegantly tracing the terrors of Mozart’s coloratura and imbuing the Nightingale’s appearances with nuanced delicacy. Lyric tenor Bruce Sledge, as the Fisherman, plays a largely static part but brings his voice alive through its alluring sweetness and sensitive phrasing. Apart from her entertaining turn in The Impresario (where she renders Don Giovanni’s “Champagne Aria” practically at its baritonal pitch), contralto Meredith Arwady portrays Death in Le rossignol, singing through a Cubist painting that hangs above the Emperor’s bed. Soprano Brenda Rae flirts with over-the-top dramatic and vocal caricature as the other Impresario diva, baritone Anthony Michaels-Moore projects a somber presence as the Impresario and the Emperor, bass Kevin Burdette pops out impressive patter, and bass-baritone David Govertsen gives a pleasing rendition of an interpolated aria about donating money for the arts. ◀

Additional performances of The Impresario and Le rossignol take place at 8 p.m. on Aug. 1, 7, and 15.

Above, Anthony Michaels-Moore (the Emperor of China) and Erin Morley (the Nightingale) in Le rossignol Left, Brenda Rae (Vlada Vladimirescu), Anthony Michaels-Moore (Yuri Yussupovich), and Erin Morley (Adellina) in The Impresario All photos Ken Howard, courtesy Santa Fe Opera

History lesson: Dr. Sun Yat-sen

D Fidelio: Out from under the Führer

F

or its first-ever production of Beethoven’s Fidelio, Santa Fe Opera turned to director Stephen Wadsworth, who gives the piece a personal twist without abandoning its essential spirit.

He sets this tale of political imprisonment about 70 years in our past, in a concentration camp in Nazi territory.

Great swaths of the libretto’s spoken text are given here (in German), and a few places have been rewritten or expanded to support the directorial concept. In his first appearance in the pit since being named the company’s chief conductor, Harry Bicket presides over a well-paced performance. The large chorus, made up in good part by apprentice singers, is splendid.

The two leading parts represent role debuts for their respective singers.

Listeners may differ in their reactions to Alex Penda as Fidelio/Leonore.

Some will respond emotionally to the way she stretches her rather steely sound to its dramatic limits, but I was disturbed by a forced sensation in her high register, a jarring chest voice down below, and the application of minute interpretative details that could seem overly fussy. Like Penda, tenor Paul Groves, who plays Florestan, has been moving from lyric

to increasingly dramatic repertoire, and although he would not qualify as a full-fledged “dramatic tenor,” he handles the part persuasively while maintaining much of his natively dulcet sound. Bass-baritone Greer Grimsley, as Don Pizarro, is the villain incarnate in his Nazi officer’s uniform, and his powerful interpretation often assumes the dramatic focus in this production. Austrian bass Manfred Hemm earns his keep as Rocco; an accomplished actor of unforced style, he imbues his scenes with a sense of comfort and honest simplicity that must prove invaluable to the rest of the cast. As Marzelline, soprano Devon Guthrie backs up her bright, clear timbre with substance, and tenor Joshua Dennis, as her suitor, Jaquino, also impresses with his satisfying, understated portrayal. As the Brits pour in and the prisoners extol freedom, we see Marzelline and Jaquino on the other side of the stage preparing to finally embrace.

Will they be rewarded with their own happy ending? When you go, watch closely and you will know. ◀ Additional performances of Fidelio take place at 8 p.m. on Aug. 5, 12, and 21.

For tickets contact the Santa Fe Opera box office at 505-986-5900 or visit www.santafeopera.org.

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PASATIEMPO I August 1-7, 2014

r. Sun Yat-sen, an ambitious opera by librettist Candace Mui-ngam Chong and composer Huang Ruo, aims to illuminate a tumultuous moment in the history of modern China and to scrutinize some aspects of the life of the patriot who fomented it. Its American stage premiere is not more than intermittently successful. One reaches the end of the two-and-a-half-hour evening feeling that its scenario is unwieldy, its libretto heavy-footed, its music not consistently inspired, and its production somewhat out of the bargain basement. It leaves a listener largely unmoved. It begins strongly, the vibrant rhythms of its overture accompanying choreography that depicts poverty and oppression under the feudal reign of the Qing Dynasty, and it continues with arias, ensembles, choruses, and orchestral interludes, all interlaced into through-composed spans.

The most compelling vocal bits come in rare moments of personal meditation: an aria in which Sun’s first wife (sympathetically portrayed by soprano Rebecca Witty) acknowledges the inappropriateness of their marriage, another in which his second wife (winningly sung by soprano Corinne Winters) laments her miscarriage. As Charlie Soong, bass Gong Dong-Jian uses his hard-edged

voice to pointed dramatic effect, and mezzo-soprano MaryAnn McCormick displays secure, engaging vocalism as his wife. Tenor Joseph Dennis, a secondyear apprentice, assumed the title role when the singer originally cast left the production two weeks before opening night. His voice is sweet and eminently appealing, but the character of Sun Yatsen seems underexplored in the libretto.

A didactic flavor creeps into Chong’s text more often than one might wish, and historical references sometimes confuse more than they illuminate when they zip by at performance tempo. Rhythm is Huang’s musical strong suit, but it does not sustain a score of this length on its own, unassisted by concomitant strength in harmonic direction or, most regrettably, melodic contour. Melodic material is gestural rather than developmental, and a listener sometimes senses that Huang is just filling up time with notes to get the text set, with no sense of musical inevitability. Director James Robinson harnesses the production team’s efforts into a workmanlike whole, but none of the component parts soar. ◀ Additional performances of Dr. Sun Yat-sen take place at 8 p.m. on Aug. 8 and 14.

Joseph Dennis (Dr. Sun Yat-sen) and Corinne Winters (Soong Ching-ling); top left, Alex Penda (Leonore) and Paul Groves (Florestan)

2014 Food+Folklore Festival · September 12–14

The New Earth Institute of Southwestern College

Enjoy a reception and two films about food Sunday, August 3, 2014 . 1:30 PM at the Center for Contemporary Arts

presents the 33rd Annual

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TRANSFORMATION AND HEALING CONFERENCE

Light refreshments · Door prizes · Find out all about FUZE.SW 2014 Films start at 2:30 · First come, first served Q+A with filmmakers Gary Farmer and Alex Rivera follows the films This is a free community event

Consciousness and Compulsivity

EARN CECs

Wednesday - Sunday August 20-24 in Santa Fe at SWC Campus and Center for Spiritual Living

Saturday, August 23 • 9:00am - 5:00pm Spirituality, Sexuality and Addiction: The Dynamics of Shame

This day will explore the innate effects of sexual shame and shame as the source of all addictions as well as the source of spirituality.

Dr. John Bradshaw is an acclaimed author and leading figure in the fields of addiction/recovery, family systems, relationships, and spiritual and emotional growth. His newest book is entitled Post Romantic Stress Disorder.

Alex Rivera’s hilarious and troubling experimental documentary

Indigenous activist Gary Farmer presents

Papapapá

The Gift

An adventure featuring potatoes, and couch potatoes, traveling from South America to the U.S. (U.S.-Peru, 1997, 26m)

A personal journey in exploration of the deep relationship between humans and corn.

(Canada, 1999, 59m)

Sunday, August 24 • 1:00pm - 4:00pm Breaking Free Of Addictive Relationships Lee Cartwright, M.A., developed Shifting Consciousness through Dimensions (SCtD), a neurological system for transforming trauma and personal limitations. He is the author of 3 books on SCtD.

plus 18 experiential Workshops August 20-22

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

39

museum of indian arts and culture presents

m e d i c a l ly s u p e r v i s e d w e i g h t l o s s Zia Pueblo

SOuTHweST POTTery ArTiST DeMOnSTrATiOn

weDneSDAy AuGuST 6, 2014 , 1–4PM Native artists from various Southwest tribes will discuss and demonstrate different techniques, clays, and styles of pottery.

Marianne Gibbs, RD, LD, CDE Offering the expertise and resources you need to lose weight. Our trained specialists will evaluate you and then carefully follow your nutrition and weight loss plans.

Appointment Line 505-395-3003 1650 Hospital Drive, Suite 800 Santa Fe, NM 87505 www.internalmedicinesf.com Building Health Together

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40

PASATIEMPO I August 1 - 7, 2014

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PASATIEMPOMAGAZINE.COM

41

Bill Kohlhaase I The New Mexican

Poetic

insPiration

L

owell Liebermann is a most literate composer. Both of his operas, The Picture of Dorian Gray and Miss Lonelyhearts (with a libretto by poet J.D. McClatchy), have a bookish pedigree. The second movement of his Concerto No. 1 for Piano and Orchestra was inspired by Thomas De Quincey’s Confessions of an English Opium Eater. His Symphony No. 2 contains text from Walt Whitman’s Leaves of Grass. His Four Seasons, a work cocommissioned by the Santa Fe Chamber Music Festival and set to be performed in Albuquerque on Wednesday, Aug. 6, and in Santa Fe on Thursday, Aug. 7 (with a preconcert lecture by Liebermann and composer Marc Neikrug), takes its inspiration from poet Edna St. Vincent Millay.

“When I have a commission for a song cycle,” Liebermann explained from Aspen, Colorado, where his opera based on the story by Oscar Wilde was being produced, “I first decide on the text. I have quite a large library of poetry and I just go there and go through poetry. I picked up Edna St. Vincent Millay — we share the same birthday — and realized I’d never set any of her poetry to music. I thought of her sonnet (“I know I am but summer to your heart”) and found that it was in the public domain, which was perfect because I didn’t have enough time to get permissions. So I went through all of her poetry and selected all of the poems that I wanted and began setting them to music. Then I began looking for a common thread that would tie them all into a cycle.”

Liebermann can’t explain his method for finding appropriate text for his music. “I couldn’t tell you exactly why it works, but I know immediately when looking at a poem if I can set it to music. In doing the actual setting, I try to be faithful to the poet’s intentions. Some of my favorite poems I

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PASATIEMPO I August 1-7, 2014

Lowell Liebermann

•

Santa Fe Chamber Music Festival could never imagine setting to music. They’re too complete. There has to be room within the words for the music to add something. Not that the poems are incomplete in themselves. But some are so complete, so tight, I can never imagine them being complemented by music.”

There was another inspiration for the music in Four Seasons: mezzo-soprano Sasha Cooke, who performs the piece in Santa Fe. “I wanted to showcase the warmth and beauty of her voice.

The poems cover a broad range and can be very emotional. I knew she could handle that. I wrote the piece specifically for her.”

Liebermann’s interest in literature comes naturally. “I don’t have a degree. But I’ve always read a lot, since I was a kid. I really don’t have much formal literature training after high school. I read when I can.” The idea that words can lift music and music can lift words seems to him the heart of the matter. “Music can be a very abstract thing.

It’s not just about the notes. And words can give the music extra content, a contextual content.”

Liebermann’s music, often described as moody and even dark, is accessible even at its most detailed. “That darkness thing, it’s very strange and seems to have taken on a life of its own. I do have lighter pieces, and I like to think that I’m not a dark composer. This song cycle, one of the pieces is darker, but dark and beautiful in an emotional way.” The accessibility comes from a sort of lyricism that makes listeners follow. “When one says lyricism, one is referring

to melody. Some composers aren’t interested in melody. But I’ve always been interested in melody. A piece that’s melodic could be tonal or atonal, but it can still have a melody. It’s important to me that there’s always a thread weaving its way through my music.”

Liebermann’s best-known works include pieces for flute, some commissioned by James Galway (he has also written for piccolo). More recently, his chorale music has gained attention. Earlier this year, the American Academy of Arts and Letters gave him the inaugural Virgil Thomson Award, recognizing a composer of vocal works.

Voice is central to his other poetry-inspired cycles, including Six Songs on Poems by Raymond Carver for baritone and piano and Stopping by the Woods on a Snowy Evening for bass-baritone and piano. When does he find time for reading, let alone writing? “I’d like to know how I find the time to write,” he chuckled. “Here I am in Aspen, sitting by the pool and being treated very nicely.

One has to make time, one has to be disciplined.

I’m currently working on a clarinet concerto that’s been commissioned and I’m getting closer to deadline. Finding time. That’s a problem.” ◀

details ▼ Music of Beethoven, Dvorˇák, and Lowell Liebermann ▼ 6 p.m. Thursday, Aug. 7, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., with a 5 p.m. preconcert lecture featuring Liebermann and Marc Neikrug ▼ $35-$70; call 505-982-1890 or 888-221-9836, ext. 102, or visit www.santafechambermusic.com.

Left, Edna St. Vincent Millay; right, Lowell Liebermann

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PASATIEMPOMAGAZINE.COM

43

Bill Kohlhaase I The New Mexican

Not a lot like Christmas

J

Julian Anderson

ulian Anderson wrote his first string quartet 30 years ago, when he was 17. Light Music, with its emphasis on microtones, dissonance, and distortion, was thought unperformable in 1984.

Santa Fe Chamber Music Festival Today a number of string quartets have the ability and willingness to take on nonstandard tunings and other strange requests by composers, and Light Music premiered last year at the Aldeburgh Festival of Music and the Arts in Suffolk, performed by the Arditti String Quartet.

Not only the critics but the composer was impressed. “Simply put, I like the music,” Anderson said in an afternoon phone call from London. “It’s very typical of me throughout my career. It goes on a journey from start to finish in an arc that’s very typical of my work. The other reason is the sonorities. I enjoy them. I recognize them as my own. People seem to like it, so I’ve put it in the catalog.”

The airing of that first, youthful string quartet drove him to write another.

“Hearing that piece, I suddenly knew what I had to do next,” Anderson exclaimed.

“It was quite uncanny.” Arditti performed Anderson’s second string quartet, 300 Weihnachtslieder, in May at London’s Wigmore Hall, where Anderson is composer in residence. The piece will be heard at the St. Francis Auditorium on Friday, Aug. 8, as part of the Santa Fe Chamber Photo Maurice Foxall Music Festival, and Anderson will give a preconcert lecture with composer Marc Neikrug Fe Chamber Music Festival gave Anderson beforehand. his inspiration. “The idea of the piece was to As its title suggests, it’s inspired by German use a rather obscure source material, which I Christmas carols. “The number 300 is approxi- rather enjoy but has nothing to do with string mate,” Anderson confessed. The piece was quartets.” He pulled some 300 songs from two written in something of a creative frenzy. “I German anthologies of Christmas music, most wrote very fast. I’ve always loved composing. of them unknown to most listeners. “A few This was a very happy period for me. I’d just are very famous — ‘How Lovely Shines the finished [my opera] Thebans and I was relishing Morning Star’ — but they are all wonderful the difference in writing four parts on a page tunes. I’ve just dipped into them, used parts rather than 40. I wrote 19 minutes of music of some. They’ll be in a context that’s hard to in six weeks. I’d never written so much in recognize. I like the mystery of it. It’s rather such a short time with such enjoyment and the like a crossword puzzle, something oblique, knowledge that I was doing it right.” something buried beneath the surface. If you While the music came together quickly, listen carefully you can hear a piece or two of the idea behind it did not. “The Arditti asked Christmas songs, but they’ll be filtered through me for a new string quartet in 1996. But I different modes and not in the way we norcouldn’t think what it was I should do. So I kept mally hear them.” He utilizes unlikely intervals thinking, I’ll get an idea, we’ll stay in touch.” between notes, ideas that come from his expeA joint commission that included the Santa rience with Turkish and gamelan music. To this

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PASATIEMPO I August 1-7, 2014

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he’s added recordings of German church bells that date back hundreds of years, to the time of the carols. “These surviving German bells, some still being rung, all have a lovely resonance that’s enriched by knowing you’re hearing a bell that was on the earth at the time people were writing this music.”

Anderson, for the last several years among Britain’s most visible composers — he’ll be ending an in-residence with the London Philharmonic soon — has had a busy year. Thebans, which had its premiere with the English National Opera in May at the London Coliseum, had critics falling over themselves. The New York Times claimed it had “the most spectacular orchestral writing heard in any opera of the past half a century” and suggested that Anderson had finally emerged from the shadows of fellow British composers Thomas Adès and George Benjamin. “No, I don’t think of that,” he answered when asked if he felt competitive. “I just go with the music. I’m not important. The music’s what’s important. I look back and think I’m doing fine. I value the music of [Adès and Benjamin]. I don’t think of being in anyone’s shadow. We’re all doing different things.” Some critics saw the opera as a watershed for the composer’s style.

“I’m not aware of any watershed in my writing,” he said. “I think it’s more a progression. I’m the sort of guy who pursues a certain line of interest, then goes with it until something leads somewhere else. The opera was the biggest piece I’ve ever written. I came out feeling like an athlete in trim after a race.

My compositional muscles are in trim. I’m in good form physically. I just write the way I write. It’s very instinctual.” ◀

details ▼ Flux Quartet performs Julian Anderson’s String Quartet No. 2, 300 Weihnachtslieder, and works of other composers ▼ 6 p.m. Friday, Aug. 8; preconcert lecture with Anderson and Marc Neikrug at 5 p.m. ▼ St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. ▼ $5; call 505-982-1890 or 888-221-9836, ext. 102, or visit www.santafechambermusic.com.

you’re Only young twice

Don Pasquale D O N I Z E T T I

A young couple clearly made for each other, silly uncle don Pasquale thinks he’s more deserving.

With beautiful music, this clever production is filled with romance, laughter and endless FuN! “...embellished with worldly wit and melodic genius.”

—The Santa Fe Reporter

Brenda Rae, in her role debut as Norina (7/29 - 8/13), received accolades for her Violetta in 2013's La traviata and in this season's The Impresario and Le Rossignol

“musically a showstopper” —Opera News

“sang gorgeously...soared beautifully” —The New York Times

Shelley Jackson, also as Norina (6/28, 7/9, 8/19 & 8/22)

“exploded into the spotlight of the Santa Fe Opera... bringing a sparkling freshness.”

—Albuquerque Journal

“Both [Shelley] jackson’s Norina and [Zachary] Nelson’s Malatesta were world-class performances, worthy of any operatic stage.”

—OperaWarhorses.com

“the vocal laurels for the evening went to tenor Alek Shrader, as Ernesto.”

—Santa Fe New Mexican

“the star of this opera is, undeniably, Andrew Shore’s don Pasquale.

His characterization is perfect” —Los Alamos Monitor

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PASATIEMPOMAGAZINE.COM

45

Michael Abatemarco I The New Mexican

BACK TOTHE GARDEN

A

fter the Gulf War, the Iraqi government revived a program to divert the flow of the Tigris and Euphrates rivers away from marshlands in Iraq, resulting in the loss of 90 percent of marshland habitat in less than 10 years. The program decimated species, causing the death of thousands of fish and waterfowl, and created a refugee crisis among the Marsh Arabs, traditional tribes and tribal confederations that rely on the wetlands for survival.

It is there, in the Tigris-Euphrates Valley, part of western Asia’s Fertile Crescent, that the fabled Garden of Eden of Judeo-Christian heritage is believed to have existed. For photographer and multimedia artist Meridel Rubenstein, Eden became a symbol not of religion but of hope in a time of conflict. In response, she created Eden in Iraq: The Wastewater Art Garden Project, which she hopes to finish by 2016, in time for a photographic exhibition at David Richard Gallery.

Eden Turned on Its Side

Meridel Rubenstein: Winter Seasonal, 2009, archival pigment inks on paper; opposite page, Mt. Bromo From Above Encircled, 2011-13, archival pigment ink on aluminum

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PASATIEMPO I August 1-7, 2014

Eden in Iraq is the final chapter in a three-part series by the artist, collectively titled Eden Turned on Its Side, that examines the precarious relationship between human beings and the natural world. Selections from the first part of the series, Photosynthesis, are on view at the gallery through August 24. For Rubenstein, a visiting associate professor of art, design, and media at Nanyang Technical University in Singapore, the project had its genesis while she was traveling in Africa and Europe between semesters. “What I was looking for — I just couldn’t articulate it — was how nature could be a healing force,” she told Pasatiempo.

Photosynthesis is a series of composite images of trees and people exchanging oxygen and carbon dioxide, meant to underscore a threatened symbiotic relationship. This is its premiere in Santa Fe, although Rubenstein maintains a studio here. It was in the midst of working on the Photosynthesis images that Rubenstein got the idea to do Eden in Iraq. “When I was making one of them, I had this thought that it was about Eden, but I don’t have any Western religious training, so I don’t think about Eden. I thought, I wonder where people think Eden was? I told my friend Linda Durham about it, and a week later she said, ‘Turn on the television.’ There was a program about the group Nature Iraq. That’s when the light bulb went on.” Nature Iraq is an NGO committed to restoring, preserving, and protecting Iraq’s natural environments and resources.

The Volcano Cycle, the second series of images created as part of Eden Turned on Its Side, is a consideration of deep time explored photographically. It references creation myths, cycles of life and death, and issues of climate change. The David Richard Gallery plans on exhibiting this particular work sometime next year.

The series developed in response to Rubenstein’s visit to Lake Toba, in Sumatra, where a supervolcano erupted some 74,000 years ago and according to one theory wiped out more than 60 percent of earth’s human population.

“It’s an interesting site,” said Rubenstein. “There was a vast number of people, plants, and animals killed. It was called the Weak Garden of Eden,” where life had to begin anew.

“This is a section about time,” she said. “Several things have to work together. The first is metaphor. History is a big deal.

Metaphor is a big deal. Place, land, nature, culture — all these things have to be there.” The images in The Volcanic Cycle, a few examples of which are included in the current show at David Richard, contain elements of landscape photography taken in Indonesia. They underscore the fragility

and tenacity of life in the region, where geothermal activity produces a harsh and unforgiving environment.

Rubenstein plans to return to Iraq in the fall, where she has made several trips to establish a site for Eden in Iraq, and begin preliminary development of a wastewater garden. “I had a team I created to work on this project. We’ve gone three times already, and we’re really in the middle of it. We’ve all along been working with Nature Iraq. The 2014 budget for the country wouldn’t be passed until this last election. Once it was passed, there was a budget being prepared for water projects for the marshes, and I wanted to get the project in that budget. The government for the whole region decided they wanted to fund us. That was so amazing. I dragged in my neighbor, who’s an environmental engineer. It’s Mark Nelson, who’s from Synergia Ranch. That’s the group that did the Biosphere 2 in Arizona. Mark was responsible for the waste system, the closed system of the biosphere, which he inhabited for two years. By the second trip I got university money because of this teaching job. I was able to write a research grant. Mostly they give money to scientists, but because there was this environmental-engineering component, I got [it].

But the money doesn’t pay for us to build. It only covers travel expenses.”

Many of the Marsh Arabs were forced to abandon traditional lifeways when Saddam Hussein’s government drained the marshes, a move intended to root out militiamen taking refuge there after a failed Shia uprising in 1991. The region, once among the world’s largest wetland environments, was effectively turned into a desert. “The Marsh Arabs are ancient, and they’ve been isolated, so they haven’t assimilated with the rest of the region,” said Rubenstein. “They go back seven, eight thousand years to Mesopotamia, to Sumer, to the first cuneiform writing, like the Code of Hammurabi.

It was the beginning of our roots. When Saddam was deposed, they started coming back. Because of Nature Iraq, 50 or 60 percent of the region has been re-greened.

Some people came back wanting modern houses, which are cinder block, and others have come back and built old adobe houses. But the main architecture is domeshaped houses with woven reeds. This is traditional.”

The wastewater garden will honor the rich cultural heritage of the region while simultaneously acknowledging its ancient past. There are no immediate plans to develop the garden as a resource for food because the water is not potable. “Right now, as far as we want to get is a wastewater garden with a leach field — an equal amount of land for the garden and a secondary garden

where the gray water comes out. Once it’s been cleaned by the plants, it’s much purer than the gray water we know. So for every square meter of wastewater garden, we have a square meter of secondary. You can eat above the leaves from the wastewater and secondary gardens, so you can have dates, pomegranates, things like that.

But you don’t eat from the ground.”

Rubenstein sees the project as a chance to create a symbol of hope in a region ravaged by recent conflicts with other nations, including the United States.

“Something has changed in me a little over the last 10 years. ... I’m making something for somebody else, and that’s the most important thing.” ◀

details ▼ Meridel Rubenstein: Eden Turned on Its Side: Selections From Photosynthesis ▼ Opening reception 5 p.m. Friday, Aug. 1; exhibit through Aug. 24 ▼ David Richard Gallery, 544 S. Guadalupe St., 505-983-9555

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ART IN

REVIEW

James Drake — Pages: New Drawings, James Kelly Contemporary, 1611 Paseo de Peralta, 505-989-1601; through Aug. 27, 2014

I

n 2012 James Drake began an ambitious series of drawings, culminating in 1,242 numbered works that are currently on view through September 21 in the exhibition James Drake: Anatomy of Drawing and Space (Brain Trash) at the Museum of Contemporary Art San Diego. In some ways Pages, a show of new drawings by the artist, is a continuation of his almost obsessive dedication to the medium, picking up where Anatomy of Drawing and Space left off with work number 1,243. But Pages is a complete body of work in itself, with the numbered drawings grouped together into several large-scale compositions that include collages, diptychs, and triptychs.

In Drake’s possession was an old edition of a hardbound book called Master Drawings From the Collection of the Budapest Museum of Fine Arts, 14th-18th Centuries, published by Abrams in the late 1950s. Drake’s severely water-damaged copy of the book served, in part, as inspiration for the new drawings. He also incorporated sections of the book into the compositions by taking it apart from cover to cover and merging the historic imagery with his own, resulting in a series of conceptual works on paper. One such work, a triptych titled Master Drawings, drawings #1243, 1244 & 1245, can serve as a starting point. The front and back covers of the tome, split up and presented on either side of Drake’s rendition of a wild boar, include watercolor staining by the artist, seemingly inspired by the wear and tear of the book — the tangible history of its aging process while in Drake’s possession. The book’s front cover bears the faint image of a face, like a whisper or echo from the past, reemerging or perhaps fading away.

The image of the boar calls to mind a beast running roughshod over our inherited past or maybe the artist’s own zeal for iconic representations from art history.

That reading is speculative but apt, considering Drake’s ongoing allusions and references to the history of art and, by extension, to human history itself.

Among Drake’s major themes in Pages, as well as in older pieces, is a conflation of past and present. It lends 48

PASATIEMPO I August 1-7, 2014

his art a quality that’s not exactly timeless but that speaks to our reluctance to account for the past, which continually rears its head with tragic consequence. That filter is a lens through which Drake often examines contemporary issues of social injustice. Fortunately, he refuses to ignore what came before and does much honor to the old masters in Pages while simultaneously recontextualizing their visions in a contemporary idiom. Take, for instance, Voyager 1, drawings #1274, 1275, 1276, 1277, 1278 & 1279. It’s composed of several drawings — including Drake’s schematic of the Voyager 1 spacecraft — brought together into a single composition, but the overall work references the polymathic tendencies of Leonardo da Vinci, whose explorations into scientific invention are well known, as are his figurative artworks. As if in reference to the latter, the composition is overlaid with Drake’s rendition of Rubenesque nudes. On one hand, the imagery brings to mind the cultural memes that builders of Voyager 1, launched in 1977 and now the farthest human-made craft from Earth, included for potential otherworldly beings to discover. On the other hand, it may represent aspects of culture that were left out of the Voyager mission, particularly art.

A similar work is Accelerators, drawings #1262, 1263, 1264 & 1265, with the largest of Drake’s additions to the collaged plates and text from the Abrams book: a schematic of an early particle accelerator developed at the University of Chicago as an outgrowth of the Manhattan Project. Again, there’s a double-edged sword happening in Drake’s composition. The references to the past include the capacity of nuclear technology to end all life on earth, but particle accelerators also offer much insight into the components that make up the fabric of the universe and have advanced our understanding of its physical properties.

Another consideration is where Drake sees himself on the long train of master draftsmen extending back through the centuries. Certainly Drake is a virtuoso

James Drake: clockwise, from left, Voyager 1, drawings #1274, 1275, 1276, 1277, 1278 & 1279, 2014, graphite and charcoal on book pages; Black Swan, drawings #1254 & 1255, 2013, graphite and charcoal on paper; Accelerators, drawings #1262, 1263, 1264 & 1265, 2014, graphite and ink on book pages

himself, as evidenced by the work on view. Juxtaposing his own renderings with works by, and references to, Tintoretto, Da Vinci, Parmigianino, and others is not conceit; it simply shows the source material for his own formations — the sphere of influence he is responding to — making Pages a personal and universally accessible journey. Considerations such as this make one wonder if Eye & Mouth, drawings #1252 & 1253, in which details of a face subtly emerge from the waterdamaged pages of the Abrams book (much like the faint portrait in Master Drawings, drawings #1243, 1244 & 1245) is a self-portrait. In a way, all of Pages can be regarded as a kind of self-portrait of the conscious and possibly subconscious ephemera circling through the artist’s mind — hence the almost selfdeprecatingly subtitled Brain Trash MCASD exhibition.

The fact that Drake managed to create nearly 1,300 often large-scale, technically proficient, and conceptually stimulating drawings in a remarkably short span of years should make us wonder if Drake isn’t one of our contemporary masters.

— Michael Abatemarco

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TONIGHT Annual Ice-Cream Social

Friday, August 1, 5:30–7:30 p.m.

Enjoy a sweet treat in the patio, with thanks to Santa Fe Espresso Company/Häagen-Dazs. Free.

NEXT WEEK Conversation with Judy Chicago and Donald Woodman

Wednesday, August 6, 6:30–7:30 p.m.

Artists Judy Chicago, currently exhibiting at the NM Museum of Art, and husband Donald Woodman, currently exhibiting at the NM History Museum, discuss the triumphs and challenges and working as individuals and in collaboration. Joined by curators Merry Scully and Mary Anne Redding. St. Francis Auditorium. Free.

COMING UP Community Conversation

Sunday, August 17, 2–3:30 p.m.

“Revolutions Big and Small: Small.” In this community conversation, Cut+Paste Society and friends share insight into the creative process.

Gather in the exhibition Parlor; in conjunction with Local Color: Judy Chicago in New Mexico 1984–2014. Free by museum admission.

Exhibition Opening Reception

Thursday, August 28, 5–7, p.m.

Delilah Montoya, Cameraless, and Alcove Shows 1917–1927. Three new exhibitions open to the public with music and refreshments.

Cat Adoption Event

Saturday, August 30, Noon–4 p.m.

Meet cats and kittens in need of loving homes.

Collage Workshop

Saturday, August 30, 1–3:30 p.m.

“Homage to Your Pet or Favorite Animal.” Inspired by Judy Chicago’s Kitty City series, participants will create a mixed-media project. Free with regular museum admission. Pre-register at NMMOAworkshops2014@gmail.com.

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Sundays, 9 a.m.– Noon . . . . . . . . . . . . . . Plein-air Painting in the Patio Mondays, 12:15 – 1 p.m. . . . . . . . . . . . . . . . . . . . . Gallery Conversations Wednesdays, 12:15 –1 p.m. . . . . . . . . . . . . . . . . In-Depth Guided Tours Fridays, Noon–1 p.m. . . . . . . . . . . . . . . . . . . . . . . . . . . Drop In and Draw

PASATIEMPOMAGAZINE.COM

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Adele Oliveira I For The New Mexican

Rotation and revolution

Hung Liu: Equus III, mixed media on panel, 2014; opposite page, Sentencing Day, mixed media on panel, 2012; images courtesy Turner Carroll Gallery

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PASATIEMPO I August 1-7, 2014

T

he woman in Hung Liu’s painting Equus III isn’t looking at the viewer. Under thick black bangs, her gaze lifts off to the side. One corner of her mouth is pulled back, as though she’s unnerved, if barely. The woman is surrounded and overlaid by loosely sketched soldiers on horseback, a silver fish, a waterlily, and Liu’s characteristic incessant circles and paint drips, achieved by thinning the pigment with linseed oil. With its beautiful young woman and with flowing brushwork that looks, from a few feet back, like a gold-woven tapestry, Equus III could easily be misconstrued — and dismissed — as decorative, pretty. But Liu’s aesthetic is in the service of narrative: her work is deeply rooted in cultural history and personal experience.

New paintings by Liu are included in a show at Turner Carroll Gallery called Survival, which opens Friday, Aug. 1. Survival features five other artists and is described by the gallery as “artwork by well-known artists who lived under regimes not appreciative of their efforts.”

Liu was born in China in 1948, on the eve of Mao’s communist revolution. Her father was imprisoned when she was a baby, and she was raised by her mother. In the late 1960s and early 1970s, when Liu was in her 20s, she spent four years working in agriculture alongside peasants in rural provinces as part of Cultural Revolution mandates. Villagers from the countryside, late-19th-century prostitutes, and soldiers are frequent subjects of her work.

Despite the content of her art, Liu resists categorization as a political artist. “I’m a witness and a storyteller just because of my age, what I experienced and saw and heard,” she said. “Years ago I was on a panel in China, and we talked about the Cultural Revolution — it’s starting to become an ancient story.

A colleague on the panel said she saw blank faces, students who didn’t know what we were talking about.”

This October marks 30 years since Hung Liu first came to the United States. Though Liu studied art as an undergraduate and graduate student in China, her training was in the Socialist Realism style: rigid and straightforward, with a heavy dose of art-aspropaganda. When she arrived at the University of California at San Diego, she discovered the wider applications of art for the first time. “Art was much bigger than I thought it was.”

At UCSD, Liu studied under artist Allan Kaprow, who was instrumental in developing “happenings,” essentially spontaneous performance art. “When I came back to Beijing from the countryside to study art in grad school, nobody taught anything but a revolutionary theme,” Liu said. “Allan did everything when he was young. He blurred boundaries between performers and audiences. I had no idea; I assumed every artist was a painter or a sculptor. When I first learned about installations, I said, What do you mean you can do anything you want? It was really challenging, but it was a liberating way to think about art.”

Liu returned to China for the first time in 1991.

Findings on that trip formed the basis of her work for years to come. She had received a grant from

Hung Liu at Turner Carroll Gallery Mills College in Oakland, California (where she’s been a professor of art for more than 20 years), to obtain historic photos. “My mom asked around to see if anyone had any photos,” Liu said. “Very few people did. Most families burned their photographs, especially ones of Western-style weddings or anything that indicated you were not a proletariat or had some money. I went to libraries and found some magazines.

I came out with all the dust all over my face. Nobody had touched these things forever.”

At an old film studio in Beijing, Liu came upon a major find: a cardboard box filled with books of photographs of high-class Shanghai prostitutes from the late 19th century until 1911, the end of the Qing Dynasty. The books functioned as a sort of catalog for high-ranking officials and wealthy merchants.

Liu photographed every page, and the women in the book appear in many of her paintings. “I asked my mom, who was in her early 70s then, if she’d ever seen anything like this, and she said never. The women were doing the most hilarious things, like holding a book in hand, even though women were not allowed to learn to read and write, or driving a car, an old Ford model. The purpose was to sell themselves, pretend they were upper class. [The photos] were shocking and exotic but also familiar.”

Liu is a photographer herself. When she was studying in Beijing, a friend gave her an old camera that used medium-format 120 film. Liu thought, “Oh my God. I can make pictures! But how?” She learned which chemicals to buy to develop the film and painted an ordinary light bulb red for her makeshift

darkroom. Liu returned to the village where she lived in her 20s to take photographs of the people there.

The villagers, who might have been otherwise uncomfortable around cameras, trusted Liu because of her years of work in the fields.

“Once I took a portrait of a beautiful country girl, around 10 years old,” Liu said. “She must be over 50 now. There was something about her, the way she looked at you, stared at you, with such self-confidence.

She was a little country princess.”

As her paintings of prostitutes are empathetic, Liu’s portraits of peasants, whether photographed or painted, are humanizing and individuated. Even if the people in her work are anonymous, there is an essentialness about their presence, as though they could not possibly be anyone else. “Even if you did a lot of research, you would probably not find out who they are,” Liu acknowledged. “But somehow they represent the real people, their famine and suffering, trying to raise their babies. Even in a mass of people, you see a clear face.” ◀

details ▼ Survival: Hung Liu, Traian Filip, Nele Zirnite, Igor Melnikov, Georges Mazilu, and Wanxin Zhang ▼ Opening reception 5 p.m. Friday, Aug. 1; exhibit through Aug. 25 ▼ Turner Carroll Gallery, 725 Canyon Road, 505-986-9800

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ART OF SPACE Paul Weideman

L

Grand hotel

as Vegas’ La Castañeda Hotel, 115 years old and closed since 1948, must have been well made.

The building’s appraisal by Linda Gegick, who has been working on architectural, engineering, and historic surveys for new owner Allan Affeldt, makes the restoration challenge sound modest. “I’d say that it suffers from a lack of regular maintenance,” she summed up.

One of the more interesting details to emerge from her surveys is the fact that architect Frederick Roehrig and the builder employed steel railroad rails as joists between the basement and the first floor. Those are still in good shape.

Affeldt is a former two-term mayor of Winslow, Arizona, where he and his wife, Tina Mion, restored — and own and operate — the 1929 La Posada Hotel and Gardens. They purchased the Castañeda in early April and are preparing a full renovation and return to hotel use. The building at 524 Railroad Avenue was constructed in 1899 by the Santa Fe Railway. Its namesake was Pedro de Castañeda de Najera, who chronicled Francisco Coronado’s 1540-1542 expedition to the Southwest.

The railway contracted with the Fred Harvey Company to operate the hotel, making it a sister to the Montezuma in Las Vegas, El Ortiz in Lamy, La Fonda in Santa Fe, the Alvarado in Albuquerque, and other famed Harvey House hotels. For special occasions, Bridget Malone, for 30 years the lead Harvey Girl in La Castañeda’s 108-seat dining room, would bring out a

special expensive set of silverware, according to Richard Melzer’s 2008 book, Fred Harvey Houses of the Southwest.

Author Elizabeth Barlow Rogers, in her 2013 volume, Learning Las Vegas: Portrait of a Northern New Mexican Place, quotes Daniel T. “Bud” Kelly Jr., who as a boy would visit the hotel with his grandparents: “With all the Harvey Girls dressed up in their white uniforms, it was a pretty snappy spot.”

This spring The New Mexican quoted Affeldt saying that Las Vegas has “the prettiest downtown in the Southwest.” In June he told Pasatiempo that restoring La Castañeda will require about $2 million and two years.

But that project will be delayed while he does some work at the city’s Plaza Hotel. On June 30, he closed on that 1881 edifice, located on the plaza in the older section of town, about 12 blocks west of the railroad district.

Affeldt said he hopes the two hotels will help revitalize Las Vegas. He added that the Castañeda, the main facade and courtyard of which face the railroad tracks, will depend more on I-25 travelers than on those riding the rails — although Amtrak’s Southwest Chief, which runs between Chicago and Los Angeles, still stops twice a day at the 1899 depot right next to the Castañeda.

Gegick is also busy with a feasibility assessment and preservation plan, for the MainStreet Las Vegas organization, to restore the 1899 Rawlins Building, directly across Railroad Avenue from the hotel.

“They’re simultaneously doing those surveys to try to save that building too,” Affeldt said, “but the city is hoping the Castañeda will be the catalyst for the whole railroad district.”

Gegick’s surveys will tell the hotel’s new owner “what we can keep and what needs to be changed.” He knows the roof has to be renovated. “It’s pressed-metal sheets, so it looks like shingles. It’s in remarkably good condition, but the flashing points need to be fixed and sealed.”

Gegick added that the second-floor gable roof “is formed metal, like a Spanish tile, but it’s not ceramic.

The loggia roofs likely were also that, but now they’re asphalt shingle.” The loggias, which have been referred to by others as arcades, extend along the hotel’s front walls, including those facing the courtyard, and along the south elevation facing the depot.

The walls of La Castañeda are all brick, built on stone footings. “Inside there are some wonderful ceiling moldings, some with dentils, and the structural columns in the lobby have cast floral motifs,” Gegick said.

The architect was quite the slave to the exterior details. “Everything was so well-thought-out,” Gegick said. “The mortar joints are beaded. The arches are either three or four bricks deep. The windows on the first floor are mostly eight-over-one, and on the second floor they’re eight-over-two, with a lovely little sash detail: a half a teardrop on the outside bottom corners of the upper sash. Also, there are second-floor bay windows on every facade.”

The caps of the curvilinear parapets are metal, and the central tower is wood frame with metal cladding.

“The original plans show the tower to be of frame construction with wood sheathing,” said Las Vegas architect Jonathan Whitten. “The cupola area at the

A jewel gone forever

Albuquerque’s Alvarado Hotel, courtesy The Albuquerque Museum Photoarchive

T

he California Mission Revival style was introduced to New Mexico with Las Vegas’ 1899 La Castañeda Hotel, but three years later, the Atchison, Topeka & Santa Fe Railway opened a much larger iteration in Albuquerque.

The idea for a new hotel, from three Fred Harvey Company employees — John and Minnie Huckel and Herman Schweizer — “paralleled the AT&SF’s plan to build Missionstyle structures, inspired by the Arts and Crafts Movement, that would promote the ‘exotic’ American West and encourage passengers to travel via railroad to experience its landscape and cultures,” according to Jewel of the Railroad Era: Albuquerque’s Alvarado Hotel. Author Deborah C. Slaney, who is curator of history at the Albuquerque Museum, says the railroad soon began to incorporate the style into building plans for hotels and depots in Albuquerque, Raton, Santa Fe, and Socorro.

The Albuquerque hotel — named for Hernando de Alvarado, a Spanish artillery captain on the 1540-1542 Coronado expedition — opened in May 1902. It was designed by Charles Frederick Whittlesey, the AT&SF’s chief architect. Prominent Mission-style features included a red-tile roof over a stuccoed wood-framed building with curved pedimented gables, a variety of belfries, and a 200-foot arcade.

The lobby boasted Craftsman-style furniture and velvet-upholstered chairs. In 1922 it was given a lighter touch by Fred Harvey Company architect Mary Elizabeth Jane Colter. Also that year, the Alvarado became the company’s largest hotel with an addition on the north that brought the room count to 120.

In Jewel of the Railroad Era, Slaney describes the luxurious appointments that went hand in hand with the high-service standard of the black-and-white-attired staffers, the Harvey Girls: “Private baths were stocked with thick white terrycloth towels and miniature Cashmere Bouquet soaps, all marked with the Fred Harvey name. ... Each blanket, made of 100 percent wool and dyed a rich rose color, was tagged with a cloth Fred Harvey label.” top is clad entirely with galvanized metal. A note on the original tower drawing states, ‘The exterior of the tower and all parts visible must be of Galv. Iron #26.’”

What else about the structure is outstanding? “For me,” Gegick replied, “it is more than the sum of its parts. It’s the finely proportioned spaces, the views, the elegant details.”

Patrick W. Kidd, in his very detailed 2010 University of Pennsylvania master’s thesis, “Branding the Southwest: A Preservation Plan for the Fred Harvey

Colter was back at the Alvarado in 1939, redoing the lounge in an Old Mexico motif — complete with hanging lamps made from Mexican parrot cages. The next change — a 1954 modernization that renamed the lounge the Spotlight Room and replaced Colter’s homey décor with “slick” wall paneling, glass, and chrome — was not very well received by the public, according to a former Harvey Girl interviewed by Slaney.

Although the AT&SF continued to invest in upgrades to both buildings and grounds into the 1960s, the company decided to close the Alvarado in January 1970. Long since demolished, its exterior details are echoed in the design of the Alvarado Transportation Center (by Dekker/Perich/Sabatini Architects) that today serves passengers on Amtrak and New Mexico Rail Runner Express trains. — P.W.

Houses,” notes, “Although many later Mission style structures were coated with stucco or cement applied to resemble stucco, Roehrig left bare the buff brick facades of La Castañeda.”

About the loggias, which are approximately 12 feet deep, Kidd offers this astute observation: “At first glance, the structure appears quite large and impressive, but on further investigation, the observer notices how much of that sense of grandeur is achieved through Mission detailing, such as the arched arcade.”

Las Vegas’ La Castañeda Hotel, courtesy Linda Gegick

The Mission style originated in Southern California in the 1890s, according to an article in the September 1988 Bulletin of the Historic Santa Fe Foundation. The focus of that story was an Old Santa Fe Trail house designed by Thomas MacLaren in 1910 for Bronson Cutting, who would go on to become publisher of The New Mexican and a U.S. senator. “Adopted by the railroads for hotels and stations, the style was brought to New Mexico by the Santa Fe line,” the story says.

“One of the best examples was the now-demolished Alvarado Hotel in Albuquerque.”

Corinne Sze, the author of the article, compliments the house as “exceptionally elegant and balanced in design” and says it “embodies the characteristic features of the Mission Revival style in the liberal use of arches around window and door openings, in the orientation around a central courtyard, and in the curvilinear gable” — all accolades and descriptions that would also fit the Castañeda Hotel.

Affeldt plans to recycle a large quantity of furniture purchased from La Fonda last year, when it was remodeled. “There are 950 pieces: beds, dressers, bureaus, trasteros, cabinets, chairs, trestle tables, folding tables, desks. The irony is that we bought it all in New Mexico, had to take a dozen trips with moving vans to Arizona, and now we have to move it all back to New Mexico.

It’s nice for Ernest Martinez [La Fonda’s in-house artist for 55 years], and it’s nice for La Fonda, because they really cared about the furniture and they wanted it to stay together as a collection. It will completely fill all the guest rooms.”

He found places for a few pieces of La Fonda furniture in his Winslow lodging, “but really where it belongs is in an Arts and Crafts/Mission Revival building like the Castañeda,” Affeldt said. “It’s going to be perfect. And it has that Fred Harvey tradition to it, which is really great.” ◀ PASATIEMPOMAGAZINE.COM

53

get on board little

children Mike Brodie’s Period of Juvenile Prosperity Casey Sanchez I For The New Mexican

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PASATIEMPO I ????????? ??-??, 2014

I

t’s hard to believe Mike Brodie’s photos of train punks hopping their way across America in the first decade of the 2000s are scarcely a few years old.

Wearing coal-dusted clothes that look like they were bartered from steampunk enthusiasts and Civil War reenactors, the young men and women in these images pursue a nomadic lifestyle as cargo train stowaways.

It’s a way of living that was marginal even at the height of its popularity in the 1930s. Post 9/11, it’s a form of travel (and trespassing) that would seem to have gone the way of interstate hitchhiking, banned by law and discontinued out of fear. But as Brodie’s photos from his five-year stint train hopping full-time show, the kids are all right and the rails still hum

with young people who want to test their country’s freedom-loving ideals.

“From my experience, especially being in the South, they are way more accepting,” Brodie said in a phone interview with Pasatiempo. “All the railroad workers never seemed surprised or shocked to find that I was in an engine or train car. They never hesitated to give me information or say hi. That’s not to say there aren’t people who want to call the cops — or worse. But I’ve kept a good head on my shoulders. I treated everybody as friends and with respect.”

From 2004 to 2009, Brodie took photos so he would have a lasting visual record of the defining odyssey of his 20s — 50,000 miles of our republic’s rail lines hitched, hopped, and hoboed with a small galaxy of friends and ex-girlfriends. On the rails, he was known as the Polaroid Kidd. He learned to shoot photos at the same time he learned to hop trains. He snapped continued on Page 56

Jumping aboard a moving train isn’t pining for Americana so much as it is a very real American way of risking your life to pursue a form of liberty, however hazy and transitory.

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Mike Brodie, continued from Page 54 everything from the sun-dappled bliss of friends cutting through cornfields atop a cargo car to ballsy candids of the ill and injured, oozing bodily fluids as they convalesced in railside shacks. His images are packaged in a new book from Santa Fe publisher Twin Palms that has a title as audacious as the images: A Period of Juvenile Prosperity. It shows a way of life that attracts the obsessed.

“When I got off the train, within an hour I was already thinking and planning my next trip — where I was going to go and how I was going to get there,” Brodie said. “It was all that was on my mind. If you’re really interested in something, it consumes you; you just want to do it all the time.”

Brodie’s book has been reviewed in The New Yorker and his images have been exhibited in cutting-edge bicoastal galleries. The photographer never intended any of this when he started out. Brodie is old school — film, paper, and developer — but through digital scans of his photos, he rode the long tail of social media to Tumblr fame and art-world acclaim.

But his beginnings as both a photographer and a train hopper were inauspicious. In 2002, as a 17-yearold living with his family in Pensacola, Florida, he sneaked aboard a train to Mobile, Alabama, attempting to photograph the experience — an intended abstraction of rails, train wheels, and Panhandle earth. But fast-moving ground blurred in the viewfinder and the trip was scuttled as the train reversed direction and brought him past his family’s house.

Brodie began taking longer jaunts while cultivating a train hopper’s most precious resource: friends.

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PASATIEMPO I ????????? ??-??, 2014

Through a search for mobile freedom and human connection, he created an accidental portrait of a subculture unknown to most people.

Few, if any, of the individuals in these photos are destined to be hobos for life or constrained by their class or educational circumstances to be migrant laborers, dependent on trains to travel to seasonal farm harvests. But that doesn’t mean their life stories are any less compelling. As an angelic young man with his head wrapped in bandages, sleeping under a halo of sunlight, or a more frightened one being wheeled into an emergency room would indicate, jumping aboard a moving train isn’t pining for Americana so much as it is a very real American way of risking your life to pursue a form of liberty, however hazy and transitory.

Some of the best photos in the collection feature no people at all, like a candid shot of laundry in medias res: a single pair of crusty jeans stiffly soaks in a bathtub that seems familiar with being used this way. Another image of snow falling on train tracks contrasts with carefree shots of sun-kissed travelers with grimy locks and oil-streaked tresses whipping in the wind. It’s a reminder of how cold this life can be, cutting through the country in winter at top speed in an uninsulated metal car.

In Brodie’s pictorial narrative, quite a bit of train life is lived away from the rails — in primitive crash pads and slumber shacks, on car rides with strangers and supporters, in seen-better-days kitchens, where finding a way to a full belly is the priority. One of the most affecting images in this breaking-bread genre features a young woman crouched on a worn wooden floor, her raven locks spilling over pale arms covered in tattoos as she divvies up a stockpot of crawfish.

In surviving this demanding, do-it-yourself subculture, some of these rail riders will find a foundation to propel them toward an adulthood as deliberate as it is different. As proof, Brodie points to a photo of a young woman up to her shoulders in water and pushing her arm against a wooden ceiling above; that’s his ex-girlfriend. The pair had gotten into a jam, and the anger radiating off her face could cut glass. But the captured moment was transformative. “She had been struggling over what to do with her life,” Brodie said.

“From that point on, she committed to something different, and now she is a deep-sea diver.”

The same could be said of Brodie himself. Now a diesel mechanic in Oakland, California, he still ventures out for a train-hopping weekend now and then or guides another photographer along the rails to capture the same magic that emanates from his own pictures. But for now, waking up every day to pursue a skilled trade built on helping people, mastering moving machines, and being able to improvise is a familiar reward.

The title of Brodie’s book wasn’t the gloss of an awestruck editor, by the way. Like everything else in the volume, it came from his friends on the rails.

“The guy who came up with it, he’s the guy you see flipping off the camera in the book. That’s his phrase.

At first he thought it was too cryptic. I thought it was just right. He was trying to say that through all this time riding trains, we found our value in not pursuing a conventional life or valuing material items. We had become rich in life experience.” ◀ All photos courtesy Twin Palm Publishers

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PASATIEMPO I August 1 - 7, 2014

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59

MOVING IMAGES film reviews

Sister act Michael Abatemarco I The New Mexican Bound by Flesh, documentary, not rated, The Screen, 2.5 chiles Bound by Flesh recounts the remarkable and piteous story of Daisy and Violet Hilton, attractive conjoined twins who became darlings of the vaudeville stage in the 1930s. The Hiltons were born to a woman named Kate Skinner in England in 1908, a time when defects such as theirs commonly resulted in early death. (Even today, conjoined twins are often stillborn.) They were not expected to survive infancy, but since each had her own set of fully functioning organs (they were conjoined at the hip and buttock), they not only survived — they flourished. Filmmaker Leslie Zemeckis, wife of producer Robert Zemeckis, places the rise and fall of the Hiltons in a larger context: vaudeville and traveling entertainment venues such as carnival freak shows.

At a young age, the sisters became the legal wards of Mary Hilton, who was a strict and controlling force, the first of several guardians who took advantage of the girls’ natural talents for their own profit.

Thus began a long career working sideshows at an assortment of exotic attractions, usually featuring people who also suffered from some type of physical deformity. The Hiltons and their carnival peers were among the highest-paid performers at those venues because that’s what the crowds wanted to see: “freaks of nature.”

The Hiltons saw little of the money they earned; most of it was pocketed by managers and promoters.

In their vaudeville years, they were managed by Meyer Meyers, who also saw them as a cash cow.

Through a feat of legal trickery, he even gained cus-

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PASATIEMPO I August 1-7, 2014

Just the two of us: Violet and Daisy Hilton

tody of the Hiltons through their early 20s, falsely claiming that their condition made it impossible for them to care for themselves.

Throughout the 1920s, Daisy and Violet, trained as jazz musicians, had their own vaudeville revue. They tap-danced alongside the likes of Bob Hope and played a version of themselves in Tod Browning’s cult-classic film Freaks (1932). Their odd combination of good looks, talent, and physical abnormality was a huge draw, and the Hiltons were among the highest-paid acts in vaudeville history, just as they had been on the sideshow circuit.

After vaudeville took a back seat to the movies, the Hiltons found themselves down on their luck. Attempts to promote their autobiographical film, Chained for Life (1951), and to arrange a touring act went nowhere, their manager unable to get venues other than supermarkets, drive-in theaters, and similar less-than-ideal locales. They had been sheltered by Meyers for so long that they knew little about the business end of running a show.

Relationships with men were obviously difficult.

Each married separately for short periods, mainly for publicity purposes. Men were either unwilling to commit or were only in it for a buck. In Bound by Flesh, interview subjects gamely describe what the experience of making love would have been like for them, with one young woman occupying herself as best she could while the other was having sex. Much of this testimony comes from James Taylor, creator of the journal Shocked and Amazed! On & Off the Midway, which is devoted to weird and bizarre forms of entertainment. He seems to have ample information to share, but the bulk of what we learn comes from the twins themselves in the form of dramatized narrations based on their autobiographical writings.

Zemeckis conducts the interview with Taylor in front of shelves laden with the strange and exotic, including what looks like a human hand in a specimen jar. The interviews with Taylor and with sideshow promoters are almost anachronistic; they seem like specters emerging from the dust of a disappearing carnival train to tell of bygone days.

The Hiltons’ story is ultimately tragic. Their remaining years were spent eking out a living as cashiers at a grocery store in North Carolina. They steadfastly refused to have themselves surgically separated, even though it was possible to do so with little risk to either twin. They sometimes bickered, even occasionally refusing to speak to one another — an almost comic situation considering their circumstances.

The Hiltons’ commitment to one another was lifelong and total, a fact borne out in heart-wrenching fashion in their final years, and it deserves a better treatment. We see the Hiltons at too much of a remove, and Zemeckis’ film rarely makes them real for us. Watching it can be a bit like reading a Wikipedia entry on the subject: the facts are there, but the tone is dry and ultimately prevents Bound by Flesh from becoming the deeply moving experience it could be. ◀

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COMING SOON to CCA:

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PASATIEMPOMAGAZINE.COM

61

MOVING IMAGES film reviews

See no evil Jonathan Richards I For The New Mexican The Last Sentence, drama, not rated, in Swedish with subtitles, The Screen, 3 chiles Jan Troell was 2 years old in 1933, when his countryman, Swedish newspaper editor Torgny Segerstedt ( Jesper Christensen), penned an editorial condemning the nascent Nazi regime in Germany. His last sentence was “Herr Hitler is an insult.” Hermann Göring was not amused and fired off a threatening telegram to the paper. The game was joined, and Segerstedt remained an implacable critic of the Nazis throughout the next decade, until his death in 1945.

Troell is 83 now, and one of the great figures in contemporary Swedish cinema. In the early ’70s, his epics The Emigrants and The New Land garnered Oscar nominations. He dabbled in Hollywood around that time (Zandy’s Bride, starring Gene Hackman), but for the most part his oeuvre has been based in his native land. The Last Sentence begins with a quote from Segerstedt: “No human being can withstand close scrutiny.” The scrutiny that Troell applies to his subject is not close in the sense of a life thoroughly examined, but it is unsparing. The man he shows is both a hero and a cad, a man with fearless dedication to morality in his public life and a shockingly callous approach to it in his private life. “Torgny is very moralistic about his immorality,” his mistress tells her sister-in-law. The mistress, Maja (Pernilla August), an heiress who owns the newspaper, is the wife of his best friend — the paper’s publisher, Axel Forssman (Bjorn Granath).

All of this is out in the open, and everyone seems more or less OK with it except Segerstedt’s wife, Puste (Ulla Skoog), who, in the wake of the death of their oldest son some dozen or so years before, has lost her

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PASATIEMPO I August 1-7, 2014

All-too-human humanists: Pernilla August and Jesper Christensen

grip on her wits and on her husband. “Sometimes I wish you were more like you write,” she tells him.

But her entreaties for her husband to love her again fall on ears both deaf and cold, and he is similarly unfeeling in his dealings with their surviving children. Aside from a susceptibility to feminine charms, Segerstedt’s personal warmth seems to be reserved for his dogs (and perhaps for the ghost of his dead mother, who appears occasionally to lecture him).

But in his professional life, Segerstedt is fearless and uncompromising. “When it comes to the Nazis,” he writes, “silence is acquiescence.” While he has the support of the Forssmans at the paper, his inflexibility toward the Nazis does not sit so well with the powers that be in Sweden, a country that feels particularly vulnerable to that behemoth to the south. He is cajoled and reprimanded on various occasions by his friend, Swedish foreign minister Christian Günther (Peter Andersson), for being too provocative toward the Germans as Sweden tries to walk a tightrope of neutrality. “Let me put it plainly,” Günther tells him.

“You endanger national security with your writing.”

He’s even summoned for an audience with the king, Gustav V ( Jan Tiselius), who pressures him to lay off and suggests that his perspective on the Nazis may be motivated by his personal relationship with Maja, who is Jewish. Segerstedt is not intimidated, and the audience is abruptly terminated.

The balance between the two arcs of the film, the personal and the professional, is sometimes uneasy, and they must have been uncomfortable stablemates in Segerstedt’s life as well. Troell does not present his subject in the round, but he does an expert job of displaying various angles. At the heart — if that’s the right word — of this movie is a superb performance by Christensen (perhaps best known in this country as the villainous Mr. White in recent Bond movies). The actor, who bears a striking resemblance to the historical figure he portrays, takes us through Segerstedt’s intellect, charm, arrogance, self-righteousness, narcissism, coldness, devotion to principle, and boyish romanticism, carving them onto the screen with his flinty aquiline features.

The look of the movie is stunning, reminiscent of the early work of Troell’s colleague Ingmar Bergman.

In addition to directing, writing, and editing, Troell did some of the camerawork (along with cinematographer Mischa Gavrjusjov). He shot the film digitally, in black and white, and the resulting deep blacks and silvery lights do a striking job of evoking an era caught between an old world and an emerging one.

Dying, Segerstedt wonders plaintively if he has outlived Hitler. His daughter pretends that he has. In fact, the Führer died a month later, in a Berlin bunker, by his own hand. What reputation Segerstedt has in this country is likely to rest on this film. The Swedish title, Dom över död man ( Judgment on the Dead), comes from an Old Norse poem, “Hávamál,” which reads: “You yourself die/I know one thing/which never dies: the judgment of a dead man’s life.” ◀

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63

MOVING IMAGES pasa pics

— compiled by Robert Ker

I ORIGINS Filmmaker Mike Cahill impressed audiences with the 2011 low-budget sci-fi Another Earth. He returns with a follow-up that poses similar philosophical questions. Michael Pitt plays a scientist who falls in love with a woman based in part on her eyes. When she dies, he finds a woman with identical eyes in India and seeks her out with hopes that they’re windows to the same soul. Rated R. 107 minutes.

Regal DeVargas, Santa Fe. (Not reviewed)

Band of brothers from another mother: Guardians of the Galaxy, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BOUND BY FLESH Leslie Zemeckis’ thorough documentary on the life of the Hilton sisters, conjoined twins who rose from a sideshow attraction to become darlings of the vaudeville stage, also offers a fascinating look at entertainment in the early 20th century. Daisy and Violet Hiltons’ lives were a series of misfortunes. They were mishandled by managers, and in the end their once-popular act was unwanted, but their commitment to each other was total. The story of the Hiltons is a tragic tale set against the backdrop of the demise of vaudeville. It is a story worth telling, but Bound

by Flesh fails to engage emotionally. Not rated.

95 minutes. The Screen, Santa Fe. (Michael Abatemarco) See review, Page 60.

GET ON UP The hardest-working man in show business gets the biopic treatment in this film by Tate Taylor (The Help). Chadwick Boseman, who played Jackie Robinson in 42, now plays James Brown during the rise of his remarkable career. Viola Davis plays James’ mother, Susie, with whom he had a contentious relationship, and Craig Robinson plays sax man Maceo Parker. Rated PG-13. 138 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed)

64

PASATIEMPO I August 1-7, 2014

GUARDIANS OF THE GALAXY Marvel widens the lens of its film franchise to get a little weirder and to take in the whole universe. Chris Pratt plays Star-Lord, the leader of a gang of intergalactic misfits that includes a talking raccoon and a tree (voiced

by Bradley Cooper and Vin Diesel, respectively).

They get into a series of adventures that no doubt sets the table for more Marvel madness to come.

Rated PG-13. 121 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) HELLION This troubled-teen drama gets its strength from Kat Candler’s solid writing and steady, unobtrusive direction — and especially from its cast. The standout is Josh Wiggins as 13-year-old Jacob, a motocross-obsessed kid who has gone into a downward spiral since the death of his mother. Aaron Paul, late of Breaking Bad, shows solid acting chops as Hollis Wilson, the single father trying to raise two young sons and seeking solace in the bottle. Juliette Lewis gets to play the responsible party, as the late wife’s sister, awarded temporary custody of Jacob’s younger brother, Wes (Deke Garner), when Child Services decides that an alcoholic father and a delinquent older brother make a bad home environment for a 9-year-old. The story spins a bit out of control toward the end, but overall it’s smart and thoughtful, and we’ll be seeing more of Wiggins. Not rated. 94 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards)

THE LAST SENTENCE In 1933 Swedish newspaper editor Torgny Segerstedt ( Jesper Christensen) threw down an editorial gauntlet, condemning the Nazi regime in Germany. Hermann Göring was not amused and fired off a threatening telegram to the paper. The game was joined, and Segerstedt remained a fearless critic of Germany throughout the next decade. Written, shot, and directed by Swedish master Jan Troell (The Emigrants), this film is an unsparing portrait of a man who was both hero and cad, a man with fearless dedication to morality in his public life and a shockingly callous approach to it in his private life. Christensen is magnificent, and the film is visually stunning in black and white, evoking an era caught between an old world and an emerging one. Not rated. 126 minutes.

In Swedish with subtitles. The Screen, Santa Fe. (Jonathan Richards) See review, Page 62.

WHITEY: UNITED STATES OF AMERICA V. JAMES J. BULGER Organized-crime leader and mass murderer Whitey Bulger was an infamous figure in Boston for decades and captured the imagination of the public not just for his cruel acts but for his 16-year disappearance after he was found out. During part of that time, he was the second-most-wanted man in the country after Osama bin Laden, and he served as inspiration for Jack Nicholson’s character in The Departed. This documentary examines the man’s life. Rated R. 107 minutes. Center for Contemporary Art, Santa Fe. (Not reviewed)

now in theaters AND SO IT GOES Rob Reiner directs this comedy in which a crusty real estate agent (Michael Douglas) is suddenly asked to care for a granddaughter he didn’t know he had — and most likely becomes less crusty in the process. His relationship with his neighbor (Diane Keaton) also evolves over the course of the film. Rated PG-13. 94 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Not reviewed)

BEGIN AGAIN John Carney, director of 2006’s Once, returns with another music-themed romantic comedy.

Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and, inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and CeeLo Green help fill out the cast. Rated R. 104 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) CHEF Jon Favreau, who wrote and directed this film, stars as Carl Casper, an L.A. chef with a successful restaurant and a failed marriage. Carl gets into a war of words with a critic (Oliver Platt); loses his job; and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook ( John Leguizamo) heads to Miami with his son (Emjay Anthony), hoping to start over. Chef is part food porn, part tale of self-discovery, part father-son story, and part road-trip movie — with nary a conflict or villain in sight. It will remind you to appreciate the simple things in life — particularly a good Cubano sandwich. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) DAWN OF THE PLANET OF THE APES The sequel to 2011’s terrific Rise of the Planet of the Apes picks up the story after a virus has wiped out most of humankind.

The chimpanzee Caesar (played once more by Andy Serkis) leads the rapidly evolving simians in their redwood-forest community, until a human settlement (led by a man played by Gary Oldman) encroaches on them and small acts of aggression escalate into warfare. The special effects and creature performances are awe-inspiring, and the use of silence, sign language, and an often-subtle score lets the audience absorb the story peacefully. This is the best and most thoughtful blockbuster franchise going right now.

Rated PG-13. 130 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) EARTH TO ECHO This family-oriented sci-fi film evokes a low-budget, early-career Steven Spielberg, right down to the gangs of bicycle-riding youngsters and wonder-filled special effects in suburbia. The plot may also sound familiar: the kids find an E.T. named Echo (a little robot-looking thing) and help it phone home. Rated PG. 91 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) EL GUSTO Chaabi is the street music of Algiers, an infectious blend of styles that flourished in the middle of the last century, before the Algerian War of Independence.

Director Safinez Bousbia was able to track down

and reunite scattered chaabi musicians, bringing them together for a concert in Marseille. She weaves together the stories of the old musicians and the history of the music and the region. Not rated. 88 minutes. In French with subtitles. Tuesday, August 5, only. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)

partner Gene Siskel, and his influence on cinema.

The film goes back and forth from the distant past to Ebert’s final years, when a long battle with cancer left him without the ability speak but, fortunately for us, not without the ability to write. Bring tissues. Rated R. 115 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco)

THE FLUFFY MOVIE This concert film showcases the stand-up comedy of outsize performer Gabriel Iglesias while also touching on his rise to fame and featuring behind-the-scenes footage of his recent world tour. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

LUCY Scarlett Johansson plays Lucy, a woman who works as a drug mule until an experimental drug leaks into her body and unleashes the full potential of her brain. What does she do with this power? It’s never quite clear, but it is compelling. Director Luc Besson balances his usual stylish action with goofy science about evolution and the brain’s capacity, but it all blends together for a movie that is original and highly unpredictable.

Morgan Freeman also stars. Rated R. 90 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

A HARD DAY’S NIGHT This 1964 madcap musical comedy revolves around a day in the life of The Beatles.

There’s not much plot: Paul’s grandfather (played by the venerable Wilfrid Brambell) wants him to give up the music business and get a real job. But The Beatles just want to play music, and so they do. Richard Lester directed with an eye toward the comical, and the result remains a gem. Rated G. 87 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) HERCULES Dwayne “The Rock” Johnson returns to effects-heavy fantasy and gets back into beefcake mode to play the great hero Hercules. He’s called into action to defeat an evil warlock and wonders if he is actually a great hero. Ian McShane and John Hurt costar. Brett Ratner (Rush Hour) directs.

Rated PG-13. 98 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) HOW TO TRAIN YOUR DRAGON 2 In this sequel to the 2010 animated adventure, Hiccup (voiced by Jay Baruchel) and Toothless — his wonderful doglike dragon — return to explore the vast horizons of their Viking kingdom.

They come into trouble in the form of would-be world-conqueror Drago (Djimon Hounsou), which leads to enough action to bloat the running time.

The animation is spectacular, and Cate Blanchett (as Hiccup’s mother) helps flesh out one of the strongest female characters in a non-Frozen animated film in years. Rated PG. 102 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) LIFE ITSELF Helmed by Hoop Dreams director Steve James, this film is as moving and revealing a documentary as you could expect to see about film critic Roger Ebert. Drawing heavily from Ebert’s autobiography, James paints a complete portrait of the man, detailing his early years in journalism, his contentious relationship with former rival then

MALEFICENT In Disney’s latest take on “Sleeping Beauty,” Angelina Jolie dresses up as the villainous Maleficent from the 1959 animated film to show us what makes the evil queen tick. It turns out she has been misunderstood all these years. Rated PG. 97 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) A MOST WANTED MAN Nobody did rumpled like the late, lamented Philip Seymour Hoffman, who haunts this movie as German intelligence officer Günther Bachmann in John le Carré’s Hamburg-set spy tale of honorable people working in a dishonorable world. The time restrictions of feature-length films don’t do justice to Le Carré’s intricate plotting, but director Anton Corbijn (The American) moves the story efficiently from a firsthour mosaic of disparate scenes to a last hour when it all funnels together. The film never achieves whiteknuckle excitement, but it manages good storytelling and has a solid cast, with special mention due to Nina Hoss as Günther’s sidekick. Rated R. 121 minutes.

Regal DeVargas, Santa Fe. (Jonathan Richards) OBVIOUS CHILD Aspiring 20-something comedienne Donna ( Jenny Slate) works at the Unoppressive Non-Imperialist Bookstore and performs raunchy confessional-style stand-up at a local club. After her boyfriend dumps her and she finds out she’s going to lose her job, she drowns her sorrows in booze and has a drunken one-night stand. A few weeks later, she realizes she’s pregnant and decides to get an abortion. While a romantic comedy whose plot hinges on that political continued on Page 66

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MOVING IMAGES pasa pics

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hot-button issue certainly sounds divisive, director Gillian Robespierre presents the contentious topic as something ultimately human — a common, unfortunate fact of life for many women. Obvious Child isn’t really about abortion; it’s about Donna. Rated R. 84 minutes. The Screen, Santa Fe. (Laurel Gladden) PLANES: FIRE AND RESCUE This summer’s annual Pixar film is not quite a Pixar film but rather a Disney sequel to its own Pixar spinoff. The world of Cars gave birth to 2013’s Planes, and this follow-up finds Dusty Crophopper (voiced by Dane Cook) fighting fires, learning about heroism, and no doubt off-screen appearing on a lunchbox or notebook near you.

Rated PG. 83 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) THE PURGE: ANARCHY Last year’s cheapie horror flick The Purge received an onion in these very pages, and audiences agreed with terrible word of mouth.

But it made a mint on its opening weekend, and so here’s the sequel. Once more, the premise centers on an America where crime is eradicated for 364 days a year, thanks to one day in which laws are tossed out and anything goes. (Guess which day the film centers on.) Rated R. 103 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) QUEEN MARGOT The centerpiece of this sprawling French historical romance is the St. Bartholomew’s Day Massacre, which erupted on the night of August 23, 1572, one of the red-letter dates in the history of human slaughter. Director Patrice Chéreau handles the massacre with operatic largesse, working up-close and personal as throats are slashed, torsos skewered, and heads rolled. But it is star Isabelle Adjani, eyes flashing, bodice heaving, and heart slowly transforming, who rules this epic. It is a gorgeous period piece, and she supplies a generous portion of its beauty as she forges a character that is equal parts flesh and steel. Rated R. 159 minutes. In French with subtitles.

The Screen, Santa Fe. ( Jonathan Richards)

spicy

medium

bland

heartburn

mild

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PASATIEMPO I August 1-7, 2014

SEX TAPE Cameron Diaz and Jason Segal play a married couple who decide to spice up their sex lives by filming themselves. Alas, he accidentally uploads the video to the internet, and the two try in vain to prevent the world — and, most important, their loved ones — from seeing it. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) SNOWPIERCER Chris Evans plays a dude in a future world where global warming has wiped out most of mankind and the few remaining survivors choo-choo earth aboard a train. A class system evolves with the rich people (led by Tilda Swinton) up front and the poor people in back, until the downtrodden start talking about a revolution. Rated R. 126 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) A SUMMER’S TALE In the third of his Four Seasons cycle (the only one never to receive U.S. distribution), the great Eric Rohmer explores, as he so often did, the rhythms of young love, with its agonies, awkwardness, and ethical dilemmas. Gaspard (Melvil Poupaud), a student and musician, arrives on holiday at a Bretagne beach town with a vague plan to rendezvous with Lena (Aurelia Nolin), who may or may not show up. He meets a friendly waitress, Margot (Amanda Langlet), and the more sensually inclined Solene (Gwenaëlle Simon).

Gaspard bobs between them like a cork on the tide, unable to make up his mind. There’s a lot of talk and just as much unsaid. Not rated. 113 minutes.

In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) TAMMY Melissa McCarthy has established herself as the current queen of comedy with smash hits like Bridesmaids and The Heat. Her latest is this dark comedy about a woman who loses her job, learns of her husband’s infidelity, and takes to crime with her rough-and-tumble grandma. Susan Sarandon co-stars.

Rated R. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) TRANSFORMERS: AGE OF EXTINCTION The latest installment in Michael Bay’s highly popular yet critically reviled series stars a welcome Mark Wahlberg as a Texas dad who gets wrapped up in a war between giant transforming robots. These films are based on toys, and Bay plays with them like an 8-year-old might, applying a nonsensical plot to get from one over-the-top action sequence to the next. The movie is loud, dumb, and often unfunny, but it’s also more stylish than the typical superhero film and more colorful than the usual sci-fi movie — which counts for a lot. Rated PG-13. 157 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker)

22 JUMP STREET Jonah Hill and Channing Tatum return as the undercover-cop odd couple from 2012’s 21 Jump Street, and they’ve graduated from pretending to be high school students to trying to blend in with the college crowd. Rated R. 112 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) WISH I WAS HERE Filmmaker and star Zach Braff directs his first film since 2004’s Garden State, and this partly Kickstarter-funded comedy moves on to a completely new set of Shins songs to reflect another awkward phase of life. The story details the existential crisis of a 35-year-old actor who doesn’t understand his purpose in life. Rated R. 106 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) YVES SAINT LAURENT “It is meticulous and boring.” That’s what one reviewer said about an early collection by iconic designer Yves Saint Laurent, and I can’t think of a better way to describe this film from director Jalil Lespert.

Saint Laurent (Pierre Niney) is better known for his fashion influence than for the details of his private life — mental illness, sexual dalliances, and drug and alcohol abuse — but this film offers us a glimpse of those. The costume design is pure fashion porn, though some of the most innovative designs are given short shrift. Rated R. 106 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden)

other screenings Center for Contemporary Arts, 505-982-1338 Boyhood, The Gift, Papapapa, the Auteurs series presents Andrei Rublev (1966), and the Sephardic Film Festival presents Tinghir-Jerusalem.

Duel Brewing 1228 Parkway Dr., 505-474-5301 8 p.m. Sunday, Aug. 3: Somewhere: Santa Fe Canyon Preserve and Hide Your Smiling Faces.

Jean Cocteau Cinema, 505-466-5528 Furthest from the Wild, Kung Fu Hustle (2004), Monty Python Live (Mostly), This Is Spinal Tap (1984).

Regal DeVargas, 505-988-1110 The Hundred-Foot Journey.

Regal Stadium 14, 505-424-6296 The Big Lebowski (1998), Into the Storm, Teenage Mutant Ninja Turtles (2014). ◀

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

CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Andrei Rublev (NR) Sat. and Sun. 11 a.m.

Mon. 5:30 p.m.

Boyhood (R) Thurs. 5:30 p.m., 6:15 p.m.

El Gusto (NR) Tue. 7 p.m.

The Gift (NR) Sun. 2:30 p.m.

A Hard Day’s Night (G) Fri. and Sat. 3 p.m.

Mon. 3 p.m. Wed. and Thurs. 3 p.m.

Life Itself (R) Fri. 12:30 p.m., 7 p.m.

Sat. and Sun. 11:30 a.m., 7 p.m. Mon. 12:30 p.m.

Wed. 12:30 p.m., 5 p.m. Thurs. 12:30 p.m., 3:45 p.m.

Papapapa (NR) Sun. 2:30 p.m.

Snowpiercer (R) Fri. to Sun. 7:30 p.m.

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

Tinghir-Jerusalem (NR) Tue. 5 p.m.

Whitey: United States of America v. James J. Bulger (R) Fri. and Sat. 2 p.m., 5 p.m. Sun. 5 p.m.

Mon. 2 p.m., 6:45 p.m. Wed. 1:30 p.m., 6:45 p.m.

Thurs. 1:30 p.m.

Yves Saint Laurent (R) Fri. to Sun. 4:30 p.m.

JEAN COCTEAU CINEMA 418 Montezuma Avenue, 505-466-5528 Furthest from the Wild (NR) Sun. 1:30 p.m., 3:30 p.m.

Hellion (NR) Fri. 6:10 p.m. Sat. 2:30 p.m., 6:10 p.m.

Sun. 6:10 p.m. Wed. 6:10 p.m. Thurs. 4:20 p.m.

Kung Fu Hustle (R) Fri. and Sat. 11 p.m.

Monty Python Live (NR) Wed. and Thurs. 8 p.m.

This Is Spinal Tap (R) Fri. and Sat. 4:20 p.m., 8 p.m.

Sun. 8 p.m. Wed. 4:20 p.m. Thurs. 6:10 p.m.

REGAL DEVARGAS 562 N. Guadalupe St., 505-988-2775, www.fandango.com And So It Goes (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:35 p.m., 10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:35 p.m.

Begin Again (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:30 p.m., 10 p.m. Sun. to Wed. 1:20 p.m., 4:20 p.m., 7:30 p.m. Thurs. 1:20 p.m., 4:20 p.m.

Chef (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:20 p.m., 9:55 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:20 p.m.

The Hundred-Foot Journey (PG) Thurs. 7 p.m.

I Origins (R) Fri. and Sat. 1:15 p.m., 4 p.m., 7:10 p.m., 9:40 p.m. Sun. to Thurs. 1:15 p.m., 4 p.m., 7:10 p.m.

A Most Wanted Man (R) 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.

Wish I Was Here (R) Fri. and Sat. 1:15 p.m., 4 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:15 p.m., 4 p.m., 7:10 p.m.

REGAL STADIUM 14 3474 Zafarano Drive, 505-424-6296, www.fandango.com 22 Jump Street (R) Fri. to Tue. 7:45 p.m., 10:20 p.m.

Wed. 10:20 p.m.

The Big Lebowski (R) Sun. 2 p.m. CFS Wed. 2 p.m., 7 p.m.

Dawn of the Planet of the Apes 3D (PG-13) Fri. to Wed. 10:35 p.m.

Dawn of the Planet of the Apes (PG-13) Fri. to Wed. 1:40 p.m., 4:35 p.m., 7:35 p.m.

Earth to Echo (PG) Fri. and Sat. 10:45 a.m., 11:45 a.m., 2:20 p.m., 4:50 p.m. Sun. 10:45 a.m., 11:45 a.m., 4:50 p.m. Mon. and Tue. 11:45 a.m., 2:20 p.m., 4:50 p.m. Wed. 11:45 a.m., 4:45 p.m.

The Fluffy Movie (PG-13) Fri. to Wed. 11:40 a.m., 2:10 p.m., 4:55 p.m., 7:40 p.m., 10:20 p.m.

Get On Up (PG-13) Fri. to Sun. 10 a.m., 1:10 p.m., 4:20 p.m., 7:30 p.m., 10:40 p.m. Mon. to Wed. 1:10 p.m., 4:20 p.m., 7:30 p.m., 10:40 p.m.

Guardians of the Galaxy 3D (PG-13) Fri. to Sun. 10:15 a.m., 11 a.m., 12:30 p.m., 1 p.m., 3:30 p.m., 4 p.m., 6:30 p.m., 7:10 p.m., 10 p.m. Mon. to Wed. 11 a.m., 12:30 p.m., 1 p.m., 3:30 p.m., 4 p.m., 6:30 p.m., 7:10 p.m., 10 p.m.

Guardians of the Galaxy (PG-13) Fri. to Sun. 10:45 a.m., 1:30 p.m., 4:30 p.m., 7:40 p.m., 9:30 p.m., 10:30 p.m. Mon. to Wed. 1:30 p.m., 4:30 p.m., 7:40 p.m., 9:30 p.m., 10:30 p.m.

Hercules 3D (PG-13) Fri. to Wed. 11:30 a.m., 4:45 p.m., 7:20 p.m.

Hercules (PG-13) Fri. to Wed. 2:15 p.m., 10:05 p.m.

How to Train Your Dragon 2 (PG) Fri. to Wed. 11 a.m., 1:35 p.m., 4:15 p.m.

Into the Storm (PG-13) Thurs. 8 p.m., 10:20 p.m.

Lucy (R) Fri. to Sun. 10:25 a.m., 12:25 p.m., 2:50 p.m., 5:10 p.m., 7:30 p.m., 9:50 p.m.

Mon. 12:25 p.m., 2:50 p.m., 5:10 p.m., 7:30 p.m., 9:50 p.m. Tue. and Wed. 12:35 p.m., 2:50 p.m., 5:10 p.m., 7:30 p.m., 9:50 p.m.

Maleficent (PG) Fri. to Wed. 11:50 a.m., 2:35 p.m., 5:05 p.m., 7:35 p.m., 10:10 p.m.

Planes: Fire & Rescue (PG) Fri. to Sun. 10:20 a.m., 12:35 p.m., 2:55 p.m., 5:15 p.m., 7:50 p.m. Mon. to Wed. 12:35 p.m., 2:55 p.m., 5:15 p.m., 7:50 p.m.

The Purge:Anarchy (R) Fri. to Wed. 1:05 p.m., 4:10 p.m., 7 p.m., 9:55 p.m.

SexTape (R) Fri. to Wed. 7:15 p.m., 9:35 p.m.

Tammy (R) Fri. to Wed. 10:10 p.m.

Teenage Mutant Ninja Turtles 3D (PG-13) Thurs.

7 p.m., 9:30 p.m.

Transformers:Age of Extinction (PG-13) Fri. to Wed. 11:20 a.m., 3 p.m., 6:40 p.m., 10:05 p.m.

THE SCREEN Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Bound by Flesh (NR) Fri. to Thurs. 6 p.m.

The Last Sentence (NR) Fri. to Thurs. 3:30 p.m.

Obvious Child (R) Fri. to Thurs. 8 p.m.

Queen Margot (R) Sat. 12:30 p.m. Sun. 10:10 a.m.

A Summer’sTale (G) Fri. 1:15 p.m. Sun. to Thurs.

1:15 p.m.

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com And So It Goes (PG-13) Fri. 4:40 p.m., 7:30 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:30 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:30 p.m.

Mon. to Thurs. 4:40 p.m., 7:30 p.m.

Dawn of the Planet of the Apes (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m.

Guardians of the Galaxy 3D (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m.

Guardians of the Galaxy (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m.

Hercules (PG-13) Fri. 4:55 p.m., 7:05 p.m., 9:45 p.m.

Sat. 2:05 p.m., 4:55 p.m., 7:05 p.m., 9:45 p.m.

Sun. 2:05 p.m., 4:55 p.m., 7:05 p.m. Mon. to Thurs.

4:55 p.m., 7:05 p.m.

Lucy (R) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m.

Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m.

Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs.

4:50 p.m., 7:25 p.m.

Planes: Fire & Rescue (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m.

Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

The Purge:Anarchy (R) Fri. 4:45 p.m., 7:20 p.m., 9:35 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:35 p.m.

Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs.

4:45 p.m., 7:20 p.m.

SexTape (R) Fri. 5 p.m., 7:35 p.m., 9:45 p.m.

Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 9:45 p.m.

Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs.

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

Tammy (R) Fri. 4:55 p.m., 7:30 p.m., 10 p.m.

Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 10 p.m.

Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs.

4:55 p.m., 7:30 p.m.

guardians of the galaxy 2d/3d 1:55** 4:35 7:15 lucy 2:20** 4:50 7:25 and so it goes 2:10** 4:40 7:30 tammy 2:25** 4:55 7:30 apes 2d 1:45** 4:25 7:10 purge: anarchy 2:15** 4:45 7:20 hercules 2d/3d 2:05** 4:55 7:05 sex tape 2:30** 5:00 7:35 planes 2d 2:00** 4:30 7:00 **saturday & sunday only *friday & saturday only times for friday, august 1 - thursday, august 7

9:55* 9:50* 9:40* 10:00* 9:55* 9:35* 9:45* 9:45* 9:30*

EXPLOSIVE.

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NEWCOMER JOSH WIGGINS STEALS THE SHOW.

“

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67

RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Keep the home fires burning The Kitchen Window 418 Cerrillos Road at the Design Center, 505-982-0048 Breakfast and lunch 8 a.m.–2 p.m. Mondays–Fridays, takeout window open until 3 p.m.

Takeout available Vegetarian options No alcohol Noise level: homey Credit cards, no checks

]

The Short Order The Kitchen Window is a sliver of a place inside the Design Center that offers a handful of counter stools and more seating out in the center’s atrium. The menu isn’t expansive, but it covers your lunch and breakfast needs, right down to house-made granola. Everything from the biscuits and gravy to the Frito pie is attentively made and satisfying, not to mention fairly priced. Familiar dishes are often done with a twist — like the flat noodles (rather than macaroni) and cheese with green chile and peas (plus bacon if you like). And yes, you should have a cookie.

Recommended: tacos, green chile Philly, green chile chicken enchilada, Mmmigas, red chile/candied-pecan brownies.

Ratings range from 1 to 5 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor

68

PASATIEMPO I August 1-7, 2014

A generation or so ago, “home cooking” — a claim bordering on false advertising — was a frequent boast among restaurants. Though the old joke about the guy who eats at Mom’s Homecooking Café for years and finally asks, “Where’s Mom?” suggests otherwise, there’s no home involved in the preparation of restaurant food — that label is meaningless.

There are as many types of home cooking — not all of them good — as there are homes. The Kitchen Window doesn’t use the words home cooking anywhere on its menu or on the chalkboard by the counter, but its food is as good or better than at the best home kitchens you can think of.

Of course, the Kitchen Window is a homey little place with a menu to match. Like your own kitchen might, it serves breakfast all day (though its day is short), and it features what people really mean when they say “home cooking”: comfort foods like grilled sandwiches, stews, noodles and cheese (with peas), and baked goods. There are really two kitchen windows here: one with cute kitchen curtains that faces the alley between Cerrillos Road and Sandoval Street, where takeout is passed to folks in idling autos, and another framing blue skies and wispy clouds painted along the length of the narrow dining room. The only thing that’s missing is a trompe l’oeil pie cooling on the sill.

Everything on the Kitchen Window’s small fold-open menu is done with attention and served with an unpretentious bit of flair. Prices are reasonable. There’s a tight counter and a handful of stools inside the space and plenty of seating outside in the Design Center’s spacious atrium, a spot that’s become a sort of food court for its small cluster of restaurants. If you can, sit near the kitchen — where bags of Fritos rest on top of the stove, waiting to be made into pies — so you can peer in and watch what’s being done.

That Frito pie is a wonderfully satisfying, almost creamy mix of pinto beans, beef (you can order it without), and cheese, all contrasted with that Frito crunch. Most dishes have a unique twist, such as the noodles (instead of macaroni) and cheese. The rich, cheesy sauce, cut with warm green chile and peas (and crisp bacon if you request it), almost saturates the wide noodles. A flat-style green chile chicken enchilada is a textural delight. The accompanying calabacitas, neither mushy nor overcooked, are intriguingly spiced. The grilled cheese sandwich melts cheddar, jack, American, and Swiss together with Hatch green chile. The place makes its own cheese blend to smear on its excellent green chile Philly. It’s not quite as thick as Whiz, but it has more flavor.

When we tried it, the frittata of the day — now there’s a concept — was dotted with peppers and onions and was perfectly cooked. The same combination plus sausage was offered another day. Simple carne asada tacos, the tasty, crispy-edged meat nicely grilled, were accompanied by

a house green taco sauce that owed much of its flavor to tomatillos. We’ll vouch that it goes great with the frittatas and with breakfast tacos, too. The Ventana Chop salad was generous with the cucumbers, pickled onions, kidney beans, and Gorgonzola and came with a wonderfully dark balsamic vinaigrette. While most dishes are conservatively spiced here, the Mmmigas, with sautéed jalapeños and gently folded eggs, made for a grand awakening. Biscuits and gravy, a throwback that has made a comeback, was also a little spicy, the biscuits hosting green chile; the gravy smooth, rich, and cut with sweet sausage, with two perfect eggs (over-easy) on top.

The place can get busy around lunchtime, which might mean a line at the counter. But even during the rush, the food makes its way out in a timely fashion. I saw my espresso sit, poured and idle, for a minute or so before it was handed to me. But a chewy — dare we say homemade — oatmealraisin cookie made me overlook the lapse. Sometimes you can get fantastic red chile/candied-pecan brownies.

Our only real complaint is about the hours. The counter closes around 2 p.m., the drive-up window at 3 p.m.

Wouldn’t it be great if that were extended to 5 or 6 so you could take a well-cooked meal home for dinner? And what about Saturdays? Not one weekend day goes by that we don’t crave biscuits and gravy better than those Mom used to make. ◀

Lunch for three at The Kitchen Window: Frito pie.............................................................$ 5.05 Mmmigas...........................................................$ 6.25 Noodles and cheese ..........................................$ 7.95 plus bacon ....................................................$ 2.00 Sweet tea............................................................$ 3.00 Minted iced green tea ........................................$ 1.75 Red chile/candied-pecan brownie .....................$ 2.75 TOTAL...............................................................$28.75 (before tax and tip) Lunch for two, another visit: Tacos of the day (three).....................................$ 7.95 Frittata of the day..............................................$ 7.95 Ventana Chop salad...........................................$ 7.50 TOTAL...............................................................$23.40 (before tax and tip)

GRIPPING. TROUBLING. POWERFUL.”

“

– A.O. Scott, NY TIMES

★★★★

“

”

– Joshua Rothkopf, Time Out NY

ESSENTIAL VIEWING FOR FANS OF TRUE UNDERWORLD TALES.

“

Fascinating and frightening.”

– Joe Neumaier, NY Daily News

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PASATIEMPO I August 1 - 7, 2014

C A L E N D A R

L I S T I N G

G U I D E L I N E S

• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com.

• Send material no less than two weeks prior to the desired publication date.

• For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words).

• All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings.

• To add your event to The New Mexican online calendar, visit santafenewmexican. com, and click on the Calendar tab.

• Return of photos and other materials cannot be guaranteed.

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ARTS AND ENTERTAINMENT CALENDAR

August 1-7, 2014

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 8/1

The Santa Fe Gallery

223 E. Palace Ave., 505-983-6429 Native Peoples: Uniting the Past With the Present, photographs by Robert Dawson, reception 5-8 p.m.

Gallery & Museum Openings Art Exchange Gallery

Turner Carroll Gallery

60 E. San Francisco St., Suite 210, 505-603-4485 Quanah Parker Burgess: New Paintings and Prints, through August.

725 Canyon Rd., 505-986-9800 Survival, group show including works by Hung Liu (see story, Page 50), Georges Mazilu, and Igor Melnikov, reception 5-7 p.m., through Aug. 25.

Blue Rain Gallery

130-C Lincoln Ave., 505-954-9902 Grace, new paintings by Roseta Santiago, reception 5-7 p.m., through Aug. 16.

Waxlander Gallery

622 Canyon Rd., 505-984-2202 Subconscious Space, Plexiglass sculpture by Christopher Owen Nelson, reception 5 p.m., through Aug. 11.

Charlotte Jackson Fine Art

554 S. Guadalupe St., 505-989-8688 Ditching the Cardigan, work by sculptor Jeremy Thomas, reception 5-7 p.m., through August.

Opera

Collected Works Bookstore

The Impresario & Le rossignol

202 Galisteo St., 505-988-4226 Work by photographer Kitty Leaken, through August.

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Mozart's The Impresario, a backstage farce about temperamental divas and a stressed-out producer, is smartly interlocked with Stravinsky's fairy-tale opera Le rossignol (The Nightingale). The former gets a riotous vaudevillian workout, and the latter shimmers in elegant mystery; its references to modernist painters are sure to keep art-history majors on the edge of their seats. 8 p.m., tickets begin at $32, standing room $15. (See review, Page 36)

David Richard Gallery

544 S. Guadalupe St., 505-983-9555 Eden Turned On Its Side: Selections From Photosynthesis, photographs by Meridel Rubenstein, through Aug. 24 (see story, Page 46); Rewind — Replay: 1950-2014, paintings by Lilly Fenichel, through Sept. 6; reception 5-7 p.m.

David Rothermel Contemporary

Classical Music

LewAllen Galleries

First Presbyterian Church of Santa Fe, 208 Grant Ave. A Romantic Evening with Brahms, with pianist Debra Ayers, 8 p.m., $20-$55, desertchorale.org, 505-988-2282. Free preconcert lecture 6:30 p.m.

142 Lincoln Ave., 575-642-4981 Foundation Collection, paintings by the gallerist, reception 5-8 p.m., through Aug. 12.

Santa Fe Desert Chorale

1613 Paseo de Peralta, 505-988-3250 Big Cats and Birds, paintings by Tom Palmore; Withheld Narratives, work by painter Christopher Benson; reception 5-7 p.m., through Aug. 24.

TGIF Mendelssohn recital

First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16.

Pianist Larry Weinberg, violinist Keri Brinegar, and cellist Michael Brinegar, 5:30-6 p.m., donations welcome.

Liquid Outpost Gallery

Inn at Loretto, 211 Old Santa Fe Trail, 505-983-6503 America's First Nations, mixed media by Angel Wynn, reception 4-6 p.m., through Aug. 30.

In Concert

Manitou Galleries

123 W. Palace Ave., 505-986-0440 The Raven & the Journey, works by sculptor Jim Eppler and painter B.C. Nowlin, reception 5-7:30 p.m., through Aug. 15.

Marion Center for Photographic Arts Santa Fe University of Art & Design

1600 St. Michael's Dr., 505-473-6341 Road to Nowhere: Southwest Sojourns, works

by CENTER alumni and members, closing reception 5-7 p.m.

Meyer East Gallery

225 Canyon Rd., 505-983-1657 My Modern Bestiary, paintings by Melinda K. Hall, reception 5-7 p.m., through Aug. 14.

LewAllen Galleries shows paintings by Tom Palmore, 1613 Paseo de Peralta.

Meyer Gallery

Sage Creek Gallery

225 Canyon Rd., 505-983-1434 Paintings by Milt Kobayashi, reception 5-7 p.m., through Thursday.

421 Canyon Rd., 505-988-3444 Back Roads and Gardens, paintings by Marilyn Yates, reception 5-7 p.m., through Aug. 15.

New Concept Gallery

Santa Fe Down Under Artist Group

610 Canyon Rd., 505-795-7570 Corners: Photographs of the Southwest, work by Steven A. Jackson, reception 5-7 p.m., through Aug. 15.

112 W. San Francisco St., Suite 109, lower level, 505-629-9438 Group open house, including Ricardo Caté, James West, and Richard Fenker, reception 5-8 p.m.

In the Mood: Artists and musicians in collaboration

Vivo Contemporary, 725 Canyon Rd., 505-982-1320 Meet-and-greet with live music; 5-7 p.m. Fridays through Aug. 29, tonight’s performer: guitarist Janet Emmons, no charge.

Sephardic Sounds, Music of Morocco and Beyond

New Mexico History Museum Auditorium, 113 Lincoln Ave. Santa Fe Jewish Film Festival presents singer/harpist Vanessa Paloma, preconcert talk 5 p.m., performance 6 p.m., $20 in advance, 505-216-0672, santafejff.org.

PASATIEMPOMAGAZINE.COM

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Opera Carmen

Santa Fe Opera, 301 Opera Dr., 505-986-5900 In this Stephen Lawless production, Bizet's tragedy unrolls in the U.S.-Mexican borderlands a half century ago, with black-and-white film integrating with live stage action to enhance the period feel. Ana María Martínez is Carmen, Joyce El-Khoury sings Micaëla, Roberto De Biasio portrays Don José. 8 p.m., tickets begin at $32, standing room $15. (See reveiw, Page 36)

Classical Music Santa Fe Chamber Music Festival

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Handel recital, 5 p.m., performers include harpsichordist Kathleen McIntosh, flutist Tara Helen O'Connor, and mezzo-soprano Sasha Cook, $10-$45, santafechambermusic.com, 505-982-1890.

Santa Fe Desert Chorale

Cathedral Basilica of St. Francis of Assisi, 107 Cathedral Place The New World: Music of the Americas, music of Barber and Joseph Jennings, 8 p.m., $12-$65, desertchorale.org, 505-988-2282, season schedule available online. Free preconcert lecture 6:30 p.m.

Here nor There 17, by Jennifer Schlesinger-Hanson, Marion Center for Photographic Arts, Santa Fe University of Arts & Design, 1600 St. Michael's Dr.

Woody Shaw tribute

Santa Fe Center for Spiritual Living, 505 Camino de los Marquez Featuring J. Q. Whitcomb on trumpet, Ben Finberg on trombone, John Rangel on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7:30 p.m., $15 at the door.

Theater/Dance Antonio Granjero and EntreFlamenco

María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.

As You Like It

Monte del Sol Charter School, 4157 Walking Rain Rd. Santa Fe Shakespeare Society presents the comedy, outdoors at 6 p.m., $5-$20 sliding scale, 505-490-6271, sfshakespeare.org, final weekend.

Sylvia: gala opening

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, gala 6:30 p.m., curtain 7:30 p.m., $25 includes food and refreshments, santafeplayhouse.org, Thursdays-Sundays through Aug. 17.

Books/Talks Breakfast With the Artist

Museum Hill Café, 710 Camino Lejo, Milner Plaza, 505-476-1269 A talk and tour series; presentation by artist Estella Loretto, 8:30-10:30 a.m., $35 includes breakfast and museum admission, call 505-982-5057 for reservations.

First Friday Curator Talks

New Mexico History Museum, 113 Lincoln Ave., 505-476-5200 Print to Paintings in New Spain, led by Josef Díaz, 6 p.m., in conjunction with the exhibit Painting the Divine: Images of Mary in the New World, by museum admission.

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PASATIEMPO I August 1-7, 2014

Hampton Sides

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses and signs copies of In the Kingdom of Ice, 6 p.m. (See review, Page 18)

Events Backyard Astronomy

Santa Fe Community College Planetarium, 1401 Richards Ave., 505-428-1744 A live presentation and an outdoor viewing of the night sky, 8-9 p.m., $5 at the door, discounts available.

New Mexico House Rabbit Society benefit

Giacobbe-Fritz Fine Art, 702 Canyon Rd., 505-986-1156 Painter Bregelle Whitworth Davis demonstrates her technique, 11 a.m. and 4 p.m.; continues Saturday.

Nightlife

(See Page 73 for addresses)

Bishops Lodge

Jazz guitarist Pat Malone, 6-9 p.m., no cover.

Burro Alley Café Lounge

DJ D-Monic, 9 p.m.-2 a.m., call for cover.

Café Café

Trio Los Primos, 6 p.m., no cover.

Cowgirl BBQ

La Fiesta Lounge at La Fonda

Blues band The HooDoos, 8 p.m.-close, no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Quartet, 6:30 p.m., no cover.

The Matador

One Man Army, with CP-Squared, 9 p.m.-2 a.m., no cover.

Mine Shaft Tavern

Blues band The Attitudes, 7 p.m., call for cover.

Pranzo Italian Grill

Geist cabaret, with pianist David Geist, 6-9 p.m., call for cover.

Second Street Brewery

Bill Hearne Trio, classic country, 6 p.m., no cover.

Second Street Brewery at the Railyard

Country Blues Revue, 7 p.m., no cover.

Shadeh

DJ Quico, Judas Priest tribute, 9 p.m.-4 a.m., no cover.

Skylight

For Giving Productions presents a staged reading of Hearts of the West: Stories of Mail Order Brides, 7 p.m., no cover; DJs Dirt Girl, Pictureplane, Mykki Blanco, and P.F.F.P., 9 p.m.-2 a.m., $15 cover.

Swiss Bakery Pastries and Bistro

Guitarist Wayne Wesley Johnson, on the patio, 7-10 p.m., no cover.

Tiny’s

Classic-rock band The Jakes, 8:30 p.m., no cover.

Brent Berry, Afro-coastal/Americana-grass, 5-7:30 p.m.; John Kurzweg Band, rock, 8:30 p.m., no cover.

The Underground at Evangelo's

¡Chispa! at El Mesón

Vanessie

Three Faces of Jazz, featuring guest trumpeter Tom Rheam, 7:30-10:30 p.m., no cover.

Evangelo's

Funk/rock band The Strange, 9 p.m.-2 a.m.

Junction

Dance band Chango, 10 p.m., no cover.

In Concert James McMurtry

Railyard Plaza, 1607 Paseo de Peralta Americana/rock singer-songwriter, 6 p.m., no charge.

Theater/Dance Antonio Granjero and EntreFlamenco

María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.

As You Like It

Monte del Sol Charter School, 4157 Walking Rain Rd. Santa Fe Shakespeare Society presents the comedy, outdoors at 6 p.m., $5-$20 sliding scale, 505-490-6271, sfshakespeare.org, final weekend.

Slowgirl

Blackbox Theater, Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 For Giving Productions presents Greg Pierce's drama, 7:30 p.m., $13, discounts available, call 505-438-6078 for ticket information, continues Saturdays and Sundays through Aug. 10.

Sylvia

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 7:30 p.m., $20, discounts available, santafeplayhouse.org, Thursdays-Sundays through Aug. 17.

Books/Talks

'80s versus '90s party with Punky Brewster's Bastard Deborah Madison Kid and 13 Pieces, 9 p.m.-2 a.m., call for cover.

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

SATURDAY 8/2 Gallery & Museum Openings Giacobbe-Fritz Fine Art

702 Canyon Rd., 505-986-1156 Paintings by Bregelle Whitworth Davis, reception 2-5 p.m., raffle drawing to benefit New Mexico House Rabbit Society 4 p.m.

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta The cookbook author signs copies of The New Vegetarian Cooking for Everyone, 9 a.m.-noon.

Eric Shonkwiler and Meg Tuite

Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 The authors read from and sign copies of their respective books Above All Men and Bound by Blue, 3:30 p.m.

Second Street Brewery

Girls Inc of Santa Fe Arts & Crafts Show, Aug. 2-3

Events Girls Inc Arts & Crafts Show

The Plaza Featuring works of more than 150 national and local artists, 9 a.m.-5 p.m. today and Sunday, girlsincofsantafe.org.

Summer Festival and Territorial Law & Order El Rancho de las Golondrinas, 334 Los Pinos Rd., 505-471-2261 Wild West re-enactments with desperadoes and mountain men; also, a Peruvian Paso horse show, 10 a.m.-4 p.m. today and Sunday, $8, discounts available.

Nightlife

(See addresses at right)

Burro Alley Café Lounge

Latin-dance party with DJ P.A. Trix, 8 p.m.; DJs Paul Feathericci, Spoolius Melange, Muffintop, and Leonard Marion, 9 p.m.-2 a.m., call for cover.

¡Chispa! at El Mesón

Flamenco Conpaz dance troupe, 7:30-10:30 p.m., call for cover.

Cowgirl BBQ

Country Blues Revue, with special guest Roberta Donnay (of Dan Hicks & His Hot Licks), 7:30 p.m.-close; no cover.

Skylight

Sweetwater Harvest Kitchen

Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco group from the María Benítez Institute for Spanish Arts, 2 p.m. Sundays, through Aug. 24, institutespanisharts.org.

For Giving Productions presents a staged reading of Hearts of the West: Stories of Mail Order Brides, 7 p.m.; The Lulz Comedy Show, 8:30 p.m.; DJ Dynamite Sol, 10 p.m.

John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.

The Underground at Evangelo's

DJs Justin Credible and D-Monic, 9 p.m.-2 a.m., call for cover.

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

SUNDAY 8/3 Gallery and Museum Openings Museum of Indian Arts & Culture

710 Camino Lejo, Museum Hill, 505-476-1269 Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors including Houser's sons Bob Haozous and Philip Mangas Haozous, Doug Hyde, Estella Loretto, and Robert Shorty; reception 1-4 p.m., through May 2015.

Classical Music Corinne Winters and Steven Blier

St. John’s United Methodist Church, 1200 Old Pecos Trail The Santa Fe Opera soprano and pianist in Performance Santa Fe's Festival of Song series, 4 p.m., $22.50-$75, ticketssantafe.org, 505-988-1234, visit performancesantafe.org for the 2014-2015 season schedule.

Santa Fe Chamber Music Festival

Del Charro

Evangelo's

Schola Cantorum of Santa Fe

Dance band Chango, 9:30 p.m., call for cover.

Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 2-9 p.m., no cover.

Alohi, 9 p.m.-2 a.m., call for cover.

La Fiesta Lounge at La Fonda

Blues band The HooDoos, 8 p.m.-close, no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover.

Mine Shaft Tavern

Trey Corken, New Orleans-style licks, on the deck, 3-7 p.m., no cover.

Palace Restaurant and Saloon

Guitarist Alex Maryol, on the patio, 2 p.m., no cover; DJ Oona, 10 p.m., call for cover.

Pranzo Italian Grill

Pianist Ron Newman, 6-9 p.m., call for cover.

Santa Fe Bar & Grill

Ornetcetra Jazz Quartet, bassist Noah Baumeister, trumpeter Dan Pearlman, vibraphonist Lee Steck, and percussionist Dave Wayne, 8:30 p.m., no cover.

Santa Fe Brewing Company

Oktoberfest release party, noon-5 p.m., no cover.

Slowgirl

Blackbox Theater, Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 For Giving Productions presents Greg Pierce's drama, 4 p.m., $13, discounts available, call 505-438-6078 for ticket information, continues Aug. 9-10.

Sylvia

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 4 p.m., $20, discounts available, santafeplayhouse.org, Thursdays-Sundays through Aug. 17.

Vanessie

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Beethoven, Schoenberg, and Harbison, 6 p.m.; performers include hornist Philip Myers, violist Ida Kavafian, cellist Peter Stumpf, and Orion String Quartet; $10-$75, 505-982-1890, santafechambermusic.com., Monday encore.

The Den at Coyote Café

Flamenco’s Next Generation

New Mexico History Museum, 113 Lincoln Ave. 505-476-5200 Echoes of Mary, sacred music, 2 p.m., by museum admission.

In Concert Eliza Gilkyson

Skylight, 139 W. San Francisco St. Singer/songwriter, 7 p.m., $24, 505-988-1234, ticketssantafe.org.

Theater/Dance Antonio Granjero and EntreFlamenco

María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.

As You Like It

Monte del Sol Charter School, 4157 Walking Rain Rd. Santa Fe Shakespeare Society presents the comedy, outdoors at 6 p.m., $5-$20 sliding scale, 505-490-6271, sfshakespeare.org.

Check these venu

es for updates an

d spec

ial events Agoyo Lounge Low ’n’ Slow Lowride at the Inn on the Ala r Bar meda at Hotel Chimayó de 303 E. Alameda St., 505-984-2121 Santa Fe 125 Washington Av Anasazi Restauran e., 505-988-4900 t & Bar The Matador 113 Washington Av e., 505-988-3030 116 W. San Francisc Betterday Coffee o St. Mine Shaft Tavern 905 W. Alameda St., 505-555-1234 2846 NM 14, Madrid, Bishop’s Lodge Ranc 505-473-0743 h Resort & Spa Museum Hill Café 1297 Bishops Lodge Rd., 505-983-6377 710 Camino Lejo, Mi Burro Alley Café Lo lner Plaza, unge 505-984-8900 207 W. San Francisc o St., 505-982-0601 Music Room at Garre Café Café tt’s Desert Inn 311 Old Santa Fe Tra 500 Sandoval St., 50 il, 505-982-1851 5-466-1391 Omira Bar & Grill ¡Chispa! at El Mesó n 1005 St. Francis Dr., 213 Washington Av 505-780-5483 e., 505-983-6756 Palace Restaurant Cowgirl BBQ & Saloon 142 W. Palace Ave., 50 319 S. Guadalupe St. 5-428-0690 , 505-982-2565 Pranzo Italian Grill The Den at Coyote Café 540 Montezuma Av 132 W. Water St., 50 e., 505-984-2645 5-983-1615 Santa Fe Bar & Grill Duel Brewing 187 Paseo de Peralta, 1228 Parkway Dr., 50 505-982-3033 5-474-5301 Sa nta Fe Brewing Comp El Cañon at the Hilto n 35 Fire Place, 505-424 any 100 Sandoval St., 50 -3333 5-988-2811 Santa Fe Community Eldorado Hotel & Sp a Convention Center 309 W. San Francisc o St., 505-988-4455 201 W. Marcy St., 505-955-67 El Farol 05 Santa Fe Sol Stage 808 Canyon Rd., 505-9 & Gr 83-9912 37 Fire Place, solofsan ill El Paseo Bar & Grill tafe.com Second Street Brew 208 Galisteo St., 505-9 ery 92-2848 1814 Second St., 50 5-982-3030 Evangelo’s Se cond Str 200 W. San Francisc o St., 505-982-9014 1607 Pa eet Brewery at the Railyard seo de Peralta, 505-9 High Mayhem Emerg 89-3278 ing Arts Shadeh Buffalo Th 2811 Siler Lane, 505-4 under 38-2047 Resort & Casino Hotel Santa Fe Pojoaque Pueblo, U.S 1501 Paseo de Peral . 84/285, ta, 505-982-1200 505-455-5555 Iconik Coffee Roas Skylight ters 1600 Lena St., 505-4 139 W. San Francisc 28-0996 o St., 505-982-0775 Jean Cocteau Cinem Sweetwater Harve a st Kitchen 418 Montezuma Av 1512-B Pacheco St., e., 505-466-5528 50 5-795-7383 Junction Swiss Bakery Pastr ies and Bistro 530 S. Guadalupe St. 401 S. Guadalupe St. , 505-988-7222 , 505-988-5500 La Boca Taberna La Boca 72 W. Marcy St., 505-9 125 Lincoln Ave., 50 82-3433 5-988-7102 La Casa Sena Canti Tiny’s na 25 E. Palace Ave., 50 1005 St. Francis Drive 5-988-9232 , Suite 117, La Fiesta Lounge at 50 5-983-9817 La 100 E. San Francisco Fonda St., 505-982-5511 The Underground at Evan gelo’s La Posada de Santa 200 W. San Francisc Fe o St. 330 E. Palace Ave., 50 Resort and Spa Uppe r Crust Pizza 5-986-0000 Lensic Performing 329 Old Santa Fe Tra Arts Center il, 505-982-0000 211 W. San Francisc o St., 505-988-1234 Vanessie Lodge Lounge 434 W. San Francisc o St., 505-982-9966 at The Lodge at Sa Zia Dinner nta Fe 750 N. St. Francis Dr 326 S. Guadalupe St. ., 505-992-5800 , 505-988-7008

C L U B S, R O O M S, V E N U ES

8/2

Juan Siddi Flamenco Santa Fe

The Lensic Dance ensemble, 8 p.m., ticketssantafe.org, 505-988-1234, visit aspensantafeballet.com for more information, Aug. 9 encore.

Alto Street Band, nugrass, 6-9 p.m., no cover.

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Swing dance

Odd Fellows Hall, 1125 Cerrillos Rd. Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., , dance $3, lesson and dance $8, 505-473-0955.

Nightlife

(See Page 73 for addresses)

El Farol

Monday blues with the Tiho Dimitrov Band, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda

Bill Hearne Trio, 7:30-11 p.m., no cover.

Vanessie

Pianist Doug Montgomery, 6:30 p.m., call for cover.

TUESDAY 8/5 Opera Fidelio

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Beethoven's opera about spousal heroism in the face of political oppression is here anchored convincingly in a concentration camp dripping with Nazi imagery. But don't worry, the Brits are on the way to set things aright, and the music gets an exciting workout under the baton of Santa Fe Opera's new chief conductor Harry Bicket. 8 p.m., tickets begin at $32, standing room $15.

(See review, Page 36)

Classical Music Santa Fe Chamber Music Festival

Giacobbe-Fritz shows paintings by Britt Freda, 702 Canyon Rd.

Books/Talks Leza Lowitz and Shogo Oketani

8/3

Garcia Street Books, 376 Garcia St.,505-986-0151 The authors read from and sign copies of Jet Black and the Ninja Wind, 2 p.m. (See Subtexts, Page 18)

Moroccan cuisine

Summer Festival and Territorial Law& Order at El Rancho de las Golondrinas

Savory Spice Shop, 225 Galisteo St. Santa Fe Jewish Film Festival presents a family-style dinner and a talk by shop owner Kate Wheeler, 5 p.m., $35, 505-216-0672, santafejff.org.

Outdoors Wildflower Walk

Hyde Memorial State Park, Hyde Park Road Join Ken Collins in a two mile round trip, 10 a.m., $5 per vehicle, 505-983-7175.

Mine Shaft Tavern

Americana guitarist Gene Corbin, 3-7 p.m.; Iyah & Jamaican Soul, on the deck 3-7 p.m.

Second Street Brewery at the Railyard

Events

Hot Honey, Appalachian country, 1-4 p.m., no cover.

Girls Inc Arts & Crafts Show'

Vanessie

The Plaza Featuring works of more than 150 national and local artists, 9 a.m.-5 p.m., girlsincofsantafe.org.

Summer Festival and Territorial Law & Order El Rancho de las Golondrinas, 334 Los Pinos Rd., 505-471-2261 Wild West re-enactments with desperadoes and mountain men; also, a Peruvian Paso horse show, 10 a.m.-4 p.m., $8, discounts available.

Nightlife

(See Page 73 for addresses)

Cowgirl BBQ

Bella Donna, Ozark jazz, 8 p.m.; no cover.

El Farol

Chanteuse Nacha Mendez, 7:30 p.m., call for cover.

Evangelo’s

Tone and Company jam band, 8:30 p.m., call for cover.

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PASATIEMPO I August 1-7, 2014

Pianist Doug Montgomery, 6:30 p.m., call for cover.

MONDAY 8/4 Opera Don Pasquale

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Brenda Rae and remarkable tenor Alek Shrader are the young lovers in director Laurent Pelly's shtick-laden take on Donizetti's comedy, apparently inspired by sitcom gags.

As the title character, baritone Andrew Shore settles for being the butt of the practical joke that surrounds him. Corrado Rovaris presides in the orchestra pit. 8 p.m., tickets begin at $32, standing room $15. (See reveiw, Page 36)

Classical Music Annual Santa Fe Chamber Music Festival

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. 10 a.m., free youth concert, with flutist Tara Helen

O'Connor and pianist Victor Santiago Asuncion; 6 p.m. concert, music of Beethoven, Schoenberg, and Harbison; performers include Orion String Quartet, violinist Daniel Phillips, hornist Philip Myers, and pianist Victor Santiago Asuncion; $10-$75, santafechambermusic.com, 505-982-1890.

In Concert Santa Fe Bandstand

The Plaza Santa Fe University of Art & Design music students, noon; New Mexico School for the Arts Jazz Ensemble, 6:30-7:15 p.m.; Santa Fe Great Big Jazz Band, 7:30-8:45 p.m.; no charge.

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Mozart, Chopin, and Poulenc, noon, with pianists Pei-Yao Wang and Victor Santiago Asuncion and flutist Tara Helen O'Connor; $10-$25, 505-982-1890, santafechambermusic.com.

Santa Fe Desert Chorale

Loretto Chapel, 207 Old Santa Fe Trail Spanish Mystics, featuring guitarist and lutenist Richard Savino and percussionist Angela Gabriel, 8 p.m., $20-$60, 505-988-2282, desertchorale.org; season schedule available online. Free preconcert lecture 6:30 p.m.

In Concert Ray Lamontagne

Santa Fe Opera apprentices

The Downs of Santa Fe, 27475 W. Frontage Rd. Singer/songwriter, 6:30 p.m., with Belle Brigade, $40 and $62, 505-988-1234, ticketssantafe.org.

Theater/Dance

The Plaza Country Blues Revue, 6-7 p.m.; Billy D. & The Hoodoos, 7:15-8:45 p.m.; no charge.

Fuego Patio, La Posada de Santa Fe Resort & Spa, 330 E. Palace Ave., 505-954-9697 6:30-8 p.m., $15, 505-986-0000, opentable.com.

Antonio Granjero and EntreFlamenco

María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.

Books/Talks Santa Fe Photographic Workshops

Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, 505-983-1400, Ext. 111 The series of instructor presentations concludes with Debbie Fleming Caffery, Just Loomis, Rick Allred, and Bob Sacha , 8-9:30 p.m., no charge.

Events Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Fridays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Santa Fe Bandstand

Books/Talks Daniel Abraham

Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528 The New Mexico author (aka James S.A. Corey) reads from and signs copies of The Widow's House, 7 p.m., $10 general admission, $5 with purchase of paperback, no charge with purchase of hardback.

Gary Paul Nabhan

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses Cumin, Camels, and Caravans: A Spice Odyssey, 6 p.m. (See story, Page 22)

Santa Fe School for Advanced Research presentation and open studio

SAR Boardroom, 660 Garcia St., 505-954-7205 Meet Apache fiddle-maker-in-residence Anthony Belvado, 5:30 p.m., no charge.

Events

Theater/Dance

Arts Alive!

Antonio Granjero and EntreFlamenco

Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 Hands-on art activities for the whole family; Ghanaian-Pride Flags, 10 a.m.-2 p.m., repeats on Thursday, by museum admission.

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Fridays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Nightlife

(See Page 73 for addresses)

¡Chispa! at El Mesón

Argentine Tango Milonga, 7:30-11 p.m., call for cover.

Cowgirl BBQ

Byrd & Street, Americana tunes, 8 p.m., no cover.

El Farol

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

La Fiesta Lounge at La Fonda

Bill Hearne Trio, 7:30-11 p.m., no cover.

Second Street Brewery at the Railyard

Open-song night, with Ben Wright, 7 p.m., no cover.

Tiny’s

Singer/songwriters open-mic, 7-11 p.m., no cover.

Vanessie

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

WEDNESDAY 8/6 Opera Carmen

María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.

Books/Talks

Hiroshima-day reading

Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 Elaine Pinkerton reads from her father's WWII letters published as From Calcutta With Love, 5:30 p.m., $10 suggested donation benefits Veterans for Peace.

Judy Chicago and Donald Woodman

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5068 The artists discuss their works with curators Mary Anne Redding (Donald Woodman: Transformed by New Mexico) and Merry Scully (Local Color: Judy Chicago in New Mexico 1984-2014), 6:30 p.m., no charge.

Santa Fe Clay Wednesday Night Slide Lecture

545 Camino de la Familia, 505-984-1122 The series continues with ceramist Lisa Clague, 7 p.m., no charge.

Santa Fe Institute Community Lectures 2014 James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. The Joy of X: A Guided Tour of Math, with Steven Strogatz of Cornell University, 7:30 p.m., no charge, 505-984-8800.

William W. Dunmire

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses New Mexico' Spanish Livestock Heritage: Four Centuries of Animals, Land, and People, 6 p.m.

Santa Fe Opera, 301 Opera Dr., 505-986-5900 In this Stephen Lawless production, Bizet's tragedy unrolls in the U.S.-Mexican borderlands a half century ago, with black-and-white film integrating with live stage action to enhance the period feel. Ana María Martínez is Carmen, Joyce El-Khoury sings Micaëla, Roberto De Biasio portrays Don José. 8 p.m., tickets begin at $32, standing room $15. (See reveiw, Page 36)

Outdoors

Classical Music

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1269 Native artists from Southwestern tribes discuss and demonstrate their techniques, 1-4 p.m., by museum admission.

Santa Fe Chamber Music Festival

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Young Composers String Quartet rehearsals and workshop, 1-5 p.m., with composers Ryan Chase and Tonia Ko and Flux Quartet, no charge, 505-982-1890, santafechambermusic.com.

In Concert The Hold Steady

Santa Fe Sol Stage & Grill, 37 Fire Place Rock band, 7:30 p.m., $25, 505-988-1234, ticketssantafe.org.

Santa Fe Bandstand

The Plaza Country singer/songwriter Bill Hearne, 6-7 p.m.; modern-country band The Derailers, 7:15-8:45 p.m., no charge, visit santafebandstand.org for the summer series schedule.

Trova

El Farol Latin global music ensemble, Nacha Mendez, Melanie Monsour, Carla Kountoupes, and Polly Tapia Ferber, 8 p.m. Wednesdays through August, $25.

Gentle walk

Pajarito Environmental Education Center, 3540 Orange St., 505-662-0460, pajaritoeec.org One- to two-mile walk along a relatively flat trail in Los Alamos, 8 a.m. Meet at PEEC to carpool to the trailhead, no charge.

Southwest Pottery: artist demonstration

Events Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Fridays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Nightlife

(See Page 73 for addresses)

Cowgirl BBQ

Rock band Two Be Announced, 8 p.m., no cover.

Del Charro

Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda

Blues band Night Train, 7:30 p.m., no cover.

Palace Restaurant & Saloon

Americana/bluegrass band Railyard Reunion, 8:30 p.m., no cover.

Santa Fe Photographic Workshops series of instructor presentaions concludes Monday, Aug. 4, at 8 p.m.; shown, Mel (detail), by Just Loomis.

THURSDAY 8/7 Opera The Impresario & Le rossignol

In Concert Mark Levine

Museum Hill Café, 710 Camino Lejo Jazz pianist/composer, 7 p.m., with guitarist Marcos Cavalcante and percussionist John Trentacosta, $25, santafemusiccollective.org, 505-983-6820.

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Mozart's The Impresario, a backstage farce about temperamental divas and a stressed-out producer, is smartly interlocked with Stravinsky's fairy-tale opera Le rossignol (The Nightingale). The former gets a riotous vaudevillian workout, and the latter shimmers in elegant mystery; its references to modernist painters are sure to keep art-history majors on the edge of their seats. 8 p.m., tickets begin at $32, standing room $15. (See review, Page 36)

The Plaza Guitarist/singer-songwriter Matthew Andrae, 6:30-7:30 p.m.; alternative-country band I See Hawks in L.A., 7:45-9 p.m.; santafebandstand.org, no charge.

Classical Music

Theater/Dance

Santa Fe Chamber Music Festival

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Noon concert, music of Schumann, Mozart, and Julian Anderson; performers include violists Choong-Jin Chang and Steven Tenenbom and the Flux Quartet, $10-$25; 5 p.m. talk with composers Liebermann and Marc Neikrug; 6 p.m. concert, music of Beethoven and Liebermann, $35-$70; 505-982-1890, santafechambermusic.com.

(See story, Page 42)

Santa Fe Desert Chorale

Cathedral Basilica of St. Francis of Assisi, 107 Cathedral Place Mozart's Requiem, includes mezzo-soprano Susan Graham, 8 p.m., $15-$120, desertchorale.org, 505-988-2282, season schedule available online. (See story, Page 26)

Santa Fe Bandstand

Antonio Granjero and EntreFlamenco

María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.

Sylvia

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 7:30 p.m., $20, discounts available, santafeplayhouse.org, Thursdays-Sundays through Aug. 17.

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LOS ALAMOS Events/Performances Gordons’ Summer Concerts

The free music series continues with Americana/ country/rock band Shinyribs, 7 p.m. Friday, Aug. 1, Ashley Pond, gordonssummerconcerts.com.

MADRID

Johnsons of Madrid Galleries

2843 NM 14, 505-471-1054 Motion, group show, reception 3-5 p.m. Saturday, Aug. 2, through August.

TAOS Events/Performances KTAOS Solar Center concerts

9 State Rd. 150, in El Prado Singer/songwriter Eliza Gilkyson, 8 p.m. Friday, Aug. 1, $15 in advance, $19 day of show; alternative-rock band Toad the Wet Sprocket, 8 p.m.

Tuesday, Aug. 5, $25 in advance, $30 day of show; advance tickets available online at holdmyticket. com.

Hand Artes Gallery shows paintings by Jeane George Weigel, County Rd. 75, #137, Truchas.

Books/Talks Jo-Ann Mapson and Linda Hogan

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The novelist reads from Owen's Daughter and the poet reads from Dark. Sweet., 6 p.m.

Events Arts Alive!

Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 Hands-on art activities for the whole family; Ghanaian-Pride Flags, 10 a.m.-2 p.m., by museum admission.

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Fridays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Nightlife

(See Page 73 for addresses)

¡Chispa! at El Mesón

Jazz pianist John Rangel, 7-9 p.m., no cover.

Cowgirl BBQ

Hello Dollface, eclectic soul and funk, 8 p.m., no cover.

El Farol

Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.

La Boca

Chanteuse Nacha Mendez, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda

Blues band Night Train, 7:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover.

Palace Restaurant and Saloon

Limelight karaoke, 10 p.m., no cover.

Pranzo Italian Grill

Pianist David Geist, cabaret, 6-9 p.m., call for cover.

The Matador

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

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PASATIEMPO I August 1-7, 2014

Taos School of Music Festival

Shadeh

Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte The season continues with Brentano String Quartet and pianist Robert McDonald, 7:30 p.m. Sunday, Aug. 3, music of Mozart, Shostakovich, and Elgar, $20, discounts available, taosschoolofmusic.com, 575-776-2388.

Tiny’s

TRUCHAS

Second Street Brewery

Paw Cole & The Clinkers, old-timey tunes, 6-9 p.m., no cover.

DJ Oona, retro rewind, 9 p.m.-4 a.m., no cover.

Funk/rock band The Strange, 8 p.m.-close, no cover.

Vanessie

Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.

Zia Diner

String band Trio Bijou, 6:30-8:30 p.m., no cover.

ALBUQUERQUE Events/Performances Chatter Sunday

The Kosmos, 1715 Fifth St. N.W. Cranes and Songbirds, music of Bach, John Luther Adams, and Shirish Korde, 10:30 a.m. Sunday, Aug. 3, poetry reading follows, $15 at the door only, discounts available, chatterabq.org.

Santa Fe Chamber Music Festival

Simms Auditorium, Albuquerque Academy, 6400 Wyoming Blvd. N.E. Music of Beethoven and Lowell Liebermann (see story, Page 42), 7:30 p.m. Wednesday, Aug. 6, performers include pianist Liebermann, mezzo-soprano Sasha Cooke, and clarinetist David Shifrin; $10-$45, santafechambermusic.com, 505-982-1890.

19th Annual Summer Thursday Jazz Nights at the Outpost

Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044, outpostspace.org Dan Dowling Quartet and Cathryn McGill, 7:30 p.m. Thursday, Aug. 7, $10-$15 in advance at holdmyticket.com.

516 Arts

516 Central Ave. S.W., 505-242-1445 Digital Latin America, group show, through Aug. 30.

Richard Levy Gallery

514 Central Ave. S.W., 505-766-9888 That's Where You Need to Be, group show of contemporary works, reception 6-8 p.m., through Sept. 19.

Hand Artes Gallery

County Rd. 75, #137, 505-689-2443 Truchas Modernism, paintings by Jeane George Weigel, reception 3-5 p.m. Saturday, Aug. 2, through Sept. 26.

PEOPLE WHO NEED PEOPLE Artists Fiestas de Cerrillos

Artists, craftspeople, and nonprofits may sign up to participate in the market held Sept. 20; contact Sandy Young for details, 505-438-2885, sandy@dirtdauberstoneware.com.

Fourth Annual National Juried Encaustic Wax Exhibit

Artists 18 years and older may enter up to three images for the Oct. 4-Nov. 2 exhibit held at the Encaustic Art Institute in Cerrillos; application deadline Monday, Aug. 4; award details and applications available online at juriedartservices.com.

Pecos Studio Art Tour

Artists are invited to join the annual tour held Saturday and Sunday, Sept. 27-28; call 505-670-7045 for information, entry deadline is July 31.

Santa Fe Photographic Workshops 25th-Anniversary Photography Contest

Food for Santa Fe

The nonprofit needs help packing and distributing groceries at 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600.

Hospice volunteers

Help out weekly as a Flower Angel for Presbyterian Medical Services' Hospice Center; contact Ann Andrews for information, 505-988-2211.

Performers/Playwrights Santa Fe Playhouse Workshops auditions

Santa Fe Playhouse Workshops, 3205-B Richards Lane, 505-988-4262 Women (ages 40-80) and girls (ages 14-17) for The Effects of Gamma Rays on Man-in-the-Moon Marigolds, held 11 a.m.-2 p.m. Saturday and Sunday, Aug. 16-17; and women of all ages for the musical Quilters, 11 a.m.-3 p.m. Sunday, Aug. 23 and 6-9 p.m.

Monday, Aug. 25.

Santa Fe Playhouse playwright's forum

142 E. DeVargas St., 505-988-4262 Accepting full-length works by playwrights for the 2014-2015 season; plays must be unpublished and consist of eight or less characters; four plays will be selected for staged readings Oct. 23-26, one will be chosen for a March 2015 production; submit a short bio and play synopsis (and hard copy) no later than Sept. 15 to Cristina Duarte.

UNDER 21

Savage Wisdom: CD release

Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 Including Darken the Day and Regicide, 6:30 p.m.close Friday, Aug. 1, $5 at the door, all ages.

Slowgirl

Blackbox Theater, Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 For Giving Productions presents Greg Pierce's drama, 7:30 Saturday, 4 p.m. Sunday, Aug. 2-3, $13, discounts available, call 505-438-6078 for ticket information, continues Saturday and Sunday, Aug. 9-10.

Winter & The Wolves North American Tour

Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 Featuring Grieves, Sonreal, and Solar One, 7 p.m.-close Monday, Aug. 4, $12 at the door.

PASA KIDS

Ice Cream Social

New Mexico Museum of Art courtyard, 107 W. Palace Ave., 505-476-5072 Bring your parents for free Haagen-Dazs to cool off your day, 5:30 p.m. Friday, Aug. 1.

Summer Festival and Territorial Law & Order

El Rancho de las Golondrinas, 334 Los Pinos Rd., 505-471-2261 Wild West re-enactments with desperadoes and mountain men; also, a Peruvian Paso horse show, 10 a.m.-4 p.m. Saturday and Sunday, Aug. 2-3, $8, discounts available.

Stealing From Goldilocks: Writing Your Own Fairy Tale

Photographers age 18 and over can enter works on the theme of water in one or more categories: landscape, portrait, documentary, abstract; deadline September 17, guidelines and fee information are available online at santafeworkshops.com.

Bee Hive Kids Books, 328 Montezuma Ave., 505-780-8051 Writing workshop for second grade up; led by Nightingale's Nest author Nikki Loftin; 2 p.m. Sunday, Aug. 3, call for details.

Community

Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 Hands-on art activities for the whole family; Ghanaian-Pride Flags, 10 a.m.-2 p.m. Tuesday and Thursday Aug. 6 and 8, by museum admission. ◀

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.

Arts Alive!

and Higher Ground, Friday-Sunday, Aug. 22-24, $15-$40, three-day pass $50, ages 16 and under no charge, tickets available in advance and at the door, southwestpickers-fesitival.org.

Avett Brothers

Santa Fe Opera, 301 Opera Dr. North Carolina-based folk-rock band, 8 p.m.

Wednesday, Aug. 27, $35-$55 in advance, ticketmaster.com, $40-$60 day of show.

Mariachi Extravaganza de Santa Fe

MUSIC

Paul Groves

St. John’s United Methodist Church, 1200 Old Pecos Trail Santa Fe Opera tenor, accompanied by pianist Joseph Illick, 4 p.m. Friday, Aug. 8, $22.50-$75, 505-988-1234, ticketssantafe.org.

Fast Peso String Band

High Desert Guitars, 1807 Second St., Suite 107, 505-983-8933 or 505-988-2733 Appalachain-style tunes, 7 p.m. Saturday, Aug. 9, $15 in advance and at the door, proceeds benefit Southwest Pickers and the Santa Fe Bluegrass & Old Time Music Festival.

Sixth Annual Mariachi and Dance Concert

Buffalo Thunder Resort & Casino Performers include Johnny Hernandez, Mariachi Nuevo Sonido, Allen Muñiz, and Mariachi Buenaventura; silent auction 5:30-6:30 p.m., music starts at 7 p.m. Saturday, Aug. 9, $18 in advance at tickets.com, $20 at the door, proceeds benefit the nonprofit organization Sangre de Cristo Funeral Fund.

Lake Street Dive

Santa Fe Sol Stage & Grill Jazz and soul band, 7:30 p.m. Sunday, Aug. 10, $25, 505-988-1234, ticketssantafe.org.

Freedom Work: Folk Forms and Variations

Outpost Performance Space, Albuquerque A five-part jazz suite by Santa Fean Lenny Tischler, 7:30 p.m. Thursday, Aug. 14, performers include woodwind artist Arlen Asher, saxophonist Brian Wingard, and bassist Andy Zadrozny, $10-$15 in advance at holdmyticket.com.

Music From Angel Fire

Angel Fire, Las Vegas, Raton, and Taos

The 31st festival season runs Aug. 15-31, opening night features Ida Kavafian, Steven Tenenbom, and Anne-Marie McDermott in works by Beethoven and Andrew Hsu, tickets start at $30, discounts available, 888-377-3300, musicfromangelfire.org.

Eric Johnson

Santa Fe Sol Stage & Grill Austin, TX-based guitarist/songwriter, 7:30 p.m. Sunday, Aug. 17, $27, 505-988-1234, ticketssantafe.org.

Robert Mirabal

El Farol Dinner shows by the Taos Pueblo flutist, dinner 5:30 p.m., performance 6:30 p.m. Monday, Wednesday, and Friday, Aug. 18, 20, and 22, $25, 505-983-9912.

Dave & Phil Alvin

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Country-blues brothers, 7:30 p.m. Tuesday, Aug. 19, $25 in advance, $29 at the door, brownpapertickets.com.

40th Annual Santa Fe Bluegrass & Old Time Music Festival Santa Fe County Fairgrounds, 3229 Rodeo Rd. This year's lineup includes The Chapmans, James Reams & The Barnstormers, Todalo Shakers,

Santa Fe Community Convention Center, 201 W. Marcy St. Annual Santa Fe Fiestas concert; Mariachi Reyna de Los Angeles (with Angel Espinoza), Mariachi Buenaventura, and Los Niños de Santa Fe, 7 p.m.

Sunday, Aug. 31, call 505-988-1234 for advance tickets.

Violent Femmes

Santa Fe Community Convention Center Veteran alternative-rock band, 7:30 p.m. Thursday, Sept. 11, $42, 505-988-1234, ticketssantafe.org.

Jerry López and Friends

The Lensic Local singer/guitarist, 7 p.m. Friday, Sept. 12, $25-$35, 505-988-1234, ticketssantafe.org, benefit concert in support of the National Latino Behavioral Health Association.

Lyle Lovett and His Large Band

The Downs of Santa Fe, 27475 W. Frontage Rd. Texas singer/songwriter, 7 p.m. Saturday, Sept. 13, $12-$76, 505-988-1234, ticketssantafe.org.

Big Al Anderson

Gig Performance Space, 1808 Second St. Guitarist/songwriter, 7:30 p.m. Saturday, Sept. 13, $20 at the door, gigsantafe.com.

Santa Fe Pro Musica

The Lensic The 33rd season opens with pianist Melissa Marse joining the orchestra in a performance of Beethoven's Symphony No. 5 and Piano Concerto No. 3; 4 p.m.

Saturday and 3 p.m. Sunday, Sept. 20-21, $10-$65, 505-988-1234, ticketssantafe.org, dinner with the pianist follows (contact SFPM box office to reserve a seat, 505-988-4640).

National Theatre of London in HD

The Lensic The broadcast series continues with Euripides' tragedy, Medea, 7 p.m. Thursday, Sept. 11, $22, 505-988-1234, ticketssantafe.org.

HAPPENINGS

Fifth Annual Objects of Art Santa Fe

El Museo Cultural de Santa Fe, 555 Camino de la Familia Contemporary, ethnic, and antique objects, including sculpture, jewelry, furniture, and books, ticketed preview 6-9 p.m. Thursday, Aug. 14 ($50, benefits New Mexico PBS), show runs 11 a.m.-6 p.m. Friday-Sunday, Aug. 15-17, $10 run of show in advance, $13 at the door, objectsofartsantafe.com.

36th Annual Whitehawk Antique Indian & Ethnographic Art Show

Santa Fe Community Convention Center, 201 W. Marcy St. Workshops and free evaluations of items brought to the show; launch party and preview Friday, Aug. 15, show runs Saturday-Monday, Aug. 16-18, preview and party $75; general admission to the show $10; run of show $17; whitehawkshows.com.

The Artist's Table

Santa Fe School of Cooking, 125 N. Guadalupe St., 505-983-4511 Featuring a dinner organized by chef John Rivera Sedlar and Jemez Pueblo artist Phillip Vigil, 6 p.m.

Saturday, Aug. 19, $250 in advance online at attheartiststable.eventbrite.com, proceeds benefit Partners in Education and Santa Fe Arts Commission.

Antique American Indian Art Show Santa Fe 2014

El Museo Cultural de Santa Fe, 555 Camino de la Familia Preview party 6-9 p.m. Tuesday, Aug. 19; show 11 a.m.-6 p.m. Wednesday and Thursday, Aug. 20-21, preview party and Institute of American Indian Arts benefit $50 in advance and at the door, show tickets $10 run of show in advance, $13 at the door, tickets available online at antiqueindianartshow.com.

Sundance Institute Native Film Series

Jean Cocteau Cinema Shorts and features shown daily at 6:30 p.m.

Wednesday-Sunday, Aug. 20-24; featuring Sydney Freeland's 2013 film Drunktown's Finest, Sterlin Harjo's This May Be the Last Time, and Andrew Okpeaha MacLean's On the Ice, $10, discounts available, jeancocteaucinema.com.

39th Annual Wheelwright Museum of the American Indian Benefit Auction

704 Camino Lejo, Museum Hill Silent auction and preview of live auction items 4-6 p.m. Thursday, Aug. 21, Collector’s Table 10 a.m. Friday, Aug. 22, followed by live auction preview and live auction; catered lunch available, 505-982-4636, wheelwright.org.

Indigenous Fine Art Market- IFAM

Santa Fe Railyard More than 400 Native artists are slated to participate in this inaugural market ThursdaySaturday, Aug. 21-23; events include a kickoff Glow Dance Party, youth programming, and film screenings, indigefam.org.

93rd Annual Santa Fe Indian Market

The Plaza Thursday, Aug. 21; sneak preview Friday, Aug. 22; live auction dinner and gala Saturday, Aug. 23; market Saturday and Sunday, Aug. 22-23; swaia.org, 505-983-5220.

Palace of the Governors Portal Artisans Celebration

The Plaza Music, handcraf ted wares, raffles, traditional dances, and food, 10 a.m.-5 p.m. Saturday and Sunday, Aug. 23-24, no charge, 505-476-5100.

Annual burning of Will Shuster's Zozobra

Fort Marcy Recreation Complex 490 Bishops Lodge Rd. Gates open at 3 p.m. Friday, Aug. 29, Old Man Gloom goes up in flames after dusk, includes live music and food concessions, $10 in advance and at local venues, kids under 10 no charge, visit burnzozobra.com for details.

THEATER/DANCE

Daniel Ulbricht and New York City Ballet performers

The Lensic 7:30 p.m. Wednesday and Thursday, Aug. 13-14, includes a pre-performance talk by Ulbricht, $13.50-$100, 505-988-1234, ticketssantafe.org.

Dancing Earth

Skylight, 139 W. San Francisco St. Origi-Nation: Roots and Seeds, the dance troupe's tenth-anniversary performance, 6 p.m. Sunday, Aug. 24, dance party follows at 8 p.m., $25, VIP tickets $50, dance party only $10, email dancingearthtkts@gmail.com for advance tickets.

O'Keeffe!

Warehouse 21 Carolyn Wickwire performs in a Flower and Bone Productions presentation of Lucinda McDermott's one-woman play, Monday, Aug. 25, WednesdaySunday, Aug. 27-31, $20, Monday performance $15, visit brownpapertickets.com for advance tickets.

Aspen Santa Fe Ballet: Mixed Repertory

The Lensic Encore performance of Square None by Norbert De la Cruz III; Return to a Strange Land by Jiří Kylián; and The Heart(s)pace by Nicolo Fonte, 8 p.m. Saturday, Aug. 30, $25-$72, 505-988-1234, ticketssantafe.org.

Daniel Ulbricht and the New York City Ballet perform Aug. 13-14, at the Lensic.

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AT THE GALLERIES

and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation; spanishcolonial.org; open daily through Sept. 1.

Chiaroscuro Contemporary Art

702½ Canyon Rd., 505-992-0711 Australian Contemporary Indigenous Art III, group show, through Sunday, Aug. 3.

New Mexico History Museum/ Palace of the Governors

Giacobbe-Fritz Fine Art

702 Canyon Rd., 505-986-1156 Horse-themed show of paintings by Britt Freda and sculpture by Siri Hollander, through Aug. 10.

113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29, 2015 • Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; open daily through Oct. 7.

Heidi Loewen Porcelain Gallery

315 Johnson St., 505-988-2225 Form in Motion, curled-porcelain sculpture by the gallerist, through Aug. 15.

Hunter Kirkland Contemporary

200-B Canyon Rd., 505-984-2111 Works by painter Michael Madzo and sculptor Ted Gall, through Aug. 10.

James Kelly Contemporary

1611 Paseo de Peralta, 505-989-1601 Pages, new drawings by James Drake, through Aug. 27. (See review, Page 48)

New Mexico Museum of Art

Jane Hamilton Fine Art

200-D Canyon Rd., 520-465-2655 Tres Artistas, works by Zulia Gotay de Anderson, Santos Barbosa, and Francisco Rodriquez, through Sunday, Aug. 3.

Karan Ruhlen Gallery

225 Canyon Rd., 505-820-0807 Wax Duet, encaustic paintings by Ellen Koment and Mary Long, through Aug. 10.

Red Dot Gallery

826 Canyon Rd., 505-820-7338 Annual Summer Art Exhibition, group show, through Aug. 14.

Tai Modern

1601-B Paseo de Peralta, 505-984-1387 Cosmos, bamboo art by Fujitsuka Shosei, through Aug. 17.

Tansey Contemporary

652 Canyon Rd., 505-995-8513 People, Places, and Things, ceramic sculpture

by Sheryl Zacharia, through Aug. 19.

Owl With Kangaroo Rat, 1989, by Leroy Ortega, in the exhibit Wooden Menagerie: Made in New Mexico, Museum of International Folk Art.

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 17.

Open daily; okeeffemuseum.org.

Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 Looping screenings of the documentary Bert & Wei Wei: TIME 2014 by Daniel Hyde and Blackhorse Lowe through Oct. 16. Closed Tuesdays; iaia.edu/museum.

Museum of Indian Arts & Culture

107 W. Palace Ave., 505-476-5072 Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Oct. 12 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • New Mexico Art Tells New Mexico History, including works

by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2015.

Open daily through Oct. 7; nmartmuseum.org.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4, 2015. Closed Mondays; pvmiwa.org.

Poeh Cultural Center and Museum

78 Cities of Gold Rd., 505-455-3334 Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; closed Saturdays and Sundays; poehcenter.org. Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037. Closed Sundays; roxanneswentzell.net.

MUSEUMS & ART SPACES

710 Camino Lejo, Museum Hill, 505-476-1269 Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors including Houser's sons Bob Haozous and Philip Mangas Haozous, Doug Hyde, Estella Loretto, and Robert Shorty; reception 1-4 p.m. Sunday, Aug. 3, through May 2015 • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection. Open daily; indianartsandculture.org.

Santa Fe

Museum of International Folk Art

Albuquerque Museum of Art & History

Ventana Fine Art

400 Canyon Rd., 505-883-8815 Into Tomorrow, paintings by John Axton and Jennifer Davenport, through Thursday, Aug. 6.

William Siegal Gallery

540 S. Guadalupe St., 505-820-3300 Balandrán, 18th- and 19th-century Aymara ponchos from the Giles W. Mead and Parry Mead-Murray collection; Water, Floods, and Gauges, screen prints by Ilona Pachler; through Aug. 26.

Santa Fe Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 The Curve, Center’s annual show of awardwinning photography • Dear Erin Hart, multimedia exhibit by Jessamyn Lovell • Air Force: Aesthetic Experiments in Aviation, works on paper created via remote-controlled airplane; exhibits through Aug. 10. Open Thursdays-Sundays; ccasantafe.org.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary international works, through Jan. 11. Open Thursdays-Sundays; sitesantafe.org.

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PASATIEMPO I August 1-7 2014

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits include contemporary and historic Native American art.

Open daily; wheelwright.org.

Albuquerque

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, International Folk Arts Week kick-off exhibit on immigration • Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Open daily; internationalfolkart.org.

2000 Mountain Rd. N.W., 505-243-7255 Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro.

Closed Mondays; cabq.gov/culturalservices/ albuquerque-museum.

Museum of Spanish Colonial Art

616 Central Ave. S.W., 505-247-0606 Exhibits on overcoming intolerance and prejudice; nmholocaustmuseum.org; closed Sundays and Mondays.

750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué,

Holocaust and Intolerance Museum of New Mexico

Indian Pueblo Cultural Center

2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances; indianpueblo.org.

Maxwell Museum of Anthropology

UNM campus, 1 University Blvd. N.E., 505-277-4405 The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.

National Hispanic Cultural Center

1701 Fourth St. S.W., 505-604-6896 ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper).

Closed Mondays; nationalhispaniccenter.org.

UNM Art Museum

1 University of New Mexico Blvd., 505-277-4001 Closed Sundays and Mondays; unmartmuseum.org.

Los Alamos Bradbury Science Museum

1350 Central Ave., 505-667-4444 Information on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum.

Los Alamos Historical Museum

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

Open daily; losalamoshistory.org.

Pajarito Environmental Education Center

3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays and Mondays; pajaritoeec.org.

Taos E.L. Blumenschein Home and Museum

222 Ledoux St., 575-758-0505 Color-field paintings by Donald Roy Thompson, through Aug. 10. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; taoshistoricmuseums.org.

Harwood Museum of Art

238 Ledoux St., 575-758-9826 Highlights From the Gus Foster Collection, contemporary works, through Sept. 7. Open daily through October; harwoodmuseum.org.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Fred Harvey and the Making of the American West, objects drawn from the Harvey family, opening Friday, Aug. 1, through January. Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Open daily through October; millicentrogers.org.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Intimate and International: The Art of Nicolai Fechin, paintings and drawings, through Sept. 21. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933.

Closed Mondays; taosartmuseum.org.

Jim Eppler: Raven VI D AP 2014, bronze

Steven A. Jackson: Gateway, Upper Canyon Road, Santa Fe, NM 2013, archival digital print

Manitou Galleries, 123 W. Palace Ave., 505-986-0440 The Raven & The Journey, an exhibit of Jim Eppler’s lifelike animal sculptures and B.C. Nowlin’s autumnal paintings, opens at the gallery with a 5 p.m. reception on Friday, Aug. 1. Eppler’s raven sculptures capture the magical, austere spirit of the birds, while Nowlin’s canvases express a sense of journey and migration.

New Concept Gallery, 610 Canyon Road, 505-795-7570 Corners: Photographs of the Southwest is an exhibit of Steven A. Jackson’s haunting landscapes and architectural photography. His atmospheric imagery has subtle color tones, creating an almost monochromatic feel. The show opens with a reception at 5 p.m. on Friday, Aug. 1.

Christopher Benson: Truchas #1 2014, oil on linen LewAllen Galleries 1613 Paseo de Peralta 505-988-3250 Withheld Narratives is an exhibit of Christopher Benson’s figurative but geometricized paintings of Southwestern landscapes and interiors. The oddly stark compositions engage the viewer with unexpectedly rich colors.

The show runs concurrently with Tom Palmore: Big Cats and Birds, an exhibit of bold, detailed portraits of wildlife. The opening reception for both shows is at 5 p.m. Friday, Aug. 1.

Melinda K. Hall: Lynx: My Modern Bestiary, Pg. 75 2014, oil on canvas

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N

Jeremy Thomas: Tinsley Pink 2014, forged mild steel, powder coat, and nail lacquer Charlotte Jackson Fine Art, 554 S. Guadalupe St., 505-989-8688 Jeremy Thomas creates works in forged steel. His distinctive process, which involves inflating his folded, welded sculptures with pressurized air, results in forms shaped in part by chance. Ditching the Cardigan,, an exhibit of his pieces, opens on Friday, Aug. 1, with a 5 p.m. reception. The title references the iconic sweaters worn by Fred Rogers (1928-2003), host of the children’s television program Mister Rogers’ Neighborhood.

Neighborhood

Meyer East Gallery, 225 Canyon Road, Ste. 11, 505-983-1657 Melinda K. Hall approaches each painting in her series My Modern Bestiary as if it were a page in a book. The group of works was inspired by bestiaries from ancient Greece, Medieval Europe, and other cultures.

Her simply rendered animal figures convey a sense of Pop and folk art intertwined.

An exhibit of Hall’s paintings opens Friday, Aug. 1, with a 5 p.m. reception.

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