Pasatiempo, July 5, 2013

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

July 5, 2013

Babá Ken Okulolo West African Highlife Band

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THE SANTA FE NEW MEXICAN

July 5 - 11, 2013

www.pasatiempomagazine.com

On the cOver 26 Back in the highlife Santa Fe buzzes with African vibes as the 10th International Folk Art Market kicks off.

The women-strong Tuareg band Tartit, Malian trad/blues master Mamadou Kelly, and the electrified Imharhan band — who can’t play the Festival au Desert in Timbuktu, Mali, this year because of civil war — appear at the Lensic Performing Arts Center on Wednesday, July 10. The next day, Nigeria’s Babá Ken Okulolo leads the West African Highlife Band in concert at the Railyard Park. On the cover is a photo of Okulolo ©Michael Benanav; courtesy Santa Fe International Folk Art Market.

BOOKs

mOving images

12 in Other Words A Fort of Nine Towers 48 Brokedown palaces Stages of Decay

52 53 54 56

mUsic and PerfOrmance 14 15 17 18 20 22 24 30 32

sound Waves Rock and roast Pasa tempos CD Reviews Onstage Goggle Saxophone Quartet day & night Cristianne Miranda sings Ella & Billie summer voices Santa Fe Desert Chorale maturation process Stacy Dillard listen Up Mary Magdalene in words & music Pasa reviews Arlen Asher terrell’s tune-Up Michael Martin Murphey

The Lone Ranger 20 Feet From Stardom Augustine Pasa Pics

calendar 63 Pasa Week

and 9 mixed media 11 star codes 60 restaurant review: momo & co.

art 42 implied spaces Mokha Laget 44 art of space Ra Paulette’s art caves

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

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

by The New Mexican. Our offices are at 202 e. marcy st. santa fe, nm 87501. editorial: 505-986-3019. fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — Kristina melcher 986-3044, kmelcher@sfnewmexican.com ■

art director — marcella sandoval 986-3025, msandoval@sfnewmexican.com

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assistant editor — madeleine nicklin 986-3096, mnicklin@sfnewmexican.com

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

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associate art director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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

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staff Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntriBUtOrs loren Bienvenu, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, hollis Walker, Khristaan d. villela

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PrOdUctiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

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advertising directOr Tamara Hand 986-3007

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marKeting directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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

Rob Dean editor

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PASATIEMPO I July 5 - 11, 2013

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Light sculpture by Stephen Knapp; top, ART Santa Fe vernissage, 2012

Art on a global scale

Bringing together exhibitors from four continents, ART Santa Fe retains its position as the city’s enduring international art fair. It opens with a gala champagne vernissage from 5 to 8 p.m. on Thursday, July 11. Exhibitors this year include gallerists from France, Spain, Japan, Katmandu, Mexico, and the United States. Local venues Zane Bennett Contemporary Art, Jane Sauer Gallery, and the New Mexico Museum of Art join this year’s fair. New international exhibitors include Moscow’s Khankhalaev Gallery, 31 Galerie from France, and S.O.L.O. arte from Mexico City. Albuquerque’s Park Fine Art brings back Korean paper making for the fair’s popular How Things Are Made demonstrations. In addition, Colorado-based print publisher Oehme Graphics presents demonstrations on monotypes and etchings. ART Santa Fe’s Project Spaces also return, with installations by sculptor Martin Spei, BOMA Modern, and others. Stephen Knapp’s dazzling, prismatic light sculpture is also on view.

The keynote speaker this year is former agent and founder of the FBI’s Art Crime Team, Robert K. Wittman. Wittman wrote Priceless, a real-life thriller covering his career as an sleuth investigating high-profile art thefts and other crimes. His talk is at the New Mexico History Museum (113 Lincoln Ave.) at 6:30 p.m. Saturday, July 13. Tickets are $15.

Tickets for the gala vernissage are $100. VIP passes cost $125 and include admission to the vernissage, unlimited access to the fair through the weekend, and admission to the invitation-only Art in America party at 6:30 p.m. on Friday, July 12, at the Farmers Market Pavilion (1607 Paseo de Peralta).

The fair runs from 11 a.m. to 6 p.m. Friday through Sunday, July 12 to 14.

Visitors can purchase day passes for $10. Tickets for all events may be purchased in advance from Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). ART Santa Fe is at the Santa Fe Community Convention Center (201 W. Marcy St.). For more information, call ART Santa Fe at 988-8883 or visit www.artsantafe.com.

— Michael Abatemarco

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PASATIEMPO I July 5 - 11, 2013

STAR CODES

Heather Roan Robbins

Dinner Thursday - Saturday Breakfast & Lunch Tuesday – Sunday

The astrological mood is relaxed, sociable, and curious this

holiday, with a few trust issues and technical snafus sprinkled around the edges as communicative Mercury retrogrades and challenges intuitive, confusing Neptune.

Sparks fly easily — both the emotional kind and those of fireworks — so enjoy with care. Feelings run hot and fast as Venus semisquares Mars.

Since we can’t quite find the right words to share our feelings, we may use many of them.

Mercury retrograde helps us dig up information about the past but can also make it hard to get the whole picture. Instead, concentrate on creating healthy, transparent guidelines for the future, with government, workplace, or friendships.

The weekend begins funny and talkative; we are not really interested in going deep. Keep it fast and light. The mood grows more internal and domestic late Saturday and Sunday, and on Monday a new moon in Cancer helps start a new cycle in hearth and homeland.

Underlying all summer is a seasonlong grand trine between pragmatic Saturn, philosophical Jupiter, and idealistic, inclusive Neptune that calls us to walk our talk. If we spout spiritual values and act selfishly, we’ll be called on it. Conversely, if we find a way to get practical and apply our most inclusive beliefs, we’ll find it is good business.

Friday, July 5: It’s a friendly day; people just want to chill. If close relationships feel abraded by different timing and priorities as Venus semisquares Mars, give people room, understanding, and don’t take it personally. Drive carefully tonight, transportation can be tested by snafus, alcohol, and water damage.

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Sunday, July 7: Make healthy changes to the home’s emotional and physical landscape. If we don’t feel safe, we may act out, act like we don’t care, or look for retail therapy as Venus squares Uranus as a self-protective moon in Cancer opposes Pluto. But we do care. Choose carefully what needs to be released and what needs to be fought for and nurtured.

Monday, July 8: A new moon in deep-feeling Cancer can bring a fresh cycle in our heart; let’s make it a healthy one. Emotions overflow as we feel the woes and joys of the world, not just our own experience. Look for an opportunity to share gifts and wisdom learned the hard way as Chiron and Venus aspect the moon’s nodes.

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Tuesday, July 9: Begin a short-term project of the heart as the sun and Mercury conjunct under a Leo moon. The morning flows more smoothly.

Use this window to tackle time-sensitive tasks, even though feelings and egos are a bit touchy. Find beauty and make the most of circumstances tonight.

Wednesday, July 10: If people speak in hyperbole to get their point across, look for the true feelings underneath as the moon conjuncts Venus in expressive Leo. Pardon some temporary narcissism and be generous with affection. Rest tonight if feeling fractious.

Thursday, July 11: If friction arises early on, breathe through it and be safe.

Tell good stories at midday; when the plot twists, choose a good road. The afternoon is more efficient as the moon enters mental Virgo, but unknown factors can challenge our judgment. Watch out for detours, sloppy conditions, and defensive people. ◀ www.roanrobbins.com PASATIEMPOMAGAZINE.COM

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In Other wOrds book reviews A Fort of Nine Towers by Qais Akbar Omar, Farrar, Straus, and Giroux, 389 pages What most Americans know about Afghanistan can be summed up with dusty, broken stereotypes of women in burqas and men in turbans, the crushing hand of the Taliban, and the bombed-out residue of decades of war.

But it was not the Russian bombers, or the English before them, or even the zealots that created the worst havoc for modern Afghanis. Qais Akbar Omar reflects in his autobiography that during his childhood and adolescence, what became known as the country’s “civil war” was inexplicably brutal.

Most of his book takes place in the late 1990s, when Russia had finally stopped pursuing its Communist agenda in Afghanistan. In the chaos of that void, warring factions set about to destroy one another — and ended up taking out everything in between. “Our country was being destroyed more every hour, by factions whose leaders slaughtered thousands during the day, then talked like holy men on their broadcasts during the night. ... Day killers; night liars,” he writes.

Omar’s memoir is simple and unencumbered by flowery prose.

It’s as if the author, 29 at the time of writing, has closed his eyes to recall the essence of events that are burned into his memory from age 7 to young adulthood. He chooses both chilling and loving details that convey his emotion without cluttered analysis — describing his family’s brief return to life as nomads in the Hindu Kush mountains with the same forthright elegance that he uses to explain how a murderous commander’s commandeered house in Kabul smelled like a butcher shop because of a pile of human heads the man was collecting in a pit.

Omar spoke Dari and Pashto until he learned English to get a job as a translator for Americans who were pouring into Kabul after 2001. He is now working on a MFA in creative writing at Boston University.

The author never looks back from some hindsight place of wisdom. Instead, Omar plunges through this difficult coming of age with a linear thread. First, Kabul was like a garden. His early childhood of kite flying and apple orchards, however, is replaced with atrocity.

He recalls that his family spent weeks “trapped in one room like mice in a hole” as rockets rained from the sky and sniper bullets narrowed in on everything that moved. About half the book is devoted to the family’s time on the run, camping along a river, depending on the hospitality of strangers and even finding a cave behind an ancient sculpture of Buddha to seek shelter. “But the war never stopped chasing us,” he writes, noting later that “the country grew increasingly poor, dismal and isolated.”

Important figures in the work are Omar’s father, a rug merchant, and his steadfast mother, who holds her family together even as she’s on the verge of losing them. Omar is captured and tortured at least three times, each time disappearing from her sight and alive only in her prayers. He doesn’t tell her — or anyone — what really transpired in these dark times, until now. There is an ache in his soul, he writes, as if these things happened yesterday.

A reader looking for a lesson in the politics or the war strategies and territorial changes in Afghanistan during this period will not find it here. Omar doesn’t dwell on dates of battles or identifying which faction was led by whom or what it claimed to stand for. His perspective is from the civilian, trapped in what seemed like an infinite war zone.

Cease-fires are key points in the plot, but it’s not important for Omar to explain why or how they occur, just that they allow some measure of respite. The last section of his narrative finally gets to the Taliban takeover of military and civic affairs. By then, it’s easier to understand why the “illiterate peasant extremists” offered something desirable even with their horsewhips and public stonings. “Now we had peace in Kabul, and we did not see blood and corpses and body parts on the streets anymore. But it was an unhappy peace, a frightened peace,” he writes. A different kind of strange peace has more or less come to Afghanistan of the book’s epilogue, although there’s no real sense of what will happen next. From where Omar stands on the roof of the house that the book’s title references — the Fort of Nine Towers — he watches American and British bombers hit targets with much more precision than the low-tech warring factions, yet he quickly determines that this warring isn’t good for the people of his nation either.

President Barack Obama has said he aims to withdraw U.S. troops from Afghanistan by the end of next year.

— Julie Ann Grimm

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PASATIEMPO I July 5 -11, 2013

SubtextS My favorite Big Year: Priyanka Kumar’s new novel For birders, embarking on a Big Year is a serious undertaking, with the potential to fracture personal relationships as the competition to see or hear the largest number of bird species in a calendar year heats up. Santa Fe resident Priyanka Kumar, a writer and filmmaker, has taken on competitive birding in her new novel, Take Wing and Fly Here (Sherman Asher Publishing) — the first book in her New West trilogy, in which she explores humans’ changing relationship with the natural world of the American West. In the first installment, J.K., a graduate student in physics and avid birder, is torn between his birding ambition and his love for his undergraduate girlfriend, Anne Marie, who smells like lilacs and has certain material expectations of him.

Kumar will read from Take Wing and Fly Here at 6 p.m. on Thursday, July 11, at Collected Works Bookstore (202 Galisteo St., 988-4226). The reading includes a discussion by the author about birding and storytelling as well as a slideshow of her bird photography, and it concludes with a clip from her feature documentary about director Satyajit Ray, The Song of the Little Road, featuring Martin Scorsese. Kumar, who has taught filmmaking at the University of California Santa Cruz, has received numerous awards for her work, including the New Visions/ New Mexico Award and a Panavision Filmmaker Award.

Poems plus: ArtFest13 Pulitzer Prize-winning poet Louise Glück reads with Santa Fe poetry powerhouse Dana Levin at the Santa Fe University of Design’s O’Shaughnessy Performance Space at 5:30 p.m. on Tuesday, July 9, as part of SFUAD’s ArtFest13.

The festival continues on Thursday, July 11, with a reading and book signing by poet Jon Davis, director of the low-residency MFA program at the Institute of American Indian Arts, and memoirist Emily Rapp, author of Still Point of the Turning World and Poster Child. SFUAD is located at 1600 St. Michael’s Drive. For information, call 473-6200.

— Jennifer Levin

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folkartmarket.org 505.886.1251 or buy at Museum of New Mexico Shops and Los Alamos National Banks

Santa Fe Trails

In partnership with the New Mexico Department of Cultural Affairs, Museum of International Folk Art, Museum of New Mexico Foundation, and City of Santa Fe. Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’Tax and the Santa Fe County Lodgers’Tax Advisory Board.

Photo © David Evans

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SOUND WAVES Loren Bienvenu

Rock and roast

Renate Winter

It all began with Kaldi the Ethiopian goatherd and his dancing goats. According to a legend whose printed origins date to the 17th century, Kaldi noticed that his goats became more vivacious after eating a certain red berry. A wary monk, after hearing this information, threw Kaldi’s proffered beans into the fire. The bewitching aroma of the roasted beans made him rethink his skepticism, so the two men retrieved the beans, pulverized them, and added them to hot water for consumption. Thus coffee was born.

“Coffee is culture, ever since its creation,” said Todd Spitzer, co-owner of Iconik Coffee Roasters (1600 Lena St.), Santa Fe’s newest caffeinated watering hole. “Politics and revolutions are created out of coffee shops. Music movements, artistic movements, poetic movements, political movements — they start in a coffee shop because people are getting together and talking.”

A lot more than talking occurs in many coffee shops. In fact, while Spitzer was sharing his thoughts with Pasatiempo on a recent Tuesday night, the band Jaill provided a blaring live soundtrack. The Milwaukee-based rock quartet would be a good catch for any small-town venue, being on the Sub Pop roster (one of the biggest labels that can still lay claim to being indie), and the band and Iconik seemed well matched.

The harmonious relationship between music and coffee shops is nothing new.

History abounds with examples of performers, both obscure and famous, serenading patrons as they drink Kaldi’s preferred refreshment. But in Santa Fe, with more and more local bars stumbling in recent months — Stats, The Underground at Evangelo’s, Legal Tender, and Ore House at Milagro have all either closed or are reorganizing — coffee shops are increasingly filling the void left by these more traditional music venues.

Iconik joins the ranks of Betterday Coffee (905 W. Alameda St.) and 317 Aztec (317 Aztec St.) as performance spaces that lie somewhere between bars and house venues. Of the three, Betterday is the most music-oriented, having an actual stage in the back of the room and a track record of multiband shows

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PASATIEMPO I July 5 -11, 2013

that extends more than a year. Aztec can claim consistency, hosting a weekly open-mic session on Tuesday nights as well as the occasional singer-songwriter showcase. Iconik, however, currently shows the most eagerness to become a vibrant mainstay of local music.

“We want to get a beer and wine license and actually stay open [later] and serve food. Then the music will be appropriate for the crowd,” Spitzer said.

Hosting bands was not part of the original intention for the space. But Spitzer

Show promoter Alex Pozo joked that his original goal was to turn Betterday into “The CBGBs of Casa Solana.” explained that after putting on a weekend of successful shows in June for local band Evarusnik, Iconik was immediately inundated with requests from other people wanting to play or produce shows there.

In this category is promoter and KSFR deejay Alex Pozo, who organized the Jaill show. Pozo has plenty of insight regarding the coffee-shop music experience, having booked bands at all three of the places mentioned above. After arriving in Santa Fe, he spent a few years bemoaning the lack of live music opportunities in town, especially for touring bands. “I felt like a hypocrite after a while, so I thought, well, I’ll try doing something. And it was so easy,” he told Pasatiempo.

Pozo first brought bands to Aztec, where he was working at the time, and then, starting last summer, put on a series of successful shows at the newly opened Betterday. Driven by a DIY approach, he faces the occasional out-of-pocket expense due to the unofficial nature of the work. However, for him this disadvantage is offset by the opportunity to showcase underexposed music. “I never did it for the money. I wanted to promote bands that I felt needed to be heard, like Luke Carr,” a rock musician who was formerly in the band Pitch & Bark but now focuses on solo work.

One obvious advantage coffee shops hold over bars is that people don’t have to be of drinking age to get onstage or even through the door. Pozo stresses that he prefers his shows to be all-ages. “When I started at Betterday, it was the kids from 15 to 18 who were really grateful there was a show there — and also really shocked and surprised.” This demographic continues to be strong at Betterday; during a June 22 hip-hop show, fans under 21 were out in full force.

For some, however, the inherent downfall of all-ages venues is that many late-night music audiences want a buzz from alcohol, not caffeine. When asked whether the availability of liquor impacts the show experience, Pozo seemed to think that the issue was mostly one of expectations. “There’s a stigma between coffee shops and bars already. When people think of coffee shops they’re like: It’s probably gonna be something laid back, semi-acoustic, low impact.”

But shows like the Betterday hip-hop showcase and Jaill’s Iconik appearance overturn the assumption that coffee shops only play host to sweater-clad folk singers or beat poets. Referencing the famous New York City punk club, Pozo joked that his original goal was to turn Betterday into “the CBGBs of Casa Solana; I book for the standing-up audience, not the sitting-down one.”

His is just one approach, however. The underlying reality is that by providing space for performers to set up and space for listeners to assemble, coffee shop venues offer the two most basic essentials for all types of live music. Providing space to sit down and space Jaill (for humans or goats) to dance is just a bonus. ◀

PASA TEMPOS

album reviews

JOHn MeDeSKi AlAn Feinberg Basically Bull (Steinway & A Different Time (OKeh) Sons) The pianist Alan Feinberg is “Different” is the key word in the widely acclaimed for his interpretations title of keyboardist John Medeski’s solo of such 20th-century American modernists album, the first in Sony Music’s attempt as Ives, Ornstein, and Cowell. Who knew to revive the OKeh label that recorded that he also harbored a passion for virginal King Oliver and Louis Armstrong in the music from late-Renaissance and early1920s. Yes, the music here is different Baroque England? His affection for this than those jazz-age dates; different, too, repertoire pervades each of the 20 tracks from Medeski’s mostly groove-oriented, on this captivating CD; a listener may get occasionally outside efforts as part of the feeling of eavesdropping on the musiMedeski Martin & Wood. Here, what cian as he plays privately for his own entertainment and edification.

Medeski gives us is spacious, touch-sensitive — he’s playing a Most of the items are by the composer who sports the most English Gaveau piano built in 1924 — and soothing. The music, nearly all name possible, John Bull (circa 1562-1628), who wrote mostly keyboard of it Medeski originals, has at times the concise lyricism of Erik Satie, music, specifically for the instrument known as the virginal. After estabthe harmonic breezes of Claude Debussy, and the unfolding variations lishing himself as a musician in the British court, Bull got in trouble with of Keith Jarrett, though it seldom reaches those heights. The considered the law and fled to the Netherlands. He was certainly guilty of adultery — title tune poses pensive right-hand lines against a repeated left-hand the Archbishop of Canterbury quipped that he “is as famous for marfigure. “Graveyard Fields” is both somber and celebratory. The ring of virginity as he is for fingering of organs and virginals” two pieces not originals are different in that they actually go — but he may even have been involved in espionage. Feinberg somewhere. Willie Nelson’s “I’m Falling in Love Again” is underscores the searching, visionary quality of these pieces. expectant, cautious. The gospel number “His Eye Is on One might prefer one’s Bull (or Byrd, or Gibbons, also the Sparrow” is lush and expansive with swirling figures represented here) on a plucked keyboard instrument, resonating across its melody. Other than “Otis,” first heard Bass Drum of Death’s but Feinberg makes this music sound at home on a on MMW’s 1992 release Notes From the Underground, modern Steinway, and he handles the finger-twisting most of the original music here hangs in place, as songs follow straightforward with clarity, almost never touching the piano’s sustaining much about the instrument as the instrumentalist; pedal — if, indeed, he uses it at all. — James M. Keller mood music for the discriminating. — Bill Kohlhaase

rock conventions, but the lo-fi aesthetic adds a sense of angst.

bASS DrUM OF DeATH Bass Drum of Death (innovative leisure) If it weren’t for the intentionally poor audio quality of Bass Drum of Death’s recordings, the band would sound like your average alternative-rock group. The Mississippi two-piece’s self-titled LP maintains their presence at the forefront of the lo-fi movement, which backpedals from the clinical crispness and rigid clarity provided by digital recording advancements. Even though there are plenty of archival instances of early alternative/grunge bands that approach the inaudible, gone are the days when bad recordings resulted purely from lack of skill or decent equipment. Emotion is at the forefront in BDoD songs like “Shattered Me” and “Such a Bore.” Structurally and melodically, these songs follow intentionally straightforward rock conventions that at times border on the anthemic, but the lo-fi aesthetic adds a sense of angst that is further enhanced by the generally forlorn lyrics. “I Wanna Be Forgotten” ends with the words: “I don’t wanna be a good kid/Just tell me what to think/And I wanna be forgotten/When I’m gone you’ll have a drink.” This sort of self-effacing insecurity seems oddly in conflict with such an over-the-top approach to sound creation, but it resonates with the idea that sometimes shouting out one’s grievances is more about personal release than being heard.

— Loren Bienvenu

KAnye WeST Yeezus (Def Jam) Kanye West is one of the world’s greatest music producers, but he seems content to be known not as the new Phil Spector or Quincy Jones but as the next controversial rapper in a lineage that includes 2 Live Crew, Geto Boys, and Eminem.

He isn’t dumb; he knows this stuff generates the most publicity. With Yeezus, people are talking about the album’s misogyny, racism, and uncomfortable conflation of civil-rights imagery with locker-room talk (in one song West boasts, “I put my fist in her like a civil rights sign,” while in another he samples Nina Simone’s iconic take on “Strange Fruit” for a song about the inconvenience of alimony) — while mostly ignoring the glorious bursts of creativity found in its bedrock of sound. If only there were an instrumental version of it.

Enlisting everyone from Daft Punk to Rick Rubin to Bon Iver’s Justin Vernon, West has crafted a bracing hip-hop album that branches out to soul, dancehall, and electronic dance music, and contains an early stretch of exhilarating pop that nods to Gary Glitter’s “Rock and Roll Part 2,” horror films, Hungarian pop music, and much more. No matter how much music you’ve consumed, you’re going to hear something in Yeezus that you haven’t heard before. Unfortunately, the more music you’ve heard, the more you’ll roll your eyes over the lyrics.

— Robert Ker

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PASATIEMPO I July 5 - 11, 2013

ON STAGE Folk camp hero: Jaime Michaels r Ker ck her

yS

The collaboration between singer-songwriter Jaime Michaels and producer Jono Manson has been a fruitful one. On Friday, July 5, Michaels launches the release of his ninth studio album, Unknown Blessings — his eighth completed with Manson’s aid.

The album is a follow-up to the 2011 New Mexico Music Awards Album of the Year, The Man With the Time Machine. Michaels’ style of folk music is contemporary and contemplative, with an emphasis on straightforward clarity and intentionality. The new album expresses his love for the Kerrville Folk Festival, and its sale benefits the teen music camp run by that organization. For the release show, Michaels is joined by Ben Wright on guitar, Josh Martin on bass, and Tom Adler on banjo, with Jose Ponce opening. Tickets are $15 in advance from www.brownpapertickets.com and $18 at the door. The music begins at 7:30 p.m. at Garrett’s Desert Inn (311 Old Santa Fe Trail, 982-1851).— L.B.

THIS WEEK

Four eyes and a sax: Goggle Saxophone Quartet

You can tell a lot about the adventurous Goggle Saxophone Quartet from its pedigree. Founding members Randy McKean and Daniel Plonsey are the product of studies at Oakland’s Mills College with respected composer-saxophonist Anthony Braxton.

McKean has worked with clarinetist Don Byron; Plonsey studied further with Art Ensemble of Chicago saxophonist Roscoe Mitchell. Their reed quartet, with longtime collaborators Chris Jonas and Steve Norton, draws comparisons to the World and Rova saxophone quartets. In other words, when they play Gig Performance Space (1808-H Second St.), at 8 p.m.

Thursday, July 11, they’ll change the way you see the saxophone. Tickets are $15. Visit www.gigsantafe.com.

— B.K.

Caravan to Madrid: Gypsy Festival

According to contradictory local lore, this year marks the sixth, 11th, or maybe even 12th iteration of Madrid’s annual Gypsy Festival. Event organizers promise “a menagerie of belly dancers, musicians, variety acts, fortunetellers, face painting, artisans, and vendors,” which sounds like a fairly apt description of many weekend gatherings that occur in Madrid. Performers include emcee Ivy Rose, the Clan Tynker, Four Winds Belly Dance, Blissbot, Smokin’ Bachi Taiko, and many more. The Saturday, July 6, event takes place at the Oscar Huber Memorial Ballpark (off N.M. 14) and is scheduled from noon till dusk. Tickets are $10, $5 for seniors and teens, and free for the under 12s. Proceeds benefit Madrid’s playground. For information visit www.gypsyfest.org, call 553-5460, or schedule an appointment with your local fortuneteller. — L.B.

Double-down blues: Dave Duncan

You may have heard Curtis Salgado cover songwriter Dave Duncan’s “20 Years of B.B. King,“ a tune that captures King’s feel and enthusiasm in a soulful tale of suspicion and heartbreak. Nashville-based Duncan — known to his fans as “Double D” — is a veteran of appearances with Gatemouth Brown, J.J. Cale, and Charlie Daniels, among others. His own recordings attract sidemen including Delbert McClinton and members of the Allman Brothers Band. He’ll bring his National Reso-Phonic steel guitar to Cowgirl BBQ (319 S. Guadalupe St.) on Friday, July 5, at 5 p.m. In addition to originals, he’s known to cover Robert Johnson, Howlin’ Wolf, and Muddy Waters. Maybe that’s where the “Double” comes from. There’s no cover. Call 982-2565. — B.K. PASATIEMPOMAGAZINE.COM

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Loren Bienvenu I For The New Mexican

Cristianne Miranda sings Ella Fitzgerald and Billie Holiday

recent transplant from Los Angeles, jazz singer Cristianne Miranda landed her current residency at La Casa Sena Cantina as a result of karaoke night at Rouge Cat. “I was singing ‘The Lady Is a Tramp,’ and sort of bringing the house down with all these youngsters there,” Miranda told Pasatiempo.

After she finished, one of the cantina’s longtime singers came up to her and said, ‘Well, anyone who can get that much applause at karaoke for singing a jazz song needs to come audition where I work.’ ” Miranda auditioned last September and soon became part of the venue’s long-running singing-waiters program, where she now performs five nights a week. In addition, she collaborates with Stars Never Fade Productions, an organization that pays musical tribute at the Cantina and other venues to “singers who are famous and have since passed.” In March, Miranda donned the role of Peggy Lee and was backed by pianist Bert Dalton, bassist Milo Jaramillo, and drummer John Trentacosta. On Sunday and Monday, July 7 and 8, she undertakes the even more ambitious project of channeling Ella Fitzgerald and Billie Holiday in the same evening.

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How does one go about impersonating two of the greatest jazz singers of all time? In Miranda’s case, it’s more a matter of interpretation than impersonation.

“I’m picking out certain recordings that they did and doing the exact arrangements, but I’m doing them as myself, with my own interpretations of those songs.” She pointed out that, being a professionally trained jazz singer, some of her renditions will sound similar to the originals because of her own affinity to the legends — “especially Ella Fitzgerald.”

Miranda’s career as a vocalist began at age 5. One of her teachers noticed her early singing talents and requested special permission to put her in an after-school choir. At the time, the family was living in England, where she benefited from a school system with a strong foundation in the arts. Over the years, she continued singing in choirs, eventually joining a professional children’s choir that performed at the Royal Albert Hall and on television.

When she reached her teen years, everything changed. “When I was 16, we moved to Lake Tahoe, Nevada, which was a huge and very strange culture shock.” After a brief period of acclimation, she found herself in the spotlight

details ▼ Lady Ella and Lady Day: Cristianne Miranda sings the recordings of Ella Fitzgerald and Billie Holiday with the Bert Dalton Trio ▼ 6 p.m. Sunday & Monday, July 7 & July 8 ▼ La Casa Sena Cantina, 125 E. Palace Ave.

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once again, pursuing both music and theater in high school, followed by college at Pepperdine University.

As an aspiring actor in 1990s Los Angeles, Miranda became a regular on the open-mic scene. One night, on a whim, she requested to sit in with the Paul Turner band, which was the house band at the Hotel Nikko in Beverly Hills. After singing one song, she was asked to do another. Then the bandleader informed her that he had just fired the singer, who happened to also be his wife. “He asked me how many jazz standards I knew, and I knew very few, but thought I would embellish and say 10. Before I could answer he asked, ‘Fifty? Sixty?’ and I said, ‘Yes!’ ” According to Miranda, Turner’s response was immediate. “You’ll be working four nights a week and on Sundays you’ll be fronting a 14-piece big band,” he said. So began her headlong foray into the world of jazz.

Before long, she knew far more than 50 standards and was performing them in venues throughout the city.

Last year, feeling that she had capitalized on most of what Los Angeles had to offer, Miranda moved to Santa Fe — a change driven in part by tragedy. “I had a fire, and my apartment burned down in Beverly Hills. I lost everything I owned in the whole world, and my dog died in the fire as well.

It was really traumatic.” Santa Fe offered a place for healing. “I thought, what a good place to just leave Los Angeles and bring my two dogs and just chill out. Basically, from the moment I landed, it’s been anything but chilling out.”

Currently, her time is monopolized by the upcoming Stars Never Fade show. She is responsible for putting together the program. Fortunately, she said, the shows tend to formulate themselves. After listening to the songs over and over again, both at home and in her car, she generally comes to a natural decision about their order and how she wants to perform each one.

Miranda takes special consideration with the Fitzgerald material by listening to the horn parts, which helps her decide when to scat. Although the practice of scatting predates Fitzgerald, she is widely considered to be one of the masters of the form. Miranda plans to scat over some of the standards in Fitzgerald’s repertory, like “Mack the Knife,” a song whose words Fitzgerald famously forgot during a 1960 concert in Berlin. Miranda intends to recreate that performance verbatim.

For the upcoming shows, the singer hopes to balance Fitzgerald’s upbeat, fun, and swinging repertoire with Holiday’s darker work. “The Billie stuff is sort of heart wrenching,” Miranda said. She offered the poignant example of “Strange Fruit,” a song elegizing the victims of lynch mobs. Holiday’s rendition of “Strange Fruit” was highly controversial in its day, but in time it became one of her signature pieces.

In placing the two artists side by side, Miranda is also taking into account their technical differences as singers. Much of Fitzgerald’s acclaim resulted from her impeccable intonation, vocal range, and musicianship. Holiday, on the other hand, was more interested in emotion than technique, as evidenced in songs like “Good Morning Heartache” and “Lover Man.” “She almost sounds like she is a little flat, a little pitchy. But the mood is so haunting and heartfelt that it’s just unbelievable.”

After spending so much time studying the work and lives of the groundbreaking singers who preceded her, Miranda feels a connection with them that verges on the personal. It’s almost as though she has forged her own friendships with the singers. As Miranda undertakes the challenge of honoring them, she draws on their legacies for strength. “What’s funny is that Ella was friends with both Billie Holiday and Peggy Lee throughout her whole life. I thought to myself, Wow! It’s like the three of them are up there looking down on me saying, ‘Go on girl, you can do it!’ ” ◀

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Michael Wade Simpson I For The New Mexican

Summer Voices Santa Fe Desert Chorale

Desert Chorale

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PASATIEMPO I July 5 -11, 2013

“We try to get creative with our programming,” said Joshua Habermann, director of the Santa Fe Desert Chorale, of the ensemble’s upcoming season. One program is devoted to music by or inspired by artists who were depressed, resided in asylums, schizophrenic, suicides, or hallucinators. Other concerts feature Renaissance-era madrigals, Americana, and music by French and Scandinavian composers.

Habermann also directs the Dallas Symphony Chorus, a group of 175 amateurs, who sing masses, requiems, and other “huge, monumental” works. The Desert Chorale, with just 24 professional singers, generally performs smaller works. “It’s like tapas instead of a big meal,” Habermann said, speaking by phone from Texas. He said that coming to work with the chorale is like being handed the keys to the nicest sports car you can imagine. “These are really high-level people. They can do anything.”

The casting of the chorale changes from summer to summer. About two-thirds of the singers are returnees. Others are drawn from auditions Habermann conducts in New York and Los Angeles. Some singers send recordings or travel to meet with Habermann in Dallas. Because of the reputation of the group, the director is able to select some of the best choral singers in the country. “I look for heart, voice, and brains. We’re a community, and I have to have the right personalities. I’m looking for people who are positive and who can be vulnerable as performers.

This is not a gig where you rehearse and perform for one week. We live in close quarters. I need talent, but I can’t have any prima donnas. The singers have to be stars. They have to have the chops to hoot and wail, to be in front and rock it out. But they also have to hear and work cooperatively. It’s a rare singer who can do a demanding solo and then step back into the group and help create a seamless sound. I enjoy building teams.”

The full contingent of singers performs two different programs at the Cathedral Basilica of St. Francis of Assisi in Santa Fe and at the Cathedral Church of St. John in Albuquerque. Two other programs, held in the more intimate Loretto Chapel and First Presbyterian Church in Santa Fe, feature half the group — 12 singers. The chorale also participates in the Santa Fe Chamber Music Festival this summer in a four-part series called Years of Wonder, featuring works by Schumann and Mozart and Book V of Gesualdo’s madrigals, published in 1611.

The Road Home: Songs of America opens the chorale season on Thursday, July 11, at the Cathedral Basilica. The offerings range from Shaker songs to spirituals. Also included are works by American composer Shawn Kirchner (born in 1970) that were inspired by his love for bluegrass music. Morten Lauridsen (born in 1943), whom Habermann called “the dean of American choral music,” is represented by “Lament for Pasiphaë” from his Mid-Winter Songs cycle and “Sure on This Shining Night.”

The second program of the season, Northern Lights, opens July 16 at Loretto Chapel. Habermann, who calls himself a “language person,” once taught Spanish at the high school level, lived in Sweden on an exchange program in 1985, and speaks fluent Swedish. Music on the program features composers from Sweden, Denmark, and Norway.

Many people from Scandinavia are fascinated with lands with warm climates, so the music on this program includes the Lorca Suite, inspired

Joshua Habermann

by the writings of the Spanish playwright and poet, and a piece called “Peze Kafé,” a traditional Haitian song arranged by Sten Källman. Other pieces describe unicorns, the obsessive celebration of the short-lived Scandinavian summer and, as Habermann described it, “sad stuff about Swedes crying in the forest.”

Touched With Fire explores the link between the psychological states of composers and their works and features pieces by Francis Poulenc and Johannes Brahms, whose Fünf Gesänge, op. 104, describes “lost youth and autumn,” according to Habermann. Per Nørg˚ard (born in 1932) created a piece inspired by Adolf Wölfli, a Swiss artist and schizophrenic.

He was locked in an institution and given one piece of paper a day, on which he created thousands of intricate drawings and poems. The program opens July 26 at Loretto Chapel.

The full chorus, backed by pipe organ, cello, and a guest star, mezzosoprano Susan Graham, appears at the Cathedral Basilica on Aug. 10 and in Albuquerque the next afternoon, in a program called Romance to Requiem. The all-French program features the Requiem by Maurice Duruflé. Habermann described the piece as “one of the great works for organ and chorus.” The composer, who died in 1986, served as a choirboy in his youth, and Habermann said this lyrical piece evokes Gregorian chant. Graham also performs with the Santa Fe Opera this summer, in the title role of Offenbach’s La Grande-Duchesse de Gérolstein.

At the Cathedral Basilica, Jonathan Dimmock, organist for the San Francisco Symphony, is at the keyboard, while Dana Winograd performs the cello part.

The final program, The Triumphs of Oriana, features madrigals, Renaissance secular ensemble songs. The chorale highlights a chronological representation of this music, beginning with its Italian origins and moving on to its later blossoming during a period of English obsession with the form. The concert title refers to a collection of 25 English madrigals published in 1601.

A benefit for the Desert Chorale takes place on Aug. 29 at La Posada de Santa Fe Resort and Spa. Sylvia McNair, a cabaret singer who has won two Grammys and has appeared in New York City at the Rainbow Room and at the Oak Room of the Algonquin Hotel, performs. The evening includes a cocktail reception, dinner, music, and an auction. ◀

© Gittings 2011

Sylvia McNair

Susan Graham

Santa Fe Desert Chorale Summer Festival 2013 The Road Home: Songs of America 8 p.m.Thursday, July 11, and continues July 19 & 25 and Aug. 2, Cathedral Basilica of St. Francis of Assisi 4 p.m. July 28, Cathedral Church of St. John,Albuquerque Northern Lights 8 p.m. July 16 & 23 and Aug. 1 & 7, Loretto Chapel Touched With Fire 8 p.m. July 26 and Aug. 6 & 13, Loretto Chapel 8 p.m. July 30, First Presbyterian Church Romance to Requiem, featuring Susan Graham 8 p.m.Aug. 10, Cathedral Basilica of St. Francis of Assisi 4 p.m.Aug. 11, Cathedral Church of St. John,Albuquerque TheTriumphs of Oriana:The Birth of the English Madrigal 8 p.m. Aug. 15, 16, 18 & 19, Loretto Chapel An Evening of Cabaret With Sylvia McNair Benefit performance for the Santa Fe Desert Chorale 6 p.m.Aug. 29 La Posada de Santa Fe Resort & Spa Tickets: $15-$100 (benefit tickets $300); www.desertchorale.org, 988-2282 Venues Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place Cathedral Church of St. John, 318 Silver Ave. S.W., Albuquerque First Presbyterian Church, 208 Grant Ave. Loretto Chapel, 207 Old Santa Fe Trail La Posada de Santa Fe Resort & Spa, 330 E. Palace Ave.

PASATIEMPOMAGAZINE.COM

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Govert Driessen

Schools, streets, and bandstands made the sound of saxophonist

STACY DILLARD 22

PASATIEMPO I ????????? ??-??, 2013

isten to the involved post-bop music of Stacy Dillard, and it’s hard to believe he spent his time as a teenager listening to saxophonist Najee and other smooth-jazz artists. “I was also a fan of [hip-hop artist] KRS-One, even Tears for Fears,” he recalled in a phone conversation from his home in Brooklyn. “You don’t want to know all the stuff I was listening to.”

Consider his sound — the saxophonist was heard in Santa Fe as part of bassist Curtis Lundy’s quintet last fall, and he has a handful of CD releases out (the latest is Good and Bad Memories on the Dutch label Criss Cross) — and it is hard to reconcile what you hear with his youthful jazz-fusion enthusiasm. The music embraces straightahead and progressive jazz.

His tenor sound seems to spring from a variety of influences, some of which aren’t normally thought of together. At different times, he recalls Ornette Coleman and John Coltrane, two postmodernists that came at their music from different directions. At other times, he has something of Coleman Hawkins’ style in his play — not so much Hawkins’ spacious resonating tone but his ability to turn improvisations into rhapsody. On the other hand, he has something of Coltrane’s note-by-note phrasing, no matter how fast those notes are coming. Then there’s a sense of Coleman’s unique combination of harmony and melody — “harmolodics,” Coleman called it — that surfaces in the unpredictable intervals Dillard sometimes uses. Dillard also carries something of Coltrane’s spirituality in his moods and feel. His improvisations aren’t so much narrative as they are quests; there’s something in them that suggests a search. The one word most frequently used to describe his style is “mature.”

Dillard’s approach to his instrument — he also, like Najee, plays soprano — is a product of both new- and old-school musical training. In an age when more and more jazz musicians are turned out whole by music academies and formal training, Dillard received something other than a conservatory education, gaining a working knowledge in high-school band classes and small college workshops. Much of his specialized training came on the bandstand after moving to New York City, where he’s been a sideman for a Who’s Who of band leaders. The streets served as rehearsal space.

Raised in Muskegon Heights, Michigan, Dillard was more interested in sports than music as a student. But during the summer before his 16th birthday, he had an epiphany. “To this day I couldn’t tell you who I heard or what he was playing — I don’t know if it was alto or tenor — but I do remember how it made me feel. I was watching TV and there was this guy playing the horn and instantly I knew that’s what I wanted to do. So I asked my parents for a horn for my birthday. And they said, ‘Are you crazy? No.’ All my older siblings had played an instrument and then given it up so they kind of spoiled it for me.” Dillard concentrated on his other love: basketball. But he didn’t forget the horn. When he was 18 he saw an advertisement for instrument rental: 90 days for $90. “I was working at an electronics store and had some money, and I thought, here’s my chance.

So I got it and just kind of ran away with it. Or it ran away with me.”

While in college, first at Wright State University and then at Central State University (both in Ohio), Dillard heard the saxophonists that turned him away from smooth jazz: Sonny Rollins, John Coltrane, Wayne Shorter and, yes, Coleman Hawkins. “I was listening to everybody, hearing what they did, trying to figure out how they sounded the way they did.” Wynton Marsalis came to Central State, heard Dillard play, and encouraged him to look him up when he came to New York. Another great, the late pianist Mulgrew Miller, came to Dayton to work with a group of middle-school musicians, and asked Dillard to come in and help keep their sound moving. “These kids were young, but they were serious. Mulgrew didn’t want me leading the tunes; he just wanted me to play along. I was like the pace rabbit in dog racing. Something to chase.”

In 2002 Dillard took up a friend’s offer to put him up in his Queens apartment. The saxophonist did his best to immerse himself in New York’s vibrant jazz scene. “I was going any and everywhere. My friend was a school teacher and couldn’t hang out late but I could. Sometimes he was getting up just as I was getting home. I didn’t know anybody in New York, but I made friends fast.” His first gig was in a church with the singer Pucci Amanda Jones. To make ends meet, he would play in parks and subway stops with the trio — bassist Diallo House and drummer Ismail Lawal — he appears with on Friday, July 5, at the Den in Santa Fe. “It was good money but we had to do more,” Dillard said. He was ready to leave New York when a call came in from drummer Cindy Blackman, who heard about Dillard from saxophonist J.D. Allen. Soon another came, from pianist Miller, who heard Dillard was in town. “A little exposure goes a long way,” Dillard said.

Soon he compiled a list of performance credits with trumpeter Tom Harrell, trombonists Steve Turre and Wycliffe Gordon, drummers Victor Lewis and Ralph Peterson, the Mingus Big Band, and pianist Eric Reed, among others.

In 2006, Dillard wanted to make a recording of his own. “I had a lot of music that I wrote and was ready to put some of that together with a band I’d been working with. We actually did [Elite State of Mind and cPhyve] on the same day. Some of the tunes we did at a studio nobody’s heard of.

The last few tracks we did we set up some mics in somebody’s apartment.

Almost all of them were one take. Considering all the things we were dealing with, it sounds pretty good.”

I’ve learned a lot about musicianship and the instrument from other musicians; I’ve learned from all the greats.

But I want to sound like me. I don’t want anybody saying he’s a clone of such and such. I don’t go about it that way. - - Stacy Dillard

Dillard said he doesn’t try to approach his playing with any definite concept in mind. Rather, he just lets it go, playing in the moment and responding to his sidemen and the audience. “That is my concept,” he said, “not really having a preconceived concept. I studied a lot of saxophone players, and the thing I’ve come away with is that you don’t play clichés. So many people will push on you to sound like this or that, and it’s true that we all need to learn from the great players. What you learn from them is that they sounded like nobody else but themselves. I’ve learned a lot about musicianship and the instrument from other musicians; I’ve learned from all the greats. But I want to sound like me. I don’t want anybody saying he’s a clone of such and such.

I don’t go about it that way.”

And what about that label of “mature” that critics have stuck on his play?

Dillard suggested that they’re mistaking confidence for maturity. “Or maybe it’s the same thing. I’m relaxed with what I do. My frame of reference is that there is no frame of reference. There’s no telling where I’m going to go, but I’m going somewhere. And there won’t be any clichés.” ◀

details

Exhibition Opening Sunday, July 7, 1–4 pm

in the MARK NAYLOR & DALE GUNN GALLERY OF CONSCIENCE

1–2 pm

| MEET ARTISTS from northern New Mexico, Cuba, Peru, Mozambique and South Africa.

2–4 pm

| RECEPTION hosted by the Women’s Board of the Museum of New Mexico.

2:30–3:30 pm

| PANEL DISCUSSION with artists, moderated by Gallery Director Dr. Suzanne Seriff.

By museum admission. New Mexico residents with ID free on Sundays. Children 16 and under and MNMF members always free.

Pictured: Camordino Mustafá Jethá, Santo Domásio, Mozambique, Día Mundial de Luta Contra o HIV/SIDA (World AIDS Day) [detail], 2012, photograph by Blair Clark.

▼ Stacy Dillard with Diallo House and Ismail Lawal ▼ 6 p.m. & 8 p.m. Friday, July 5 (free 3 p.m. performance for children & music students; parents welcome) ▼ The Den, 132 W. Water St. ▼ $55-$250; 670-6482

On Museum Hill in Santa Fe · 505-476-1200 · InternationalFolkArt.org PASATIEMPOMAGAZINE.COM

23

LISTEN UP

James M. Keller

Hillel is alive with the sound of music

I

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PASATIEMPO I July 5 -11, 2013

Photos © Cory Weaver/San Francisco Opera

n Mark Adamo’s opera The Gospel of Mary Magdalene, which received its world premiere at San Francisco Opera on June 19, we get a brief glimpse of the title character in bed with Jesus, and that is something you don’t see every day. One might have anticipated that the city’s War Memorial Opera House would be besieged by fundamentalist picketers, but I didn’t see any. I guess word had seeped out that even the bedroom scene was timid, no more dramatically involving than anything else that would occur onstage that night.

Adamo arrived at this San Francisco Opera commission with a strong résumé. He had scored a stunning success with his first opera, Little Women, which he wrote on commission for the Houston Grand Opera Studio, the group that unveiled it in 1998. It proved so popular that the company’s general director, David Gockley, then mounted a main-stage production of it, and the piece went on to crisscross the globe in more than 60 productions. In 2006, Gockley assumed the reins at San Francisco Opera, where a further Adamo commission seemed an obvious move. Opera aficionados anticipated the unveiling of The Gospel of Mary Magdalene with much interest, not just because of Adamo’s own achievements but also because, being married to John Corigliano, he is half of the opera world’s most eminent composer-couple. For Santa Feans, the event held specific interest thanks to several involved parties who also have important upcoming presences at Santa Fe Opera. The production’s director is Kevin Newbury, its set designer is David Korins, and tenor William Burden portrays the role of Peter; all of them will add their talents to Santa Fe Opera’s world premiere of Oscar this summer. Also among the leading singers is baritone Nathan Gunn, as Yeshua (which is to say Jesus), who is scheduled to sing the central part in Jennifer Higdon’s new opera Cold Mountain during Santa Fe’s 2015 season.

For none of these (with the exception of Burden) did Mary Magdalene prove propitious, but one wonders if anyone would be able to make the piece truly stageworthy. At the heart of the problem is the libretto, which Adamo wrote himself. There was no mistaking his passion for the subject. He has read whatever he can put his hands on that deals with the noncanonical Gospel of Mary, a document (usually considered a Gnostic text) that probably dates to the second century and that tells the story of Jesus from the viewpoint of a woman named Mary, who was very possibly Mary Magdalene. Adamo knows the literature; he even includes 116 footnotes in his libretto, replete with the requisite scholarly citations. Nobody is harmed by this, but a libretto’s primary responsibility is not to convey reams of information, however precisely. Instead, it needs to present a story clearly

Nathan Gunn and Sasha Cooke in San Francisco Opera’s production of The Gospel of Mary Magdalene

and compellingly, and it would be hard to argue that Adamo’s libretto succeeded in that regard.

One senses the story he wants to tell: after Jesus rescues Mary Magdalene from punishment because of her sinful behavior, she becomes one of the groupies who surround him; but another of them, Peter, does what he can to exclude her from the apostolic circle because she’s not one of the guys. Simple. Clear.

Interesting. But Adamo seems unable to resist eking out that central conflict with an immense amount of historical detail, and the dramatic crux gets buried in the onslaught. Then he frames the whole thing with a narrative overlay that involves modern archaeologists who are “digging into” the text, apparently to magnify how historical documents are assessed and championed — or not. Unfortunately, this outer story is presented chaotically. Who are these people dressed in clothes they bought at Sears in 1989, bumbling about this ugly environment that looks like it has been bombed out? Is this a homeless encampment?

That would explain why they have a fire going in a garbage bin. But, maybe not: Why would they be arguing about correct versions of religious texts? Why are we hearing broadcasts of news reports in many languages? Oh, it’s about the discovery of ancient scrolls. Who is this lady wandering in dressed as if she just escaped from a Sunday school pageant? Oh, that’s Mary Magdalene, who inhabits the space that will

later be occupied by archaeologists — or, as Adamo says noncommittally in the libretto, “perhaps the site of an archaeological dig in Israel.” The details confuse the story, and the direction clarifies little.

It is a talkative opera. Yeshua tends to utter portentous statements, repeating words annoyingly, probably for emphasis. He seems practically a New Age guru, sharing thoughts like: “When you’re not afraid to lose something,/Then you’ll understand/How to hold on to it.” For a while the projected supertitles display a sentence Mary Magdalene sings: “The only thing I wish I knew is what it is that I must lose you to find.”

I sit transfixed, trying to parse these words that the libretto needed to make crystal clear in an instant.

Characters talk a lot and do little. Even talking about doing something seems exciting in the context. A rare frisson of dramatic energy arrives in an exchange between Mary Magdalene and Peter, who has acted faithlessly vis-à-vis Yeshua: Mary: Still — you’re not a traitor.

Peter: Do you think that’s true?

Mary: If I cannot: Then I will act as if I do.

And, oh yes: much of the text is cast in rhyming couplets or expansions thereof, which in the end seems more of an impediment than a delight.

Sometimes the second half of a thought seems to

convey the vocal resplendence he often has in the past, and a listener was concerned to hear suggestions of a vocal wobble at times. Perhaps it was merely born of opening-night insecurity, or of overcompensation to project through the rich orchestration, or maybe the part lay higher than he might have wished.

Short-Liszt few weeks ago the name of Ophra Yerushalmi resurfaced — an expert pianist I heard with pleasure on occasion in New York during the 1990s. She was a regular presence on the city’s concert scene, often giving recitals that included music by Franz Liszt. Since then, she has become a part-time Santa Fean and has developed a parallel career as a filmmaker. Her documentary Liszt’s Dance With the Devil, released in 2008, was scheduled to screen this week at the Center for Contemporary Arts. The event was postponed due to unexpected circumstances as this article was heading to press. We will let you know when a screening is rescheduled.

Liszt tends to evoke extreme responses from otherwise well-balanced music lovers: they love him or they hate him. His reputation suffered for many years from the overrepetition of the more sensational chapters of his life and from the overexposure of a few of his compositions that are, frankly, not from the top drawer. Whether or not he is on your shortlist of favorites, it is an unassailable fact that Liszt was one of the most fascinating figures in the history of music.

Situated at the vortex of the 19th-century musical swirl, he seemed to pack three lives into his time on Earth: first, as the unparalleled piano virtuoso of his day; then, as a searching musical thinker, honing his skill as a composer and promoting forward-looking music by others from his perch at the Weimar Court; and finally, as a senior eminence intent on looking inward, adopting a mystical stance of eccentric religiosity while fulfilling the responsibilities of a much lionized cultural icon.

Yerushalmi clearly loves Liszt. She does not attempt to provide a comprehensive account of his life and works in her hour-long film, producing instead a more personal rumination that allows various pianists, historians, and other informed parties to share some thoughts on matters Lisztian, punctuated by wellchosen performance excerpts. It’s surprising how much she was able to pack into so short a span without making the film seem rushed or overloaded.

Among the pianists who make appearances are Jeffrey Swann, Mykola Suk, and Oxana Yablonskaya, in addition to Yerushalmi herself, who graciously refuses to hog the spotlight. The American pianist Frederic Chiu offers thoughtful insights on Liszt’s transcriptions and plays a riveting excerpt from his piano version of Beethoven’s Fifth Symphony, demonstrating

A

William Burden

exist only because it rhymes with the first half, after the Seussian manner, as in this scene sung by Mary Magdalene and Miriam (mother of Yeshua): And fifty years ago, there lived a rabbi; And he was named Hillel.

He seemed to know the secret of a godly life.

You’d ask him: he would tell.

The music is attractive, nowhere more so than in a wordless chorus that accompanies Mary Magdalene’s washing of Yeshua’s feet. The score ranges in style but the fundamental influence seems to be movie music of the 1940s — Rózsa, Steiner, Herrmann — or maybe a touch of Richard Rodgers, though filtered through a modernist prism. Conductor Michael Christie oversaw it adeptly, but at first hearing no individual segments leapt out as extractable or particularly memorable.

Of the singers, mezzo-soprano-on-the-rise Sasha Cooke turned in an affecting performance as Mary Magdalene with vocal security, and she projected the text with unimpeachable diction (not always to the text’s advantage). William Burden brought his intense, burnished tenor to the role of Peter, and his confrontations with Cooke provided nothing but vocal delight.

Maria Kanyova rendered the soprano part of Miriam nicely, though the role proved dramatically eviscerated as the evening progressed. Nathan Gunn did not

Filmmaker Ophra Yerushalmi; top, portrait of Franz Liszt

by Henri Lehmann, 1840; photo G. Dagli Orti — IGDA/ © DeA Picture Library

some of the subtle artistry that was involved when Liszt turned a work for orchestra into one for piano.

French pianist Wilhem Latchoumia delivers huge sound and stunning left-hand octaves while demonstrating Liszt’s extroverted side and then retreats to near silence for his late, puzzling Nuages gris. Liszt’s great-great-granddaughter Nike Wagner discusses Liszt’s reputation within her family (Liszt was the father-in-law of Richard Wagner). Poet Robert Pinsky adds a multidisciplinary flavor, and French critic and intellectual Jacques Drillon offers original thoughts about the modernity of Liszt’s pianistic style and his attitude that there need be no such thing as the final, definitive form of a composition. For music lovers, Liszt’s Dance With the Devil will represent time well spent. ◀

PASATIEMPOMAGAZINE.COM

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Chris Nolan/Clermont Music

Mohamed Issa ag Oumar of Imharhan

Sounds of Timbuktu Festival au Desert: Caravan for Peace concert Paul Weideman I The New Mexican

ON

Wednesday, July 10, music fans will get an intense dose of desert — the Sahara — as the renowned Festival au Desert arrives in town. The occasion is not quite celebratory: the annual event, normally held in Timbuktu, Mali, was canceled there because of escalating civil war and brutalities committed by Islamic extremists.

“This is the continuation of a conflict between north and south that was generated over centuries,” said Chris Nolan, one of the Festival au Desert organizers since 2006 and the owner of Clermont Music. “The festival was an attempt to bring everybody together into a neutral space and have them share their cultural traditions. It was pretty successful.

Things could be much worse there. It really became a problem because of the outside influences related to religious fundamentalism and influences not native to the region.”

The festival has always been a dynamic venue, presenting traditional nomadic Malian music; bands that incorporate rock, blues, and other genres; as well as emerging groups from around Africa and Europe.

“Seventy-five percent of the people who perform at the festival are 26

PASATIEMPO I July 5 -11, 2013

from the north of Mali. Someone from the far north would be more characterized in their music having evolved over time and dramatically influenced by their time in refugee camps in the 1970s and the introduction of electric guitars.”

Three performers from the Timbuktu stages play Santa Fe on July 10, offering quite a range of music. Billed as the Caravan for Peace concert and jointly presented by ¡Globalquerque! and the Santa Fe International Folk Art Market, it features Mamadou Kelly, Tartit, and Imharhan.

Singer and guitarist Kelly comes out of a traditional Malian background but also mixes in some Delta blues. His band members play calabash (percussion), ngoni (West African plucked lute), and njarka (single-string fiddle).

The Tuareg group Tartit is fronted by vocalist Fadimata Walett Oumar (known as “Disco”) and a collective of women who play traditional acoustic instruments and sing. “Tartit was last in this country 10 years ago; it’s difficult to bring them here because there are so many people,” Nolan said. “The group is really based in tradition, then the program changes into another reality as the group Imharhan comes forward.

Andrea Papitto

Tartit

That band is led by Disco’s brother, Mohammed Issa, and transforms the happening into the present with electric guitars.

The so-called “festival in exile” is exposing a broader range of people to the music of the West African desert, but it’s also about promoting peace, tolerance, and understanding. “One of the primary songs that Tartit sang at the festival in 2012 is called ‘Democracy,’ ” Nolan recalled.

“They’re all talking about it. Another artist named Khaira Arby sang ‘La Liberté,’ which was against enslavement and human trafficking, and in the middle of the song she sang ‘Peace, Peace, Peace.’ ” The folk art market kicks off Thursday, July 11, with a free celebration at the Santa Fe Railyard. The event — featuring food, kite flying, and

Paul Chandler

Ihhashi Elimhlophe

Youro Cisse, Baba Traore, and Mamadou Kelly

music demonstrations and performances — begins at 5 p.m. A 12-piece Zulu band from South Africa plays Maskandi music at 6:40 p.m., and then at 8:15 p.m. the West African Highlife Band takes the stage.

Babá Ken Okulolo, that band’s leader, was first seen by American audiences as a member of King Sunny Ade’s African Beats, but music has been a part of his life since he was a child. His earliest tastes of song and drumming came from listening to his parents and elders growing up among the Urhobo people in the Niger delta region. “Our music held stories of our ancestors as well as stories of daily happenings,” Okulolo continued on Page 28

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Festival au Desert, continued from Page 27

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PASATIEMPO I July 5 -11, 2013

said in a telephone interview from his longtime home in Oakland, California. “We have music for marriages and for the time the young people are introduced into the world, for all kinds of events and the different aspects of life.”

Okulolo has lived in the United States since 1985, but he still relates strongly to his homeland. His people traditionally used canoes for local transportation. Today many prefer motorboats — which requires money for gasoline. “It should be cheap, but everyday billions of gallons of oil are shipped out, and it is expensive for people in Nigeria to buy. Also, all of the oil spills have changed life in the area I came from, and it is hard for people to fish like they used to. Life is very hard for them to manage.”

At age 8, Okulolo began attending Anglican missionary schools, but he also used a shortwave radio to listen to Afro-Cuban songs, American R&B and jazz, and Congolese music, and would sneak out to watch highlife bands. “Highlife music is the music from the West African club scene in the early 1960s, the music that the young Africans who were fortunate enough to travel abroad to study the various professions liked to listen to when they returned. It was first introduced from Ghana, and it was really good middle-class, guitarbased dance music.”

His early musical career also takes in the Nigerian palm-wine, Afrobeat, and Afro-rock genres. As a young man, he toured with the highlife band Harmony Searchers before joining the big band of Dr. Victor Olaiya, a legend of the highlife music. After a few years, Okulolo formed the Afro-rock group Monomono with singer Joni Haastrup. He also worked with Afrobeat master Fela Anikulapo Kuti. He toured for two years with King Sunny Ade and made a pair of albums — E Dide in 1995 and Odú in 1998 — with the Nigerian singer/guitarist. Today, Okulolo leads the Afro-Groove Connexion and an acoustic band called The Nigerian Brothers, in addition to the West African Highlife Band. That group is made up of Okulolo on bass and four other musicians playing guitar, drumset, talking drums and percussion, and keyboards.

The musical menu broadens further on Friday night ( July 12), with a concert by TradiSon, the house band at La Bodeguita del Medio restaurant in Havana. Musicians performing or giving workshops during market weekend (Saturday and Sunday, July 13 and 14) include TradiSon, the West African Highlife Band, Jalol Avliyakulov from Uzbekistan, Ihhashi Elimhlophe from South Africa, and Edmond Randriamanantena and Roger Randrianomanana from Madagascar. ◀

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

▼ Festival au Desert: Caravan for Peace concert; presented by ¡Globalquerque! and the International Folk Art Market 7:30 p.m. Wednesday, July 10 Lensic Performing Arts Center, 211 W. San Francisco St. $25-$40; www.globalquerque.org & Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org) ▼ West African Highlife Band 8:15 p.m. Thursday, July 11 Santa Fe Railyard Park No charge; 992-7600, www.folkartmarket.org ▼ West African Highlife Band 7 p.m. Friday, July 12 Ashley Pond Park (corner of Central Avenue and 20th Street), Los Alamos No charge; 690-2484, www.gordonssummerconcerts.com

“Lady Ella & Lady Day” Cristianne Miranda Sings the Recordings Stars Never Fade Productions proudly presentS

tONiGht, FriDay, JUly 5, 5:00-7:30 PM

of Ella Fitzgerald & Billie Holiday With the Bert Dalton Trio

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Sunday, July 7 at 6:00 PM Monday, July 8 at 6:00 PM

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Free aDMissiON ON First FriDays, 5:00 – 7:00 PM FOr NeW MexicO resiDeNts at the GeOrGia O’KeeFFe MUseUM aND the NeW MexicO MUseUM OF art

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c ur r e nt e x h i bi ti on

PASA REVIEWS

Georgia O’Keeffe in New Mexico:

Architecture, KAtsiNAM, ANd the LANd

Georgia O’Keeffe, Black Cross with Stars and Blue, 1929. Oil on canvas, 40 x 30 inches. private Collection © Georgia O’Keeffe Museum

M ay 1 7 – S e p t e M b e r 1 1 , 2 O 1 3

This beauTiful exhibiTion tells the little-known story of how the new Mexico landscape, and O’Keeffe’s introduction to Hispanic and indigenous art and architecture, inspired a significant creative shift in her painting. in addition to O’Keeffe’s iconic landscapes, it includes newly discovered paintings, and the work of Hopi artists ramona Sakiestewa and dan namingha.

Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land was organized by the Georgia O’Keeffe Museum. this exhibition and related programming were made possible in part by a generous grant from the burnett Foundation. additional support was provided by american express, the Healy Foundation, Shiprock Gallery, Hotel Santa Fe, the City of Santa Fe arts Commission 1% Lodger’s tax Funding. partiaLLy Funded by tHe City OF Santa Fe artS COMMiSSiOn and tHe 1% LOdGerS’ tax.

217 Johnson street, santa fe, nm 87501 okeeffemuseum.org

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PASATIEMPO I July 5 -11, 2013

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505.946.1000

Arlen Asher Museum Hill Café, June 27

Here and now

A

rlen Asher is all about melody. During a long first set with guitarist Michael Anthony, drummer John Trentacosta, and bassist Michael Olivola on the patio of the Museum Hill Café, the saxophonist would reach back at different times during his improvisations and reference a song’s theme, using it as a touchstone before spinning off again in attractive variations. Playing some of jazz’s most familiar material, Asher turned the standards into something new, exposing the music’s possibilities — all the things the melody held — in ways that were both attractive and meaningful. Even during his solos’ most involved moments, one could grasp a sense of what he was doing in relationship to a song’s melodic lines. Yes, there were times he plugged in a blues note or phrase and moments that were something other than lyrical. Yet he never lost the mood or the message.

Before the show, part of public radio station KSFR-FM 101.1’s monthly Museum Hill Café Jazz Series, Asher, standing in a nest of saxophones and flutes, was introduced as a local treasure. Recently awarded the New Mexico Music Association’s Eric Larson Lifetime Achievement Award, the 84-year-old musician has been a fixture on the state’s jazz scene since moving here in 1958. But he’s more than a local hero. His confidence, his invention, and his sense of musical purpose make an argument that the regional nature of jazz is the source of its development and endurance.

Asher, who seldom performs outside the state, is nonetheless one of the music’s ranking personalities, no matter the location.

The quartet opened on a relaxed pace with “Beautiful Love.” Playing baritone against Anthony’s crisp, just-so accompaniment, the saxophonist pushed the tune from inside the tempo, filling space with phrases that seemed to go places before ending with definitive resolution. He played strong right up through a line’s last note — not an easy thing to do on the burly instrument, especially at this altitude. Those lines were frequently as beautiful as suggested by the number’s title. But they also held a bit of minor-key darkness, a nod to the uncertainties of love. Asher picked up the flute for “What’s New,“ delivering a rich tone that he occasionally embellished with extra air or a burst of brightness. His lines were longer than those from the baritone but just as resolute.

Asher brings out the best in his band mates. With the rest of the group sitting out, Trentacosta and Asher, this time on alto, displayed the familiarity of their 20-some-year association; the drummer seemingly anticipating the saxophonist’s lines. On George Gershwin’s “Summertime” the two paired again, the drums and Asher’s soprano in an all-out uptempo drive. Then Anthony paired off with the saxophonist and the two chased each other through the song, one leading and then the other.

But the most beautiful moment of the number — and the set — was Asher’s languid, melancholy solo introduction, a thing of such lyrical beauty that it sounded composed (and may have been; the saxophonist having a stand and sheet music that he seldom referenced in front of him). With the sunset showing its last orange colors behind him and a warm breeze stirring, it seemed as though he’d anticipated the mood and was playing in tune with what nature had painted.

— Bill Kohlhaase

unfolded

S a n t a Fe

DESERT CHORALE

paper, pages, pen

Ilse Bolle • Joy Campbell • Patty Hammarstedt

iVO V contemporary

July 3 – August 20 Opening Reception Friday, July 5 5pm – 7pm

725 Canyon Rd, Santa Fe • 505-982-1320 • www.vivocontemporary.com

THE ROAD HOME: SONGS OF AMERICA Joshua Habermann, Music Director Jul 11, 19, 25, 28 Aug 2

The Santa Fe Desert Chorale Summer Festival 2013 season begins July 11th with The Road Home: Songs of America. In a program ranging from early American Shaker tunes to modern classics, the Desert Chorale explores our rich and varied national musical heritage.

Make a night of it and join the Santa Fe Desert Chorale’s opening night reception and pre-concert dinner at the Inn and Spa at Loretto, on July 11th.

For reservations, please call 505-988-2282.

For SFDC Summer Festival tickets visit: desertchorale.org or call 505.988.2282

PASATIEMPOMAGAZINE.COM

31

TERRELL’S TUNE-UP Steve Terrell

All the cosmos in Red River A lot of country singers do songs about being a cowboy. But Michael Martin Murphey doesn’t just have the songs and the hat. In a recent telephone interview, Murphey said he operates ranches in Colorado, Texas, and Wisconsin.

“They’re pretty much dedicated to horses. I’ve been involved with cattle, but I’ve decided to concentrate on horses,” said the man responsible for “Wildfire,” probably the most famous horse song of the 20th century this side of “Tennessee Stud.”

Murphey used to live in New Mexico. He moved to Taos around 1980 and stayed 20 years, he said. And now, he’s back, at least for a few months. Red River will be his base this summer. And he has a lot planned there — a series of shows plus the release of a new album, Red River Drifter.

First of all, there’s a show Saturday, July 6, at the Motherlode Saloon that he’s calling the Cosmic Cowboy Rebellion. The show also features Gary P. Nunn (most famous for writing “London Homesick Blues,” which was later used for the closing theme of PBS’s Austin City Limits), Bob Livingston, Craig Hillis, Herb Steiner, and Paul Pearcy.

“All those guys were in my Cosmic Cowboy band,” Murphey said, referring to the early and mid-1970s, when Murphey was a key figure in the progressive country scene in Austin.

Murphey said the individual musicians will be playing their own solo sets as well as playing together like the old Cosmic Cowboy days. He had a song called “Cosmic Cowboy, Part 1,”

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‘Shake It Off’ has one foot in bluegrass and one foot in the blues.

It could almost be an old jug-band song from the 1920s.

on his album Cosmic Cowboy Souvenir, which has the refrain “I just want to be your cosmic cowboy/I just want to ride and rope and hoot.”

That fertile longhair redneck musical alliance included Jerry Jeff Walker, Ray Wylie Hubbard, Rust Weir, Steve Frumholz, and others. “I got sick for awhile, so the Cosmic Cowboy band started playing with Jerry Jeff and became the Lost Gonzo Band.”

Then there’s Murphey’s new amphitheater in Red River called the Rocking 3M Chuckwagon Stage. “Just three miles up Bitter Creek Road,” he explained. It’s a covered amphitheater near a small lake. “A couple of years ago, my partner and I bought the old Lazy H Ranch, which was an old guest ranch where lots of musicians used to stay when they played Red River. Jerry Jeff Walker stayed there and Gary P. Nunn. I actually stayed there in the cabins back then.”

Murphey is doing a series of shows at the amphitheater beginning Friday, July 5, and he will be playing music spanning his career.

“I’ll be doing my music, all my hits, a lot of cowboy songs.” And he’s not kidding about that chuck-wagon part. The concerts will feature chuck-wagon meals catered by Texas Reds Steakhouse.

Murphey said these shows will provide a real Western experience. But one thing that won’t be real — unless the drought gives us all a break later this summer — is the campfire.

“It’ll be an artificial fire, unless they lift fire restrictions.” Good idea — “Murphey sparks wildfire” would be far too tempting for newspaper headline writers across the country.

Flashback: The first time I met Murphey was in the summer of 1980 when he played a show at the Paolo Soleri Amphitheater that was great until his surprise guest Roger Miller, who had recently moved to Tesuque, came out on the stage. Miller stepped up to the mike and said, “I live down the road apiece,” strummed a chord or two, and all of a sudden the clouds opened up. The rain refused to quit, and the show was stopped for fear of electrocution on the uncovered stage.

Miller must have been cursed. Next time he performed here — a big show with Barbara

Mandrell at the Santa Fe Downs a couple of years later — it rained like crazy again.

All this and a new album too. Red River Drifter is released next week. It’s an all-acoustic album with bluegrass overtones — especially the upbeat “Peaceful Country,” which opens the CD. Like all Murphey albums in the past several years, it’s produced by his son Ryan Murphey, an accomplished songwriter and guitarist.

The best song here is a funny one, “Shake It Off,” which Murphey sings with Pauline Reese.

It’s got one foot in bluegrass and one foot in the blues. It could almost be an old jug-band song from the 1920s. “When the monkey’s on your back don’t you cut him any slack/Buddy, won’t ya shake it off/When the devil’s at your door, don’t you take it any more/Buddy, won’t ya shake it off.”

“Faded Blues” is basically a western take on Thoreau’s adage, “Beware of all enterprises that require new clothes.” It tells of a poor kid whose girl leaves him for “a sharp-dressed dude, kind of a high-brow cat.” This tune has some tasty Mexican-style guitar that would make Marty Robbins proud. Another favorite is “Mountain Storm,” a minor-key tune with some sweet fiddling and a melody that might remind you of “Poor Wayfaring Stranger.”

From the beginning, Red River Drifter is full of gorgeous melodies, the sweet, sentimental tune called “The Gathering” perhaps being the best example. It’s good to know that New Mexicans will have plenty of opportunities to hear those melodies up close this summer.

The Cosmic Cowboy Rebellion show is at 8 p.m. Saturday, July 6, at The Motherlode, 410 E. Main in Red River. Tickets are $42 (VIP tickets $60).

Murphey’s shows at the Rocking 3M Chuckwagon Stage are scheduled for 8 p.m.

Friday, July 5; Tuesday, July 9; and Thursday, July 11; and continue through Aug. 31. The theater is at 178 Bitter Creek Road, Red River.

Tickets are $58, $52 for seniors, and $29 for children.

Tickets for all the shows are available at www.tix.com and by calling 575-754-6280. ◀

Get your headlines on the go!

Don’t miss the latest news right to your inbox with our new and improved Morning News Updates email newsletter! http://www.santafenewmexican.com/newsletters/

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41

Michael Abatemarco I The New Mexican

ImplIed spaces Mokha Laget’s coLor abstractions

U

Mokha Laget: Skybox VII, 2013, acrylic and clay-pigment paint on canvas; opposite page, Study for Skybox VIl, 2013, acrylic and clay-pigment paint on canvas

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sing clay-based paint, Santa Fe artist Mokha Laget has crafted a series of geometric abstractions that gravitate between nonobjective and objective interpretations.

Color Walk, an exhibition of her work on view at Peyton Wright Gallery, represents a direct lineage from the Washington Color School, active in the D.C. area from the late 1950s and through the 1960s. Beyond that, Laget’s paintings recall the earlier Color Field movement as well as the work of German-born painter Josef Albers. The dynamism of Laget’s paintings have a flow of movement, a sense of depth, and spatial considerations that invite real-world comparisons. For instance, Study for Skybox VII, a new work shown in the exhibit, reads like the edges of buildings against a blue sky.

The blue color takes on the characteristics of negative space within the painting, although it can also be read as solid color form or as a formal, reductive abstract element. Looking at the work, one gets the sense of gazing straight upward, into the sky. Other abstractions in Laget’s Skybox series suggest a similar interplay of architectural forms in space without use of any actual explicit references. In other words, the sense of objects in space is merely implied. “My work is always about the dialectical play on every level,” Laget told Pasatiempo. “I was a studio assistant with Gene Davis of the Washington Color School for four years and worked extensively with him on color issues and color application. I really wanted to push that further and start working with the surface as well but keeping the depth and transparency. When I worked with Gene we had a lot of discussions about this idea that, here he was working in this very formalistic, hard-edge way, and he had really started as an Abstract Expressionist. Those two impulses were within him. That was a duality he was never completely able to bridge, and that was something that was, for me, essential to bridge. It’s essential to make a synthesis between the formal and the informal.”

Laget’s triangular wedge forms, tapering to a point at one end and opening wide at the other, draw the eye in a multitude of directions, right out off the picture frame. It is almost puzzling how clearly defined sections of color appear to swing between having a solid appearance to having the appearance of space, as in the painting Unseen 1. The sense of depth in it is always present but constantly shifting. An earlier body of work Laget called the Bildung, or the Architectonic Series, also plays with the idea of lines of sight in the paintings extending into the physical

space around them. “The vanishing points are outside the frame, so your eye is naturally pushed off and then brought back,” she said. “When it’s pushed out you’re dealing with the architectural space as a whole. There’s an implied space that meets the eye.

Then there’s an implied space that happens within the painting because you are drawn into it at deeper levels. For me, the architecture is something that is internal as well as external.”

The surface treatment in her work has a matte, velvety texture enhanced through the use of clay pigments. Some colors sink into the canvas and others pop depending on their juxtaposition with other colors. The most obvious associations with Laget’s use of black are shadows, night, or void space, but they, too, could be seen as mere shapes within the greater construct of the overall composition. Included in the exhibition are a few shaped canvases, the edges of which echo the geometric shapes of the compositions.

In some ways, Laget’s current work is a reflection of her life experience. She came to the United States after spending part of her childhood in North Africa and studying in Europe. “I came to America when I was quite young, and we always talk about it as this melting pot but, in fact, it’s not a melting pot. It’s more like a mosaic. We don’t ever melt. We kind of pull it together with edges that don’t quite fit. My personal mosaic has been extraordinarily rich with all the cultures and influences, and all the exposure to art that have needed to be processed.”

In the series Homage to the Wedge, the repetition of triangular or wedge-shaped forms is suggested by the use of multitudes of parallel lines. “Albers is a fantastic inspiration, both in terms of what he was doing with color behavior and the purest forms. The series I call Homage to the Wedge, that’s a wink to Albers’ series Homage to the Square.”

Peyton Wright rarely exhibits work by living artists, but the modernist sensibilities in Laget’s abstractions make her an exception. “They saw that the work I was doing was not only directly connecting to the early modernists but then pushing it into the contemporary, which I don’t think many people are doing.” ◀

details ▼ Mokha Laget: Color Walk ▼ Opening reception 5 p.m. Friday, July 5; exhibit through July ▼ Peyton Wright Gallery, 237 E. Palace Ave., 989-9888

For me, the architecture is something that is internal as well as external. — Mokha Laget PASATIEMPOMAGAZINE.COM

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ART OF SPACE

Paul Weideman

Ra Paulette

In great depth: the art caves of Ra Paulette If you’ve had the opportunity to visit one of Ra Paulette’s art caves in the Embudo area, the word “transcendent” might occur to you when describing the experience. “I call it the cave effect,” Paulette said. “There are some perceptual and psychological things that are in play, as far as a medium goes, that are advantages in this work.”

And work it is. The process of creating his underground cathedrals is intensely physical, as viewers of CaveDigger will see. The new documentary film screens at the Center for Contemporary Art on Tuesday and Sunday, July 9 and 14. Even though his medium is relatively soft sandstone, it is rock, and the cave sites are remote. You get an inkling of the effort involved when you observe Paulette 44

PASATIEMPO I July 5 -11, 2013

trudging, climbing over the landscape on his way to his current cave project, a wheelbarrow and tools strapped to his back. Then there’s all the digging and carving, creating arches and walls, shoveling all the loose stuff into the barrow, and hauling it outside the cave entrance.

California filmmaker Jeffrey Karoff was inspired to make CaveDigger not only because of the quality of this work but because of the artist’s anonymity.

“Paulette’s spectacular, Gaudi-like caves are easily on par with the most well-known land artists — Goldsworthy, Smithson, De Maria — yet only a small circle in Northern New Mexico is aware of his work,” Karoff wrote in a blog for the Maui Film Festival. His 2013 documentary won an audience award for Best Short at the mid-June festival.

The most recent image in CaveDigger is from August 2012. Karoff started shooting in January 2010, a decade after he first saw a Paulette cave.

That occasion was the result of meeting Shel Neymark and Liz Riedel at a Dixon pancake breakfast. “They were having a cave built, and at that point they were pretty exasperated, because it had been going on for some time, and Liz was sick. But I walked into that cave and was just sort of hit with this visceral impact.”

As the film shows, Paulette’s wholly intuitive process — as he picks through the rock, creating floors and ceilings, pillars, rooms, doorways, steps, benches, and detailed carving decorations in the surface — made it difficult to satisfy clients’ needs regarding deadlines. Each cave took years to complete.

“I wasn’t particularly interested in making a piece that was simply exploring an artist and his process and work,” Karoff said. “I wanted to find something deeper and more universal. There’s a fundamental irony, because here’s a guy who is ultimately an outsider in almost every way you can think of, and yet he was dealing with a timeless conflict: creative freedom versus the financing for that creativity and dealing with people. Ra is a world-class artist and he is unnoticed, and because of that he has to deal with the exigencies of having patrons and what they want.

So is he a contractor or is he an artist?”

Karoff said the major challenge in doing the film was finding a structure. “Biography does not supply that very easily, so finding a way to tell a story with a beginning, middle, and end was difficult.” He found what he came to think of as “a liberation story” in the conflicts Paulette had with patrons, which disappeared when the artist ultimately decided to work only for himself.

Most of the art caves have proceeded without incident, as Paulette carves away, relying on what he terms “intuitive engineering.” In one project, though, he encountered a different sort of rock.

“That wasn’t the usual Ojo Caliente sandstone, but it was in my backyard. I did my best, but the material didn’t work. The Ojo Caliente sandstone is homogeneous. You’re dealing with one material, basically going into a solidness that is all one thing.

If your shapes are conservatively engineered, I don’t have problems. Safety is everything, working as a cave artist.”

Even with the more consistent rock, it’s still one of the most demanding mediums one could conceive for such large projects. Is the man obsessively physical? “It comes out of my life experience. For many years I traveled around and worked as a farm laborer.

I was known as the human backhoe. My approach to labor is as a dancer. It’s a very minimalistic dance.”

Paulette grew up in La Porte, Indiana. He came to Arroyo Seco in 1977 to visit an old friend and moved to Embudo in 1984. He finished the first cave in 1987. Known as the Heart Chamber, it was created on public land and became somewhat of a public shrine — so well-visited, in fact, that the artist had to fill it in. “There were so many people going to it and it was detrimental to the area, and there were safety issues.”

He calls himself “a precocious beginner,” in spite of that fact that he’s been dedicating himself to creating these caves for more than a quarter century.

“I don’t have a studio, and I try to evolve by doing different things. As a sculptor I don’t have that many hours in, because so much of it has to do with excavation, but I think creating negative space and feeling the shape of the negative space is a sculptural aspect that I think you only find in digging a cave.

That’s another psychological aspect of the cave effect: we feel the shapes we’re in with our peripheral continued on Page 46

Ra Paulette carves stupendous caves in Embudo; photos courtesy Jeffrey Karoff

PASATIEMPOMAGAZINE.COM

45

Art of Space, continued from Page 45 attention and it is different to be in shapes that are other than rectangular prisms.

“The project kind of reveals itself. I have a starting point in my mind, and then what’s being offered reveals itself as the project is under way.” With that modus operandus, problems with client deadlines are a given. That is no longer an issue. He is in his third year of a 10-year project, just for himself. He calls it his magnum opus.

He could use some help. But in the film, he says, ”I’ve tried to tell young guys that they can do this, but it doesn’t register.” There have been some with an interest, but they didn’t seem to have the ability.

“Ra turns 67 in July, and he’s pretty out-front about wanting to have young people working with him,” Karoff said. “He has in the past tried to instruct people on how to follow their noses into the mountain and none of them can find the floor.”

Paulette’s spectacular, Gaudi-like caves are easily on par with the most well-known land artists — Goldsworthy, Smithson, De Maria — yet only a small circle in Northern New Mexico is aware of his work.

— filmmaker Jeffrey Karoff

Finding the floor. Imagine carving your way through a mountainside, looking for a “floor.” One important aspect of the process is rigorously practical. “I try to avoid wheelbarrowing uphill,” Paulette said. “So in most of them the floor level is higher than the outside entrance. But I generally go up and down, up and down, and here and there I’ll go through the ceiling because it’s important to correlate the outside with the inside.”

Karoff and his Transylvania-born director of photography, Anghel Decca, give viewers plenty of rhapsodic pans in these entrancing sandstone spaces.

With all that’s gone before it, Paulette’s magnum opus promises to be an astounding feature.

“It’s very exciting. It’s a culmination,” he said.

“Actually, the process is what I get out of it, but I have a lot of ideas and plans, how this could be a societal tool, how this could be used as an instrument of connecting people to the earth and also to their own inner sense of who they are. I’m creating a venue, a very unique venue.” ◀ “CaveDigger” screens at 7 p.m. Tuesday, July 9, including an interview with Ra Paulette, and at 11:30 a.m. Sunday, July 14 (with Paulette and director Jeffrey Karoff), at the Center for Contemporary Art (1050 Old Pecos Trail, 982-1338).

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tonight . july 5, 2013 . 5-7pm

E n c o R E

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T H E

FEATuRing

FolloWing

m o n T H l y

railyard arts district art Walk THE

charlotte jackson Fine art Heiner Thiel & Michael Post, Colours of Space

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james kelly contemPorary Emi Winter

SAnTA FE DEpoT

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william siegal gallery Polly Barton & Alison Keogh, Sutras

P RAIlyARD pARkIng gARAgE

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william james david kelly richard siegal charlotte jackson

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tai gallery Nagakura Kenichi

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cAmIno DE lA FAmIlIA

El muSEo culTuRAl

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cAmIno DE lA FAmIlIA

lewallen galleries Dan Christensen, The Orb Paintings

zane bennett contemPorary art Robert Dean Stockwell, Cleromancy, Sculptural Installations

david richard gallery Paul Reed, Steven Alexander, Michael Cook & Trygve Faste

MEMBER

zane bennett

Marco Brambilla: Creation (Megaplex), a mind-boggling 3D video collage in our new project space through tomorrow. This work presents a spectacle of over 500 clips from a vast archive of iconic Hollywood and international films. upcoming on July 13, the museum-wide installation Enrique Martinez Celaya: The Pearl through october 13, 2013.

The Railyard Arts District (RAD) is comprised of seven prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston.

We invite you to come and experience all we have to offer.

PASATIEMPOMAGAZINE.COM

47

Michael Abatemarco I The New Mexican

T H E A F T E R L I F E O F O N C E - G R A N D T H E AT E R S art of the allure of exploring derelict and abandoned buildings is the chance of finding a relic from the past. The excitement of entering a danger zone, ignoring prohibitions to “keep out,” is another draw — as is the possibility of seeing a ghost.

Since the 1990s, photographer Julia Solis, along with artist collaborators and friends, has lead history-based scavenger hunts, art installations, and performances in abandoned buildings to call attention to their potential as places for creative expression. These experiences led Solis to start a photography project that culminated in a book, Stages of Decay, which explores the architecture and ornamentation of neglected and forgotten theaters across the United States and Europe.

“Finding them came out of a general desire to explore abandoned buildings and ruins and do something different with them, bringing people into them and allowing them to have an experience with the space through adventure games I’ve organized, or having a picnic inside a building,” Solis told Pasatiempo. “When you’re paying attention to any downtown in America you start noticing them. I was driving through a small town in the hills of West Virginia, an old industrial town, very small, and I thought I’d go down Main Street because I’m sure they’ll have a theater. They always do. There is a Main Street and, yes, there was a theater and, yes, it was abandoned. It was just a lucky guess. The door was open in the back, and you walk in and see this incredible structure that’s still standing, and you can find things inside that people haven’t seen in five, 10, or 20 years.”

Solis peppers the book’s accompanying essay with intriguing images: a mosaic tile with Mesoamerican motifs in the Vanity Ballroom in Detroit, the gilded ceiling

of Loew’s Kings Theater in Brooklyn. A short section of vignettes, briefly delving into the history of five different abandoned theaters, presents readers with an introduction to the kind of spaces Solis concentrated on for the book. They are movie theaters, concert venues, ballrooms, hospital stages, and a large number of school auditoriums. “A lot of those are in the Detroit area, because Detroit has an unusually high amount of abandoned schools. I found it surprising, too, that even a very small school that takes up half a block will have a beautiful auditorium inside. I wasn’t aware of that until I started this project. Some of them are very plain, but you can tell that someone loved performing there because there was a lot of care put into them, even if they didn’t have a lot of financial means.”

Theatrical spaces weave a timeless spell, even when crumbling to dust, because the details of plaster ornamentation and scenery are part of a theater’s aura of escapism and play. “When they built the first movie palaces in the teens and ’20s, people would go into these incredible theaters, and they’d never seen anything like it before. Not even the churches were that glorious, because developers would spare no expense with the ornaments, especially in the atmospheric theaters where they tried to recreate an entire outdoor setting, with lights that would turn on and off and seemed like stars twinkling, little bird sculptures that sing, all these incredible details that would make you feel you were traveling somewhere completely different, whisked back 100 years to a place where everything was better. It’s designed to whisk you away into another world.”

Anachronisms such as Detroit’s Michigan Theater, whose ornate ceiling is a bizarre contrast to the parking structure that now occupies the space, carry an air of aging majesty. But if the graffiti, trash, and willful damage evident in some of continued on Page 50

Julia Solis: opposite page, top, Norwich State Hospital, Connecticut, 2010; bottom, Sanitarium, Germany, 2010; images © Julia Solis, 2013, courtesy Prestel Publishing

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Hubert Elementary School, Michigan, 2011

Stages of Decay, continued from Page 48

these old theaters is any indication, they hide danger as well as treasures. “One thing about a theater that’s difficult to get into is that there won’t be people inside, and you can find something that’s sort of like a time capsule. That’s really nice. But the one’s that are really blown out and open, people are living in them, and people do drug deals in them. It gets pretty sketchy, and so I sometimes go in a larger group or go really fast, take a couple photos, and run out. I almost got car-jacked in East St. Louis. I knew it was a really bad area. And the Eastown Theater here in Detroit, for instance, I was in there with a friend, and we were taking photos, and we saw flashing lights and heard sirens and saw a guy running in from the police. We left very quickly through a back door. You really don’t know what you’re going to run into.

You have to be prepared and use your good judgment if you can.”

Most of the theaters in Stages of Decay are now closed, and a few have been repurposed. It doesn’t matter how artful and enchanting a grand theater may once have been; more have been demolished or await demolition than have been restored, due in part to the high costs of renovation and to indifference. “Whether something is abandoned or not doesn’t have so much to do with how historic it is or functional it is. A lot of it has to do with its location and management. A lot of downtown theaters couldn’t offer parking. That’s something so trite ... you wouldn’t even think about it, but it’s such a huge economic factor for some places. Lately, there’s been so much revitalization of inner cities, which is really nice, but five or 10 years ago, when everyone was moving out of the cities and into the suburbs, a lot of these spaces were left behind, and it became hard to distinguish what the original function of one building versus another was, especially when the marquee is gone.”

Solis is the founder and director of Ars Subterranea, one of several groups whose aim is to call attention to abandoned sites through creative projects and preservation campaigns. “We’re contributing to making people aware of what these spaces can still offer, that there’s a certain kind of beauty in them that should be preserved. You have to make something positive out of it because it is very sad. It’s as sad as seeing any beautiful artwork or even an organism come to life and then die again. You have to appreciate the beauty when it’s there and celebrate it.” ◀ “Stages of Decay” by Julia Solis was published by Prestel in March.

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Hi-yo Silver, away — far away Robert Nott I The New Mexican The Lone Ranger, Western, rated PG-13, Regal Stadium 14, onion At one point in producer Jerry Bruckheimer and director Gore Verbinski’s movie The Lone Ranger, the titular hero (Armie Hammer) halts his horse on his way out of town to tell his lady love (Ruth Wilson), “I can’t stay.” You see, Western heroes get to move on to new adventures at a certain point.

Boy, was he lucky. I had to sit through the entire film, which has a running time of about two and a half hours and feels twice that length. Action packed but curiously unexciting, The Lone Ranger offers an uneasy mix of sadistic violence and wry humor.

Whether its depiction of the Comanche offends Native Americans remains for others to determine.

Frankly, I think the picture is an equal-opportunity offender: it insults everyone, including flesh-eating rabbits, one-legged prostitutes, and the audience.

Only the scenic beauty of New Mexico and the Lone Ranger’s horse, Silver, emerge from this fiasco with any sense of dignity.

And it’s a shame, because with all the talent involved and the use of a tried-and-true story of a masked hero righting wrongs in the Old West, this retelling of the Lone Ranger saga should have worked on some level. The screenwriters — Justin Haythe, Ted Elliott, and Terry Rossio — created a charming framework from which to spin their tale.

A young boy (well played by Mason Cook) clad in Lone Ranger garb, circa 1933, visits a carnival’s Wild West exhibition, where he encounters an aged Tonto

Johnny Depp and Armie Hammer

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Wild but not wild enough: The Lone Ranger

( Johnny Depp, who is also credited as an executive producer). The sporadic interplay between the inquisitive kid and the tired old warrior is played with a sense of poignancy and humor missing from most of the rest of the film.

The film follows the traditional Lone Ranger set-up of a group of Texas Rangers, including John Reid (Hammer) riding into a canyon ambush orchestrated by the evil Butch Cavendish (presented here as a borderline cannibal in the persona of actor William Fichtner). Only Reid survives, saved by Comanche outcast Tonto with some help from a spirit horse that Reid calls Silver. With the donning of a black mask, Reid becomes the Lone Ranger, and he and Tonto set out to bring Cavendish to justice — for very different reasons.

The Lone Ranger not only borrows and steals bits, gags, and direct scenes from earlier, greater movies — High Noon; The Searchers; Once Upon a Time in the West; The Good, The Bad, and the Ugly; The Wild Bunch; and The General (the 1927 Buster Keaton version), to name just a few — it shamelessly relies on familiar thematic devices from the Western genre.

So it jams in a revenge theme, the cavalry vs. Indians conflict, the business involving white men posing as Comanches to stir up trouble, the building of the railroad (representing progress and power), and an examination of race relations. It also offers environmental commentary, as the actions of Cavendish and his criminal colleagues set nature out of balance, which is where those carnivorous bunnies come in.

All of these elements leave little room for character development or reflection of any kind.

As if it can’t slow down for fear of losing its audience, the movie rushes ahead with little rhyme

or reason. Tonto gets jailed about 20 or 30 minutes into the movie, and then he’s out and about, and we never learn how he escaped. The Lone Ranger is wounded, unconscious, and comes to on top of a high burial platform on a scaffold that sits on a narrow mountain peak about a thousand feet high.

In the very next scene, he’s stumbling through the desert. Maybe he had a parachute. The characters fall from speeding trains and off of roofs and bridges without sustaining much more than a scratch or a bump, bouncing back immediately like animated foils in a Warner Bros. cartoon.

Instead of pursuing Cavendish and his bunch, the Lone Ranger and Tonto should have taken on the scriptwriters, producers, and director, sending them to the hoosegow without any chance of parole.

The actors don’t perform, they clown. Depp must have taken pointers from Joey Bishop’s similar turn as a deadpan, wise-cracking Indian in a deservedly forgotten Dean Martin comedy Western called Texas Across the River. Hammer’s part is written and performed as if he is Superman in one scene and Jerry Lewis in the next. The women mostly serve as window dressing, and Fichtner and Barry Pepper, as the bad guys, offer cardboard-cutout villainy.

But let’s try to be a little upbeat here. The horse’s antics are amusing, even when the film’s creators turn him into Pegasus as he carries our often inept hero across the top of buildings and locomotives.

New Mexico does look beautiful, and you should be thankful it doesn’t have to deliver any dialogue, given the quality of the script. “Who am I to argue with the Great Spirit?” Tonto remarks at one point.

It would be nice if the Great Spirit warned moviegoers away from this picture. I know I will. ◀

moving images film reviews

Just a shot away Jonathan Richards I The New Mexican 20 Feet From Stardom, documentary, rated PG-13, Center for Contemporary Arts, 3.5 chiles And the colored girls go doo-do-doo-do-do, doo-do-doodo-do ...

“Some people get nervous about that,” says Darlene Love, listening to the chorus of Lou Reed’s Take a Walk on the Wild Side. “Because it says ‘colored girls.’ ” And she laughs.

But they were colored girls, a lot of them, once the music industry started shaking off the dredged-inflour whiteness of the Perry Como years and putting backup singers with soul behind the headliners in recording sessions and touring acts. There were white girls too, and some men as well in the backup ranks (Rita Coolidge was a session singer who broke through the barrier, and Luther Vandross started out behind David Bowie), but an awful lot of the best ones were black women. And when rock and roll gave them license to be as black as they wanted to be, it freed a glorious sound. “People started wanting songs with feeling,” Stevie Wonder recalls.

When British groups like the Rolling Stones came across the Atlantic in the mid-’60s, it opened things up even more for black women, because a lot of these guys “were trying to sound black,” Merry Clayton remembers with a chuckle. Clayton got a call in the middle of the night to do a studio session for the Stones on “Gimme Shelter.” Pregnant, hair in curlers, she belted “Rape! Murder! It’s just a shot away!” into rock history.

Love and her Blossoms sang backup, and sometimes even did the whole song, ghosting for established groups that took the credit. This movie reunites Love with the other two Blossoms, Fanita James and Gloria A. Jones, for the first time in

Jean King, Darlene Love, and Fanita James behind Marvin Gaye, 1964

decades, and they reminisce about doing “He’s a Rebel” for Phil Spector. He released it as a single by The Crystals, who were on the road touring with Gene Pitney. “It started climbing the charts,” James recalls, “and they’d never even heard it!”

Love was under contract to Spector, who exploited her ruthlessly — you think of Debbie Reynolds in Singin’ in the Rain, contractually forced to dub the movie voice of Jean Hagen, saying “I’ll do it, Don, but I never want to see you again!” Love never wanted to see Spector again, and trapped inside the producer’s celebrated Wall of Sound, she quit the music business and went to work cleaning houses.

Then one day “while I was cleaning this lady’s bathroom” she heard an old song of hers on the radio and knew she had to give it another try. Love really began her solo career at the age of 40; in 2011, she was inducted into the Rock and Roll Hall of Fame.

Morgan Neville’s exhilarating documentary brings these backups singers front and center and illuminates a dynamic of the 20th-century rock-music scene that too often got taken for granted. Ray Charles’s iconic “What’d I Say?” is a classic call-and-response straight out of the black church tradition, but with sex on its mind. One of the Raelettes who filled that sound is Mable John, now a Los Angeles pastor. Many of the women who filled the ranks of the background singers came from the gospel tradition, the black churches, and the families of preachers.

Sweet harmony in the rock: Jo Lawry, Judith Hill, and Lisa Fischer

You’ll meet some terrific women, and hear some extraordinary voices. Tata Vega, Claudia Lennear, the Waters family, Lynne Mabry, and the sublime Lisa Fischer are a few that will send you out of the theater wondering about that imponderable barrier that kept them from headliner stardom. Judith Hill was set to launch her career as a featured performer in Michael Jackson’s farewell concert tour, “This Is It,” when the star’s death sent her back to the ranks. Today she hovers between a solo career and backup work; she enjoys the latter, but friends and critics worry that it undermines the former.

A few flirted with breakout careers, only to see that will-o’-the-wisp dance tantalizingly just beyond their reach. They were slotted into a niche already filled with another star, or one thing happened, or another, and they found themselves back working for a living in the upstage regions, and for the most part happy to be there. They get their moments in the spotlight — Lennear and Fischer have been regular featured performers with the Rolling Stones on tour.

The quality that runs through them all is a love of music and a joy in the way voices can blend and weave and make acoustic magic. “I love melodies,” Fischer says. “I’m in love with sound vibrations and what they do to other people.”

Most of the singers we see here started out in the business young in the ’60s and ’70s. They’re of a certain age now, comfortable in their own skins, funny, philosophical, and warmly natural, respectable women with a few disreputable memories that they hide behind earthy chuckles and sparkling eyes. Most of them never made that leap to stardom, but the regret is muted; if there’s disappointment, there’s little bitterness and a lot of pleasure in both yesterday and today.

We hear from some of the stars whose careers have profited from the work of these singers who stand 20 feet back and make magic. Bruce Springsteen, Mick Jagger, Sting, and Bette Midler listen to some old tracks and shake their heads in pleasure at the backup work that enriched their sound.

“Not everyone is cut out for stardom,” Springsteen says. Some of it’s temperament, some of it’s luck, and some of it’s just the business. But here the backup singers step out front and center, and it’s glorious. ◀ PASATIEMPOMAGAZINE.COM

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Monotone hysteria Jennifer Levin I For The New Mexican Augustine, drama, not rated, in French with subtitles, The Screen, 2 chiles If I had a choice between being burned at the stake as a witch or being treated for hysteria in a 19thcentury French mental hospital, it’s possible I’d choose the latter. But if I had to watch a movie about either, I would choose the former because I have yet to see a really good movie about hysteria — the time-honored “medical” term, only abandoned in the mid-20th century, that encompassed practically every health problem women had and attributed them to a “wandering womb,” which made you sick and crazy. Are you lustful? Angry at your husband?

Fat? Frigid? Epileptic? It’s because you’re a woman and inherently mentally ill.

At some point in history, mentally ill women were burned at the stake. Later medical treatment for hysteria prominently featured the practice of doctors masturbating their female patients to orgasm — called “hysterical paroxysm” — for a fee, of course, to cure them of their symptoms. But before that there was Dr. Jean-Martin Charcot, a pioneering neurologist, born in 1825, who worked with hysterical women at Salpêtrière Hospital in Paris. He hypnotized women in front of panels of male physicians in order to trigger and showcase hysterical episodes such as the violent, sexual seizures of his most famous patient, a 19-year-old housemaid named Augustine.

While Augustine, a French film about the treatment of hysteria, written and directed by Alice Winocour, doesn’t make a joke out of medical sexual

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Hysterical/historical: Vincent Lindon

abuse — as the 2011 film Hysteria did — it just doesn’t have enough meat in the story to make it a compelling narrative of its own subject matter. It is supposedly about the relationship between Charcot (played by Vincent Lindon) and Augustine (singer and actress Soko), but there is so little dialogue, exposition, or character development that if you didn’t already know the history behind the movie, you wouldn’t get much out of watching it. The tone of the movie is uneven, with a score that does more than imply that you are about to watch a horror film based in an old-fashioned mental institution, yet the story never goes in that direction. It’s a red herring with no dramatic purpose.

We begin with Augustine serving dinner to a party of wealthy people. She has a seizure that forces her left eye shut and weakens and numbs that side of her body. (She is not paralyzed on that side, as some critics have stated; many symptoms of hysteria seemed to have no organic basis — thus the diagnosis of hysteria.) She is sent to the hospital, which is filled with ghoulish, suffering women and the aforementioned horror-movie score. Charcot tests her symptoms by, among other techniques, sticking a hot metal poker all the way through her arm, causing her no pain, bleeding, or sensation, as well as expanding her vagina with some kind of instrument that looks like it hurts, a lot. He considers her the perfect hysterical specimen and shows her off to panels of doctors, mostly in an effort to get funding for further research. Because Augustine’s seizures, which Charcot can trigger at will, are highly sexual, with copious pelvic thrusting, moaning, and grabbing at herself, other doctors — and their wives — regard their relationship with derisive suspicion.

At first, it’s difficult to tell what is going on between doctor and patient. Augustine seems to be developing affection for Charcot, and he seems utterly put off by this, yet he controls her entire life.

When he doesn’t tell her he is going out of town for a few days, she becomes silent and combative with hospital staff, refusing to eat. When Charcot returns, he feeds her soup, spoonful by spoonful.

His wife is suspicious, but everything actually seems aboveboard — until it isn’t. With so little dialogue and nearly endless shots that linger on the actors’ expressionless faces, viewers could project almost anything they wanted onto the story. I was hoping for themes about the conflation of medical care and romantic love, need and lust, trust and exploitation.

But none of that is explored. Nothing is explored.

It’s unfortunate, because the acting is uniformly good and the background story is so very rich.

The most confusing part of the movie is when we are suddenly outside the hospital, witnessing testimonials from individual women talking about symptoms of their mental illness. The women are not in the rest of the movie, and though they are dressed as though they live in the 1870s, there’s something very modern about their styling. What they speak of is interesting, albeit exceedingly brief, but in no way connected to the rest of the film.

Why is it so tough to get at this subject? Why are we so afraid to talk beyond the diagnosis and titterinducing treatment to what was actually happening in women’s minds and bodies? Any filmmaker considering taking on the topic of hysteria might consider that there is a middle path between treating it as something ridiculous in the history of women’s autonomy and a thrill-less gothic horror show. ◀

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and 10:30 p.m. (2D). Rated PG-13. 131 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed). reeL neW MeXiCO The monthly series showcasing independent films with a New Mexico connection offers a night of shorts in a variety of genres, including fantasy (“Underway”), comedy (“All in a Day’s Work”), art documentary (“Construction and Destruction of ‘The Due Return’ ”) and drama (“Mickey”). Some of the filmmakers will discuss their work after the screenings.

7 p.m. Thursday, July 11, only. Not rated. La Tienda Performance Space, 7 Caliente Road off Avenida Vista Grande, Eldorado. (Not reviewed)

Baby’s got new clothes: Sienna Miller in Just Like a Woman, at Center for Contemporary Arts in Santa Fe

opening this week Augustine This film, written and directed

by Alice Winocour, doesn’t have enough of a script to make it compelling. It is supposedly about the relationship between pioneering neurologist Jean-Martin Charcot and his most famous hysterical patient, Augustine. There is so little dialogue, exposition, or character development that if you don’t already know the history behind the movie, you won’t get much out of watching it. Not rated. 101 minutes.

In French with subtitles. The Screen, Santa Fe. ( Jennifer Levin) See review, Page 54.

CAveDigger Ra Paulette has lived in Embudo for 29 years and has gained a reputation for his fantastically carved art caves. Filmmaker Jeffrey Karoff explores these underground spaces while also interviewing clients who grew frustrated with Paulette’s inability to work to a deadline. Now he’s eschewing clients and building his magnum opus, a magnificent 10-year project.

The documentary screens with the short Monument to the Dream. 7 p.m. Tuesday, July 9, only (interview with Paulette follows screening). Not rated. Films total 67 minutes. Center for Contemporary Art, Santa Fe. (Paul Weideman) See Art of Space, Page 44.

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Just LiKe A WOMAn The only bright spot in Marilyn’s (Sienna Miller) life is her belly-dancing class. When she loses her job answering phones and witnesses her husband in bed with another woman, she high-tails it from Chicago to Santa Fe to audition for a belly-dancing company. Mona’s (Golshifteh Farahani) in-laws own a convenience store that Marilyn frequents, and the two run into each other at a highway rest stop where Mona ends up after an accidental murder. As luck would have it, Mona also belly dances. Rachid Bouchareb’s film tries to confront heady subjects like violence against women and racial discrimination, but its treatment of these topics is so cursory and simplistic that it comes off as hackneyed. Santa Fe is presented as a Newsies-esque Shangri La, while belly dancing is portrayed as a close cousin of stripping. Rated R. 90 minutes. Center for Contemporary Arts, Santa Fe. (Adele Oliveira) pACifiC riM This new sci-fi film from esteemed director Guillermo del Toro is set on Earth in the near future. When giant monsters rise from a crevasse beneath the Pacific Ocean, massive robots known as Jaegers — each controlled by two pilots, including the washed-up veteran Raleigh (Sons of Anarchy’s Charlie Hunnam) and trainee Mako (Rinko Kikuchi from Norwegian Wood) — are deployed to fight them off and save humanity. Idris Elba (The Wire), Charlie Day (It’s Always Sunny in Philadelphia), and Ron Perlman (Sons of Anarchy) round out the cast. Opens Thursday, July 11, at 10:15 p.m. (3D)

20 feet frOM stArDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and the frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and the sublime Lisa Fischer are a few that will send you out of the theater wondering about that imponderable barrier that kept them from headliner stardom. Some of it is temperament, some of it is luck, and some of it is just the business. But Morgan Neville’s exhilarating documentary brings these singers front and center, and it’s glorious. Rated PG-13.

90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 53.

now in theaters BefOre MiDnigHt The third round of the collaboration between director Richard Linklater and stars Julie Delpy and Ethan Hawke that began with Before Sunrise (1995) is set at the end of a family vacation in southern Greece. Celine (Delpy) and Jesse (Hawke) have been together for the decade since Before Sunset (2004). Here they drive and talk and walk and talk and make love and talk. All that conversation ebbs and flows through the intimate knowledge two people develop about each other over a long time and the ways they make each other laugh and think and cry and rage. Both actors are as good as or better than they have ever been. Rated R. 108 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) tHe BLing ring Directed by Sofia Coppola, this is the true-crime tale of celebrity-obsessed young Angelenos (played by the ever-sensational Emma Watson, leaving Hermione Granger in the dust; a captivating Katie Chang; Taissa Farmiga; Israel Broussard; and Claire Julian) who, beginning in 2008, broke into celebrities’ homes and stole designer sunglasses, shoes, purses,

jewelry, and clothes worth more than $3 million.

This is a snappily paced wisp of a film, awash with Coppola’s trademark super-cool aesthetic, her ear for dialogue, and a good amount of tension. For better or worse, she reserves judgment, although as she portrays them, these teens are a lot like the houses of the vacationing celebrities they rob: the lights are on, but nobody’s home. Rated R. 90 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) DESPICABLE ME 2 Evil, it turns out, really does never sleep. The left-field hit of 2010 gets its sequel with this story about the ex-villain Gru (voiced by Steve Carell), who is trying to raise his children. He’s called out of retirement to track down a villain even nastier than he was. The true stars of the movie will no doubt once more be Gru’s quirky yellow Minions.

Rated PG. 98 minutes. Shows in 3D and 2D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) FAST & FURIOUS 6 This franchise, which somehow finds new gears with each installment, is wildly popular, and part six is more of the same. The stunts are Looney Tunes-worthy, the dialogue is hilarious (except for the jokes), and the acting (from Dwayne Johnson, Vin Diesel, and friends) stresses brawn over brains. These are all positive traits. The problem is that for a movie that hypes speed, the story, in which the gang attempts to take down a terrorist (Luke Evans), downshifts to a crawl in the film’s second half. Rated PG-13. 130 minutes. DreamCatcher, Española. (Robert Ker)

THE GREAT GATSBY Baz Luhrmann’s movie rendering of F. Scott Fitzgerald’s classic novel is The Great Gatsby the way Jay Gatsby might have directed it. Gaudy, extravagant, and ecstatically excessive, it lights up the screen like a lavish party into which Luhrmann hopes Daisy Buchanan will wander some night — and if not Daisy, then at least the rest of the world, looking for a good time. That is the quality that distinguishes this movie; when it slows down for the more intimate scenes, it usually fails to convince. Leonardo DiCaprio, Carey Mulligan, and Tobey Maguire star. Rated PG-13.

143 minutes. Screens in 2-D only at Regal DeVargas, Santa Fe. ( Jonathan Richards) HANNAH ARENDT In 1961, the great German-Jewish philosopher Hannah Arendt (played here by Barbara Sukowa) went to Jerusalem to cover the trial of Adolf Eichmann. What she reported, in a series of articles, angered Jews. She did not find a monster inside the glass cage that was the defendant’s dock. She found instead a “terrifyingly normal” human being who followed orders blindly. What really enraged her readers was her reporting that some European Jewish leaders were at least partly complicit in the Nazi treatment of Jews. For this she was vilified, threatened, and rejected by friends and colleagues. The climactic scene in which she answers her critics is a powerful statement of principle and riveting cinema. Not rated.

113 minutes. In English and German with subtitles.

The Screen, Santa Fe. ( Jonathan Richards)

FRANCES HA Writer and director Noah Baumbach’s latest movie, shot digitally in black and white, centers on a 27year-old woman (Greta Gerwig, who also co-wrote) who is sliding down a rocky road with her struggling dance career and loosening relationships. Fortunately, her disposition is cheerful and optimistic, and for the most part, so is the film’s mood. Frances Ha nicely captures the awkward plight of those who struggle to find a place in the world and accurately represents floundering in your 20s. Rated R. 88 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker)

HAVA NAGILA: THE MOVIE Let us rejoice. That is what hava nagila means, and this documentary about the song is cause for rejoicing. Director Roberta Grossman takes us on a journey, beginning with the song’s origins in Ukraine and through to Israel and America, offering wonderful photographs and film footage of Jewish people along with numerous disparate performances of the song. The movie is brief, lively, and informative, and it touches nicely on the spiritual balance between the earthly and the divine, between sorrow and joy. Not rated. 75 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker)

FROM UP ON POPPY HILL The latest release from Japan’s Studio Ghibli comes not from master Hayao Miyazaki (Spirited Away) but from his son Goro. The results are disappointing.

Set in 1964, the story concerns a teenage girl named Umi (voiced by Sarah Bolger in the English-dubbed version) who longs for her lost-at-sea father while helping to save her school’s student center from demolition. Although melodramatic, the tale lacks tension.

The animation is still gorgeous, however, with the meticulously detailed and exquisitely colored seaside village being the film’s real star. Rated PG. 91 minutes.

Center for Contemporary Arts, Santa Fe. (Robert Ker)

THE HEAT With Bridesmaids, director Paul Feig found success by putting women in the traditionally male-dominated genre of the raunchy comedy. Now he attempts to do the same with the buddy-cop genre. He reunites with Melissa McCarthy, who became a star with her assertive, frank character in Bridesmaids. She plays the bad cop to Sandra Bullock’s good cop, and the two becoming unlikely partners. The film moves quickly, and aside from some digs at Boston and Bullock’s downplayed character arc, the plot is mainly a vehicle to bring us from one McCarthy tirade to the next.

That’s a wise decision: McCarthy’s sassy delivery

White House Down

and take-no-crap personality makes her an audience favorite, and rightfully so. Rated R. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) THE LONE RANGER The titular hero (Armie Hammer) and his faithful Comanche friend Tonto ( Johnny Depp) take on the railroad, the cavalry, bad guys led by a cannibalistic Butch Cavendish, and a host of other creeps in this fastmoving but curiously unexciting retelling of the classic tale. The heroic duo should have gone after the film’s screenwriters, producer, and director and thrown them in the hoosegow without any chance of parole.

The movie really is terrible, but it will probably make a mint, given that most of the creative talent was also involved with the widely successful Pirates of the Caribbean film franchise. Rated PG-13. 149 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Nott) See review, Page 52.

LOVE IS ALL YOU NEED Danish director Susanne Bier, who normally deals in bleaker material, has gone all soft and cuddly in this romantic comedy about two lost souls who unite, and in lesser hands the result would probably be insufferably cute. But Bier manages to keep this valentine on a very enjoyable track, helped immeasurably by a fine cast led by continued on Page 58 PASATIEMPOMAGAZINE.COM 57

MOVING IMAGES pasa pics

continued from Page 57

Pierce Brosnan and the wonderful Trine Dyrholm. It’s a grown-up film, beautifully photographed at a family wedding on an Amalfi coast, that will make you sing “That’s Amore.” Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. ( Jonathan Richards) MAN OF STEEL The big screen has been Kryptonite to Superman — the hero has been thwarted by bad sequels, Hollywood turnaround, and false starts since 1980’s Superman II. Director Zach Snyder (Watchmen) reboots the character from the ground up (no need for a story recap — you know the deal). The result is (sometimes too) dark and violent yet promising; it favors a realistic approach that lends a sense of awe to that which is super. With the exception of Henry Cavill, who looks the part but is often too stiff as Superman, the cast is inspired, none more so than Amy Adams as Lois Lane. Up, up, and away! Rated PG-13. 143 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) MONSTERS UNIVERSITY Pixar’s sequel to its 2001 smash Monsters, Inc. shows how far the estimable studio has come with animation: the textures and colors of the many monsters and their world are awe-inspiring. It also shows how far Pixar has fallen with regard to its writing: the cleverness of the original Monsters movie is replaced with a recycled plot. Set during the younger days of Mike and Sulley (voiced again by Billy Crystal and John Goodman), the story revolves around the two getting booted from their program at Monsters University and competing in a scaring competition to get back in. It’s cute but hardly original or economical. Rated G. 103 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker) MUCH ADO ABOUT NOTHING Does it trouble you that Joss Whedon, creator of Buffy the Vampire Slayer and The Avengers, is adapting Shakespeare? Well, let me convert your thoughts of woe into hey-nonny-

spicy bland

medium

mild

heartburn

Read Pasa Pics online at www.pasatiempomagazine.com

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PASATIEMPO I July 5 -11, 2013

nonny, because this version of the beloved comedy is a sunny, effervescent, and refreshing summer treat. Don Pedro (Reed Diamond), Don John (Sean Maher), Claudio (Fran Kranz), and Benedick (Alexis Denisof) are visiting the home of high-powered politician Leonato (Clark Gregg), father of young Hero ( Jillian Morgese) and uncle of sharp-tongued Beatrice (Amy Acker). Claudio falls in love with Hero, while Benedick and Beatrice hide their affection behind a “merry war” of words. Rated PG-13.

107 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) MUD Matthew McConaughey is in top form as Mud, an Arkansas Delta backcountry hothead with a ton of charm who enlists a couple of teenage boys (Tye Sheridan and Jacob Lofland) to help him reunite with his sweetheart (Reese Witherspoon). Meanwhile, the law and the irate father of a man he killed are out looking for him.

It’s a colorful tale and a cautionary one. Director Jeff Nichols does a good job with style and character, but he lets the story run on too long and loses the handle at the end. With Sam Shepard and Michael Shannon.

Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) NOW YOU SEE ME Assemble a highly watchable cast, which includes Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, Mark Ruffalo, and Mélanie Laurent. Then roll out a crackerjack setup: four illusionists perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, make every scene interesting. Abracadabra! You have a movie that’s wildly entertaining, despite having to cheat to connect all the dots. Rated PG-13. 116 minutes.

Regal Stadium 14, Santa Fe. (Robert Ker) STORIES WE TELL Actress Sarah Polley’s documentary exploration of her family history is better if you don’t know too much about it. Polley’s mother, Diane, who died of cancer in 1990, when Polley was 11, is the heart of the film, which is primarily constructed through interviews with her friends and family.

Diane emerges as a complicated figure, and there’s no consensus on her character. Stories We Tell is about the Polleys, but it speaks to the mythmaking that occurs in all families. Rated PG-13. 108 minutes.

The Screen, Santa Fe. (Adele Oliveira) THIS IS THE END James Franco, Jonah Hill, Seth Rogen, Danny McBride, Craig Robinson, and Jay Baruchel are holed up in Franco’s mansion when the apocalypse hits during a raging party. These guys aren’t playing characters — they’re playing themselves, often as preening,

egotistical jerks. Suffice it to say, the mileage you get out of this comedy will vary depending on how much you like these dudes. Emma Watson and Michael Cera kill in their cameos, and the cocky, obnoxious McBride pretty much steals the show. Rogen and Evan Goldberg co-direct with a light touch; if it looks like a film made by a bunch of buddies trying to crack each other up, that’s because it is. Rated R. 107 minutes.

Regal Stadium 14, Santa Fe. (Robert Ker) WHITE HOUSE DOWN Just in time for the Fourth of July, here’s a movie in which the White House gets blown up good. Don’t worry, though: the destruction is being carried out by director Roland Emmerich, who has done this before (in Independence Day) and is a total professional. This time, the enemies come not from outer space but from within our own country.

Channing Tatum is the film’s tough guy, and Jamie Foxx is the President. Rated PG-13. 137 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) WORLD WAR Z Though this film thrusts its protagonist, played by Brad Pitt, into one Republic serial-type cliffhanging situation after another in rapid succession, what’s missing from Marc Forster’s production — based on the Max Brooks novel of the same name — is suspense. Pitt is the multi-talented expert who travels the world to find a way to end a zombie epidemic. The actors are convincing, and the characters more interesting than usual for such fare, but the combination of sloppy scripting, CGI special effects for the zombies, and the speed and confusion of most of the action scenes wears you out.

Rated PG-13. 115 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Nott)

other screenings Center for Contemporary Arts 11 a.m. Friday-Sunday, July 5-7: Safety Last!

7 p.m. Thursday, July 11: Santa Fe Jewish Film Festival presents Fill the Void. Skype interview with director Rama Burshtein follows.

Regal DeVargas The East, The Kings of Summer.

Regal Stadium 14 7:35 p.m. Thursday, July 11: Grown Ups 2.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, July 7-9: The Iceman. ◀

“I’D SEE IT TWICE!” -Mary Pols, TIME MAGAZINE

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

CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Fri. to Mon. 2:45 p.m., 4:45 p.m., 6:45 p.m. Tue. 2:45 p.m., 4:45 p.m. Wed. 2:45 p.m., 4:45 p.m., 6:45 p.m.

Thurs. 12:45 p.m., 2:45 p.m., 4:45 p.m.

Cave Digger & Monument to the Dream (NR) Tues. 7 p.m.

Fill the Void (NR) Thurs 7 p.m.

Frances Ha (R) Fri. to Sun. 11:45 a.m.

From Up On Poppy Hill (PG) Fri. to Thurs. 4 p.m.

Hava Nagila (NR) Fri. to Mon. 12:45 p.m.

Wed. 12:45 p.m.

Just Like a Woman (R) Fri. to Thurs. 1:45 p.m., 8:15 p.m.

Much Ado About Nothing (PG-13) Fri. to Sun. 6 p.m., 8:45 p.m. Mon. 11:30 a.m., 6 p.m., 8:45 p.m.

Tue. 11:30 a.m., 6 p.m. Wed. 11:30 a.m., 6 p.m., 8:45 p.m. Thurs. 11:30 a.m., 6 p.m.

Safety Last! (NR) Fri. to Sun. 11 a.m.

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Augustine (NR) Fri. and Sat. 3:30 p.m., 8:15 p.m.

Sun. 3:30 p.m. Mon. to Wed. 3:30 p.m., 8:15 p.m.

Thurs. 5:30 p.m.

Hannah Arendt (NR) Fri. 6 p.m. Sat. to Wed. 1:15 p.m., 6 p.m. Thurs. 7:30 p.m.

Stories WeTell (PG-13) Sat. and Sun. 11 a.m.

A

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mitChell dreAmCAtCher CinemA (eSpAñolA)

562 N. Guadalupe St., 988-2775, www.fandango.com Before Midnight (R) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:45 p.m. Sun. to Thurs.

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

The Bling Ring (R) Fri. and Sat. 12:55 p.m., 3:20 p.m., 5:35 p.m., 7:45 p.m., 10:05 p.m. Sun. to Thurs. 12:55 p.m., 3:20 p.m., 5:35 p.m., 7:45 p.m.

The East (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m.

The Great Gatsby (PG-13) Fri. to Thurs. 3:50 p.m., 6:50 p.m.

The Kings of Summer (R) Fri. and Sat. 12:50 p.m., 3:10 p.m., 5:25 p.m., 7:35 p.m., 10 p.m. Sun. to Thurs. 12:50 p.m., 3:10 p.m., 5:25 p.m., 7:35 p.m.

Love Is All You Need (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m.

Mud (PG-13) Fri. and Sat. 1 p.m., 9:55 p.m.

Sun. to Thurs. 1 p.m. regAl StAdium 14

mitChell Storyteller CinemA (tAoS)

3474 Zafarano Drive, 424-6296, www.fandango.com Call for days not noted.

Despicable Me 2 3D (PG) Fri. to Wed. 11 a.m., 2 p.m., 4:30 p.m., 7 p.m., 9:35 p.m.

Despicable Me 2 (PG) Fri. to Mon. 11:30 a.m., 12:10 p.m., 2:30 p.m., 3 p.m., 5 p.m., 5:30 p.m., 7:30 p.m., 8:05 p.m., 10:10 p.m. Tue. and Wed. 11:30 a.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10:10 p.m.

Grown Ups 2 (PG-13) Thurs. 7:35 p.m.

The Heat (R) Fri. to Sun. 11:05 a.m., 1:55 p.m., 4:45 p.m., 7:35 p.m., 7:40 p.m., 10:20 p.m., 10:35 p.m.

Mon. 11:05 a.m., 1:55 p.m., 4:45 p.m., 7:35 p.m., 7:40 p.m., 10:20 p.m., 10:35 p.m.

The Lone Ranger (PG-13) Fri. to Mon. 12 p.m., 12:30 p.m., 3:15 p.m., 3:30 p.m., 4 p.m., 6:45 p.m., 7:15 p.m., 7:45 p.m., 10:10 p.m., 10:35 p.m., 11:10 p.m. Tue. and Wed. 12 p.m., 3:30 p.m., 7:15 p.m., 10:35 p.m.

Man of Steel (PG-13) Fri. to Mon. 12:20 p.m., 3:50 p.m., 7:10 p.m., 10:25 p.m., 10:30 p.m.

Monsters University (G) Fri. to Mon. 11:15 a.m., 11:35 a.m., 2:05 p.m., 2:15 p.m., 4:50 p.m., 4:55 p.m., 7:45 p.m., 10:30 p.m.

Now You See Me (PG-13) Fri. to Mon. 11:05 a.m., 1:50 p.m., 4:40 p.m., 7:25 p.m., 10:20 p.m.

Pacific Rim (PG-13) Thurs. 10:30 p.m.

Pacific Rim in 3D (PG-13) Thurs. 10:15 p.m.

This Is the End (R) Fri. to Mon. 1:30 p.m., 4:20 p.m., 7:20 p.m., 10 p.m.

White House Down (PG-13) Fri. to Sun. 1 p.m., 4:20 p.m., 7:25 p.m., 10:40 p.m. Mon. 1 p.m., 4:20 p.m., 7:25 p.m., 10:40 p.m.

World War Z (PG-13) Fri. to Mon. 11:10 a.m., 11:25 a.m., 2:05 p.m., 4:55 p.m., 7:50 p.m., 10:45 p.m.

Julie Delpy

Before Midnight

the SCreen

15 N.M. 106 and U.S. 84/285, 505-753-0087 Despicable Me 2 3D (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.

Despicable Me 2 (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.

Fast & Furious 6 (PG-13) Fri. and Sat. 4:15 p.m., 6:55 p.m., 9:40 p.m. Sun. to Thurs. 4:15 p.m., 6:55 p.m.

The Heat (R) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m.

Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m.

Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs.

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

The Lone Ranger (PG-13) Fri. 4:25 p.m., 6:50 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:25 p.m., 6:50 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:25 p.m., 6:50 p.m., 7:30 p.m. Mon. to Thurs.

4:25 p.m., 6:50 p.m., 7:30 p.m.

Man of Steel (PG-13) Fri. 6:45 p.m., 9:45 p.m.

Sat. 2:30 p.m., 6:45 p.m., 9:45 p.m. Sun. 2:30 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m.

Monsters University (G) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m.

Mon. to Thurs. 4:35 p.m., 7:05 p.m.

White House Down (PG-13) Fri. and Sat. 4:20 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 4:20 p.m., 7:10 p.m.

World War Z (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m.

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

regAl deVArgAS

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110 Old Talpa Canon Road, 575-751-4245 Despicable Me 2 3D (PG) Fri. and Sat. 7 p.m., 9:30 p.m. Sun. to Thurs. 7 p.m.

Despicable Me 2 (PG) Fri. 4:30 p.m. Sat. and Sun. 2 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m.

The Heat (R) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m.

Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m.

Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs.

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

The Lone Ranger (PG-13) Fri. 6:50 p.m., 9:55 p.m.

Sat. 2:25 p.m., 6:50 p.m., 9:55 p.m. Sun. 2:25 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m.

Man of Steel (PG-13) Fri. 6:45 p.m., 9:45 p.m.

Sat. 2:30 p.m., 6:45 p.m., 9:45 p.m. Sun. 2:30 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m.

Monsters University (G) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m.

Mon. to Thurs. 4:35 p.m., 7:05 p.m.

White House Down (PG-13) Fri. and Sat. 4:20 p.m., 7:10 p.m., 10 p.m. Sun. to Thurs. 4:20 p.m., 7:10 p.m.

World War Z (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m.

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

CHECK LOCAL LISTINGS FOR THEATERS AND SHOWTIMES PASATIEMPOMAGAZINE.COM 59

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Cupcakes with a conscience Momo & Co. 229-A Johnson St., 983-8000 8 a.m.-4:30 p.m. Mondays-Fridays; 10 a.m.-5 p.m. Saturdays; closed Sundays Counter service Vegetarian and vegan options Takeout available Handicapped accessible via side door Noise level: mellow, though with cheerful music drifting in from the kitchen No alcohol Credit cards, no checks

•

The Short Order Someone in the kitchen at Momo & Co. has a serious sweet tooth. This is mostly a good thing, given that the glass case at this cute, colorful bakery-café just down the street from the Georgia O’Keeffe Museum displays gluten-free and vegan cupcakes along with other sweet treats.

Not much on the menu is savory; whether you think that’s a problem depends on whether you think having a waffle topped with cookies and whipped cream for lunch is a good idea. Recommended: green “rollito,” the Big Pun waffle, chocolatemocha cupcake, and carrot-ginger cupcake.

Ratings range from 0 to 4 chiles, including half chiles.

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

60

PASATIEMPO I July 5 -11, 2013

Someone in the kitchen at Momo & Co. has a serious sweet tooth. This is mostly a good thing, given that the glass case at this cute, colorful bakery-café just down the street from the Georgia O’Keeffe Museum displays cupcakes in various flavor combinations, cookies, sticky buns, and other confections. The fact that these treats are mostly gluten free and vegan only adds to their appeal.

People deserve to tuck into a delicious dessert without having to compromise their ethics or their digestive systems or going into anaphylactic shock.

If you’re skeptical about the idea of a gluten-free vegan cupcake, you should sample some of Momo’s wares. On any given day, you’ll have up to a dozen flavors to choose from. While many that we tasted were slightly crumbly, they were still delicious, sweet, and cakey, the frosting pleasantly light and fluffy — they were all capable of standing up to “conventional” cupcakes. The chocolatemocha variety is filled with enjoyably moist, if slightly thin, vegan caramel; and we especially enjoyed the hint of citrus in the carrot-ginger cake’s frosting.

Waffles are a specialty of the house and are served all day. These vegan gluten-free variations on the plain butter-and-syrup combination (that’s available too, with vegan butter) include waffles topped with strawberries or blueberries and whipped cream — versions of breakfasts you could find in many a diner or pancake house across America. But you’re wandering into dessert territory when you start considering topping your waffle with crumbled crunchy chocolate-chip cookies and whipped cream.

Delicious? Yes. Too sweet for lunch? Probably.

If there’s a glitch at Momo, it’s that not much on the menu is savory. The Baby Bella sandwich is a generous, slightly greasy panini full of well-sautéed marinated portobello mushrooms and caramelized-onion jam. That combination results in a filling so soft and sweet that the third ingredient, typically pungent smoked Gouda, was almost completely lost. Each of the salads and bowls on the lunch board includes at least one sweet ingredient — a salad with beets and pears, for example, and a quinoa bowl with currants and roasted sweet potatoes.

That’s not to say that savory items aren’t available. In a more traditional vein, Momo offers a breakfast sandwich made with organic free-range eggs, green chile, and jack cheese, which is served all day. One waffle on the list is topped with highly aromatic (though not particularly spicy) green chile, a pretty little fan of avocado, and either regular or vegan cheese (the latter doesn’t melt well — a condition that’s plagued alternative cheeses for decades — but beneath its oddly tough surface, it’s remarkably creamy). Even this waffle comes with a side of maple syrup.

Also on the less-sweet side is the über-nutritious green “rollito” — a pseudo burrito stuffed with carrots, pineapple, and purple cabbage, a collard-green leaf standing in

for the tortilla. The nut-ginger dipping sauce (made with cashews rather than the peanuts you might expect) has more of a spreadable than a dippable consistency, but it’s still highly satisfying and mildly addictive — rich, buttery, and with a mild gingery warmth.

An area filled with toys for kids is tucked into one corner (it includes a miniature kitchen, naturally), but the rest of the sunny space feels like a playroom for grownups, with its multicolored walls and tables, speckled robins-egg-blue floor, and eclectic artwork. Free wifi is available, but the generous, spacious tables will encourage you to gather and linger with friends or family. Adding to the lighthearted atmosphere, the waffles all have hip-hop-related names (Wu Tang, Brass Monkey, Big Pun, and Sugar Hill, for example), and while you’re noshing on one and sipping local Agapao coffee or a Boba tea, you might hear some Beastie Boys sandwiched between Fiona Apple or a slackkey-guitar version of “Somewhere Over the Rainbow.”

Veganism and animal cruelty are addressed with discretion and subtlety here. You might come across a pamphlet titled “Compassionate Choices: Making a Difference for Animals,” but no messages are plastered across the walls, and no one will get in your face about your choices, dietary or otherwise. The staff members I encountered were pleasant and had smiles on their faces, and they’re all happy to provide you with whatever information you need about products and their ingredients.

In case you’re feeling guilty about having a waffle with ice cream for lunch, check out the mirror in the bathroom.

A sticker there reminds us that “Reflections in this mirror may be distorted by socially constructed ideas of ‘beauty.’ ” Ain’t that sweet? ◀

Check, please

Waffles for two at Momo & Co.: Big Pun waffle .......................................................$ 10.75 Wu Tang waffle .....................................................$ 9.75 Two 8-ounce coffees ..............................................$ 3.60 TOTAL ..................................................................$ 24.10 (before tax and tip) Lunch and treats for two, another visit: Teriyaki green rollito .............................................$ 9.00 Baby Bella sandwich ..............................................$ 9.25 Chocolate-mocha cupcake.....................................$ 3.75 Carrot-ginger cupcake ...........................................$ 3.75 Darjeeling black Boba tea with mango ..................$ 3.99 TOTAL ..................................................................$ 29.74 (before tax and tip)

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61

Santa Fe Chamber Music Festival is Here!

All concerts this week @ SFA: St. Francis Auditorium at the New Mexico Museum of Art, 107 W. Palace Ave.

TcHAikovSky & RUSSiAn RoMAncE

MozART & BRAHMS pLUS

HAnDEL & STRAvinSky concERToS

Amazing Artistry.

As the Santa Fe Chamber Music Festival begins, the days and nights are filled with the world’s

JuL 14 + 15

JuL 18

JuL 20

classical favorites, hidden gems

Tchaikovsky’s luscious Souvenir of

SUn + Mon 6 pM @ SFA

THU 6 pM @ SFA

SAT 5 pM @ SFA

The Festival begins with Tchaikovsky’s magnificent Souvenir of Florence, Arensky’s stunning, romantic Piano Quintet, and much more. Artists include Benjamin Beilman, Inon Barnatan, and Lily Francis!

Mozart’s breathtaking String Quintet in C features violinists Daniel Hope and Benjamin Beilman. Hope and pianist Inon Barnatan play an invigorating Brahms Scherzo. And, the New Mexico Premiere of Dalbavie’s Piano Quartet!

A chamber orchestra comprised of the world’s most celebrated chamber music artists plays masterworks by Handel, Josef Suk, and Stravinsky – in one exquisite evening.

Monday concert sponsored by

most celebrated artists playing and new discoveries!

In the first week alone; Florence in a brilliant performance

by Benjamin Beilman, Lily Francis, Teng Li, CarlaMaria Rodrigues, Ronald Thomas, and Nicholas Canellakis; an early Brahms Scherzo

BRAHMS – piAno QUARTET

yoUTH concERTS – FREE!

that helped establish his fame forever, played by violinist Daniel Hope and pianist Inon Barnatan;

WED JUL 17 • 10 am @ SFA Inon Barnatan, Benjamin Beilman THU JUL 22 • 10 am @ SFA Miami String Quartet

the New Mexico Premiere of Marc-André Dalbavie’s adventurous Piano Quartet, and so much more!

Join us for 6 weeks and

JuL 21 + 22

Mini-FESTivAL: yEARS oF WonDER

SUn + Mon 6 pM @ SFA The transcendent Brahms Piano Quartet No. 2 tops this concert, with pianist Soyeon Kate Lee. Hear Daniel Hope’s fiery fiddle playing in Schulhoff’s Duo for Violin and Cello!

40 extraordinary concerts continuing through August 19th!

Mon, AUg 12 • WED, AUg 14 • THU, AUg 15 • Mon, AUg 19 Masterpieces by Mozart and Schumann. The Santa Fe Desert Chorale sings Gesualdo. A musical experience of a lifetime in just one week.

Monday concert sponsored by

MuSIC AT

NOON @ SFA Generously sponsored by the Edgar Foster Daniels Foundation

TUE JUL

16

THU JUL

18

TUE JUL

23

BEETHOVEN AT NOON

Intimate. Compelling. Unforgettable.

Marc Neikrug, Artistic Director

Savor a Beethoven String Trio and Violin Sonata played by Inon Barnatan, Benjamin Beilman, Lily Francis, CarlaMaria Rodrigues, and Ronald Thomas.

SOYEON KATE LEE PIANO RECITAL Winner of the prestigious Naumburg International Piano Competition, Soyeon Kate Lee plays the music of Janácek, Scriabin, Stravinsky, and Beethoven. ˇ

pURcHASE yoUR TickETS ToDAy! 505.982.1890 SantaFeChamberMusic.com

JEREMY DENK PIANO RECITAL “Mr. Denk, clearly, is a pianist you want to hear no matter what he performs…” ~The New York Times

Ticket Office: NM Museum of Art 107 West Palace Avenue

The Santa Fe Chamber Music Festival is funded in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax and the National Endowment for the Arts.

62

PASATIEMPO I July 5 - 11, 2013

pasa week Friday, July 5

Winterowd Fine art 701 Canyon Rd., 992-8878. Cast of Light, work by watercolorist Sarah Bienvenu, artist meet-and-greet 4-6 p.m., through Thursday. yares art projects 123 Grant Ave., 984-0044. Radiance + Reflection: Stain Paintings + Drawings, work by Jules Olitski (1922-2007); The Mujer Pegada Series, sculpture and works on paper by Manuel Neri; reception and signing of Riva Yares’ memoir Sleeping With Dogs 5:30-7:30 p.m., through Aug. 24.

gallery/museum openings

axle Contemporary 670-7612 or 670-5854.

The Artist Is In, revolving group show; artists’ talks include Thelma Mathias and Michael Shippling, 10 a.m.-5 p.m., look for the mobile gallery’s van near El Zaguan, 545 Canyon Rd. Back pew gallery 208 Grant Ave., 982-8544. Paintings by Bill Jackson and Andy Ritch, reception 5-7 p.m., through July.

Blue rain gallery 130-C Lincoln Ave., 954-9902. Picking Up the Pieces, new work

by Jim Vogel, reception 5-7 p.m., through July.

David richard gallery 544 S. Guadalupe St., 983-9555. Technoforms, paintings on shaped canvas by Trygve Faste; Camino Real, Michael Cook’s gouache and charcoal works on paper; reception 5-7 p.m., through July 27.

David rothermel Contemporary Fine art 616½ Canyon Rd., 575-642-4981. Retrieval, paintings by Rothermel, reception 5-8 p.m., through July 24. eggman & Walrus art emporium 130 W. Palace Ave., second floor, 660-0048.

Third Annual Kaleidospoke, bike-themed group show and film showcase, through July 27; What Lies Beneath, paintings and an installation

by Nick Peña, through Aug. 3; reception 5-9 p.m. el gancho Fitness, swim & racquet Club 104 Old Las Vegas Highway, 988-5000. Paintings

by Elizabeth Hahn, reception 5-7 p.m., through July 29. evoke Contemporary 130-F Lincoln Ave., 995-9902. Paintings

by Pamela Wilson, reception 5-7 p.m., through July. galerie Züger 120 W. San Francisco St., 984-5099. Work

by Shawndell Oliver, reception 5-8 p.m. gebert Contemporary 558 Canyon Rd., 992-1100. Otis Jones: Recent Paintings, reception 5-7 p.m., through Aug.12. legends santa Fe 125 Lincoln Ave., 983-5639. ¡Espiritu, Brilla!, group show, reception 5-7 p.m., through July. manitou galleries 123 W. Palace Ave., 986-0440. William Haskell, Kim Wiggins, and Liz Wolf, reception 5-7:30 p.m., through July 19. marigold arts 424 Canyon Rd., 982-4142. Monuments and Rivers, new watercolors by Robert Highsmith, reception 5-7 p.m., through July. mark sublette medicine man gallery 602-A Canyon Rd., 820-7451. Francis Livingston: Canyon Road Past and Present, new work, reception 5-7 p.m., through July 19. mark White Fine art 414 Canyon Rd., 982-2073. Music in Color, paintings by Javier López Barbosa, reception 5-8 p.m., through July 21.

Pasa’s Little Black Book......... 64 Exhibitionism...................... 66 At the Galleries.................... 67 Museums & Art Spaces........ 67 In the Wings....................... 68

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

opera

The Marriage of Figaro Mozart’s satire on the privileges of the French nobility, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

ClassiCal musiC

TgiF organ recital David York performs music of Kuras, Thayer, and Locklair, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext.16, donations appreciated.

in ConCerT

Blue Rain Gallery shows new paintings by Jim Vogel, 130-C Lincoln Ave.

meyer east gallery 225 Canyon Rd., 983-1657. Paintings by David Dornan, reception 5-7 p.m., through July 18. monroe gallery of photography 112 Don Gaspar Ave., 992-0800. Those Who Dared, portraits of historical figures and other noteworthy individuals, reception 5-7 p.m., through Sept. 22. patina gallery 131 W. Palace Ave., 986-3432. Continuum, work by jeweler Claire Kahn, reception 5-7:30 p.m., through July 28. peyton Wright gallery 237 E. Palace Ave., 989-9888. Mokha Laget: Color Walk, mixed-media paintings, reception 5-8 p.m., through July (see story, Page 42). pippin Contemporary 200 Canyon Rd., 795-7476. Time-Lapse, new work by Eva Carter, reception 2-3 p.m., through July 16. pop gallery 142 Lincoln Ave., Suite 102, 820-0788.

Soul of Science, work by Daniel Martin Díaz, through August. signature gallery 102 E. Water St., 983-1050. Landscapes

by Kirk Randle, reception 5:30-8 p.m.

Elsewhere............................ 70 People Who Need People..... 71 Under 21............................. 71 Pasa Kids............................ 71

silver sun gallery 656 Canyon Rd., 983-8743.

Spirit of Flowers, collaborative show of paintings and dolls by Reiko Anderson; work by painter Dale Amburn; reception 5-7 p.m., through July 16. sr Brennen Fine art 124 W. Palace Ave., 467-8295. Work by Pissarro, through July; watercolors by Steve Hanks, through Wednesday, call for reception details. sugarman-peterson gallery 130 W. Palace Ave., 982-0340. Miracles, paintings by Jane Jones, reception 5-7:30 p.m., through Aug. 1.

Touching stone gallery 539 Old Santa Fe Trail, 988-8072. Weathered Beauty, ceramics by Yukiya Izumita, reception 5-7 p.m., through July 27.

Turner Carroll 725 Canyon Rd., 986-9800.

Hung Liu: Portraits of a Chinese Self, reception 5-7 p.m., through Aug. 18.

Vivo Contemporary 725-A Canyon Rd., 982-1320. Unfolded: Paper, Pages, Pen, works by Ilse Bolle, Joy Campbell, and Patty Hammarstedt, reception 5-7 p.m., through Aug. 20.

William & Joseph gallery 727 Canyon Rd., 982-9404. Laughing Matters, mixed-media sculpture by Stephen Hansen, reception 5-7 p.m., through July.

Jaime michaels The Santa Fe folk singer/songwriter celebrates the release of his album Unknown Blessings, Jose Antonio Ponce opens, 7:30 p.m., Music Room at Garrett’s Desert Inn, $15 in advance, brownpapertickets.com, $18 at the door, proceeds benefit the Kerrville Folk Festival teen music camp. stacy Dillard Trio New York City-based tenor saxophonist with bassist Diallo House and percussionist Ismail Lawal, 6 and 8 p.m. sets, The Den, 132 W. Water St., $55-$250, 670-6482; free concert for kids at the same location, 3 p.m. (see story, Page 22).

TheaTer/DanCe

Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1.

Books/Talks

Doug Fine The Santa Fe author reads from and signs copies of Too High to Fail, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. gregg Barden The author discusses Deep Truth and Secrets of the Lost Mode of Prayer, 6-8 p.m., Ark Books, 133 Romero St., $10, proceeds benefit Heart & Soul Animal Sanctuary, 988-3709. mark edward harris The photographer discusses and signs copies of his monographs North Korea, South Korea, and The Way of the Japanese Bath, 5 p.m., Photo-eye Gallery, 376-A Garcia St., 988-5152. ▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week

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

PASATIEMPOMAGAZINE.COM

63

events

Pop-up show Local artisans offer jewelry, textiles, minerals, and gems, 10 a.m.-5 p.m. today and Saturday, Santa Fe Woman’s Club, 1616 Old Pecos Trail, call 466-2497 for more information.

Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. santa Fe Opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13. santa Fe Opera Monthly Ranch tours Extended tour of the grounds with a meetthe-artist component, 10 a.m., tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule.

Warehouse 21 benefit fashion show Celebrating W21’s 17th birthday; featuring a collection by Rudylee Jr. Designs, 7:30 p.m., 1614 Paseo de Peralta, $10, 989-4423.

nightliFe

(See addresses below) Bishop’s lodge Ranch Resort & spa Jazz guitarist Pat Malone, 6-9 p.m., no cover.

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

Cowgirl BBQ Blues guitarist Dave Duncan, 5-7:30 p.m.; Jay Boy Adams, Zenobia, and Mister Sister, R & B, 8:30 p.m.; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe 315 Old Santa 317 aztec 150 317 Aztec St., 820-0 e inn th at agoyo lounge E. Alameda St., 3 30 a ed am al e on th 984-2121 Betterday Coffee 5-1234 55 905 W. Alameda St., nch Resort & spa Ra e dg Bishop’s lo Rd., 983-6377 e 1297 Bishops Lodg Café Café 6-1391 500 Sandoval St., 46 Casa Chimayó 8-0391 409 W. Water St., 42 ón es M el at ¡Chispa! e., 983-6756 213 Washington Av uthside Cleopatra Café so 4-5644 47 ., Dr o an far Za 82 34 Counter Culture 5 930 Baca St., 995-110 Cowgirl BBQ , 982-2565 319 S. Guadalupe St. te Café the den at Coyo 3-1615 98 , St. r 132 W. Wate lton el Cañon at the hi 811 8-2 100 Sandoval St., 98

64

PASATIEMPO I July 5 -11, 2013

el Farol Controlled Burn, classic rock and country covers, 6-9 p.m., no cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Danny Duran and his country band Slo Burnin’, 8-11 p.m., no cover. la Posada de santa Fe Resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. the Mine shaft tavern and engine house theatre Gypsy night at the tavern with belly dancing, 8 p.m.-close, no cover. Open poetry slam, 7 p.m., at the theater. the Palace Restaurant & saloon Bold-school rockabilly band Rob-A-Lou, 10 p.m., call for cover.

Pranzo italian grill Geist Cabaret, with pianist David Geist, Broadway showtunes, 6-9 p.m., call for cover. second street Brewery Kodama Jazz Trio, 6-9 p.m., no cover. second street Brewery at the Railyard Rock and blues trio The Attitudes, 7-10 p.m., no cover. tiny’s Classic rock band The Jakes, 8:30 p.m.-close, no cover. the Underground at evangelo’s Dancehall Reggae with Brotherhood Sound System, 10 p.m., call for cover, 21+.

Upper Crust Pizza Balladeer J. Michael Combs, ranchera, folk, and honky-tonk, 6-9 p.m.; folk duo Eagle Star, 7-8 p.m.; no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.

Pasa’s little black book evangelo’s o St., 982-9014 200 W. San Francisc hotel santa Fe ta, 982-1200 1501 Paseo de Peral asters ikonik Coffee Ro 6 99 8-0 42 , St. na 1600 Le St., 982-3433 rcy Ma .

W 72 ca la Bo a in la Casa sena Cant 8-9232 98 e., Av e lac 125 E. Pa at la Fonda la Fiesta lounge , 982-5511 St. o isc nc 100 E. San Fra a Fe Resort nt sa de la Posada e Ave., 986-0000 lac and spa 330 E. Pa at the the legal tender eum us M d oa ilr Ra y lam 466-1650 151 Old Lamy Trail, g arts Center lensic Performin St., 988-1234 o isc nc 211 W. San Fra e lodge th at ge lodge loun Francis Dr., St. at santa Fe 750 N. 0 992-580 the Matador o St., 984-5050 116 W. San Francisc vern the Mine shaft ta 473-0743 d, 2846 NM 14, Madri & lounge Molly’s kitchen 3-7577 98 , rca Lo lle Ca 1611

6 Saturday galleRy/MUseUM OPenings

axle Contemporary 670-7612 or 670-5854. The Artist Is In, revolving group show, artists’ talks including Charles Greeley, Bunny Tobias, and Woody Vasulka begin at 8:30 a.m., look for the mobile gallery’s van on Paseo de Peralta by SITE Santa Fe, 1606 Paseo de Peralta. galerie Züger 120 W. San Francisco St., 984-5099. Work

by Shawndell Oliver, reception 1-5 p.m.

Mark White Contemporary 1611 Paseo de Peralta, 982-2073. Music in Color, paintings by Javier López Barbosa, reception 4-6 p.m., through July 21.

OPeRa

Grand Duchess of Gérolstein Offenbach’s opéra bouffe, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

theateR/danCe

Juan siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1.

events

Pop-up show Local artisans offering jewelry, textiles, minerals, and gems, 10 a.m.-5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, call 466-2497 for more information. santa Fe artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 310-1555.

Museum hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at garrett’s desert inn 311 Old Santa Fe Trail, 982-1851 the Palace Restaurant & saloon 142 W. Palace Ave, 428-0690 the Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo italian grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 san Francisco street Bar & grill 50 E. San Francisco St., 982-2044 santa Fe Community Convention Center 201 W. Marcy St., 955-6705 santa Fe sol stage & grill 37 Fire Pl., solofsantafe.com second street Brewer y 1814 Second St., 982-3030 second street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 the starlight lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781

santa Fe Farmers Market 7 a.m.-noon, Collected Works Bookstore hosts a reading and signing of Too High to Fail by Santa Fe author Doug Fine, 9 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe Opera insider days Opera Guild members offer insights into productions and behind-the-scenes processes at no charge; refreshments 8:30 a.m., discussion and backstage tour 8:45 a.m., Saturdays through Aug. 24, meet at the box office, 986-5900, visit santafeopera.org for complete schedule of community events. santa Fe society of artists show 9 a.m.-5:30 p.m., at the First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20. santa Fe Wine Festival Noon-6 p.m. today and Sunday, El Rancho de las Golondrinas, 334 Los Pinos Rd., $13 includes wine glass for adults 21+, youth discounts available, 471-2261. saving Wild horses Gala fundraiser for Center for Inter Species Peace & Justice (New Mexico Chapter of the American Mustang & Burro Association), includes art exhibit, refreshments, and equestrian fashion show, 6:30 p.m., La Tienda at Eldorado, 7 Caliente Rd., $15 suggested donation, tickets available at the Feed Bin, 1202 W. Alameda St., 982-0511, for more information call 466-3240. young natives arts & Crafts show Children and grandchildren of the artists associated with the Palace of the Governors’ Portal Program sell their wares, 9 a.m.-3 p.m. today and Sunday, Palace Courtyard, 476-5200.

Flea MaRkets

Pueblo of tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year.

steaksmith at el gancho 104-B Old Las Vegas Highway, 988-3333 sweetwater harvest kitchen 1512-B Pacheco St., 795-7383 taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 thunderbird Bar & grill 50 Lincoln Ave., 490-6550 tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 tortilla Flats 3139 Cerrillos Rd., 471-8685 the Underground at evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 vanessie 427 W. Water St., 982-9966 veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia diner 326 S. Guadalupe St., 988-7008

The Santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.

NIghTlIFe

(See Page 64 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at el Mesón Noche de Flamenco, Flamenco Conpaz, 7 p.m.-close, call for cover.

Cowgirl BBQ Bold-school rockabilly band Rob-A-Lou pays tribute to Johnny Cash, 2-5 p.m.; Felix y Los Gatos, zydeco/Tejano/juke-swing, 8:30 p.m.close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol Radio la Chusma, reggae/cumbia, 9 p.m., call for cover. evangelo’s The Jakes, classic rock, 9 p.m., call for cover. la Fiesta lounge at la Fonda Danny Duran and his country band Slo Burnin’, 8-11 p.m., no cover. la Posada de Santa Fe Resort and Spa Jazz vocalist Whitney Carroll Malone, bassist Jon Gagan, and guitarist Pat Malone, 6-9 p.m., no cover.

The Mine Shaft Tavern Jim & Tim, soulful blues, 3-7 p.m. on the deck; gonzo-roots/alt-country band Imperial Rooster, 8 p.m.; no cover.

Second Street Brewery Railyard Reunion Band, bluegrass, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Folk-rock duo Todd & The Fox, 7-10 p.m., no cover.

Talking Heads

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

Tiny’s Showcase karaoke with Nanci and Cyndy, 8:30 p.m.-close, no cover.

The Underground at evangelo’s The Collective Reggae Party with DJ Dynamite Sol and Brotherhood Sound’s Don Martin, 9 p.m., call for cover.

Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.

7 Sunday galleRy/MUSeUM oPeNINgS

axle Contemporary 670-7612 or 670-5854. The Artist Is In, revolving group show, artists’ talks include Kathleen McCloud and Gail Rieke, 10 a.m.5 p.m., look for the mobile gallery’s van outside Ernesto Mayans Gallery, 601 Canyon Rd. Museum of International Folk art 706 Camino Lejo, Museum Hill, 476-1200.

Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014, reception 1-4 p.m., artists’ meet-and-greet 1-2 p.m., followed by a panel discussion.

IN CoNCeRT

lady ella & lady Day Jazz vocalist Cristianne Miranda performs from the Ella Fitzgerald and Billie Holiday songbooks, accompanied by the Bert Dalton Trio, 6 p.m. today and Monday, La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232 (see story, Page 18).

TheaTeR/DaNCe

Juan Siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1.

BooKS/TalKS

Kayle Schnell The journalist/media producer discusses how Bhutan assesses its Gross National Happiness index, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226, presented by Journey Santa Fe.

eVeNTS

Doug Fine The Santa Fe author’s latest book, Too High to Fail, examines the lucrative legal cannabis industry and its impact on the economy. A reading and book signing take place at 6 p.m. Friday, July 5, at Collected Works Bookstore, 202 Galisteo St., 988-4226. In addition, Fine reads from and signs copies of his book from 9 a.m. to noon Saturday, July 6, at the Farmers Market, 1607 Paseo de Peralta.

Communal healing circle Led by Marina Levit, 12:30-2:30 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $25, 983-5022.

Railyard artisans Market 10 a.m.-4 p.m.; live music, multi-instrumentalist Gerry Carthy, 10 a.m.-1 p.m.; guitarist/vocalist Beth Valdez, 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, railyardartmarket.com.

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

Santa Fe Wine Festival Noon-6 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $13 includes wine glass for adults 21+, youth discounts available, 471-2261. young Natives arts & Crafts Show Children and grandchildren of the artists associated with the Palace of the Governors’ Portal Program sell their wares, 9 a.m.-3 p.m., Palace Courtyard, 476-5200.

Thor’s and Belle’s Land, by Sarah Bienvenu, Winterowd Fine Art, 701 Canyon Rd.

Flea MaRKeTS

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com.

The Santa Fe Flea at the Downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and the Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.

NIghTlIFe

(See Page 64 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover.

Cowgirl BBQ Singer/songwriter Zenobia, R & B/gospel, noon-3 p.m.; multi-instrumentalist Gerry Carthy and blues guitarist Dave Duncan, 8 p.m.; no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7-10 p.m., no cover. evangelo’s Tone & Company, R & B, 8:30 p.m., no cover. la Fiesta lounge at la Fonda Old movie night, 6-10 p.m., no cover. la Posada de Santa Fe Resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover.

Second Street Brewery at the Railyard String band Paw Coal & The Clinkers, 7-10 p.m., no cover.

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

8 Monday IN CoNCeRT

lady ella & lady Day Jazz vocalist Cristianne Miranda performs from the Ella Fitzgerald and Billie Holiday songbooks, accompanied by the Bert Dalton Trio, 6 p.m., La Casa Sena Cantina, 125 E. Palace Ave., $25, 988-9232 (see story, Page 18).

Santa Fe Bandstand Polyphony Marimba, noon; Simon Balkey & The Honky-Tonk Crew, 6 p.m.; country singer/ songwriter James “Slim” Hand, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23.

BooKS/TalKS

New Mexico Museum of art gallery talk The summer series continues with New Mexico artist Mary Tsiongas leading a tour of museum exhibits, 12:15-1 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

Shunet el-Zebib and the genesis of the Pharaohs: architectural Documentation at abydos, egypt A Southwest Seminars’ lecture with Donna Glowacki, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

eVeNTS

artFest13 community workshops Master Class in Poetry, with Louise Glück, Flash Fiction, with Jon Davis, Mapping a Memoir, with Emily Rapp, and Intermediate/Advanced Poetry, with Dana Levin, held through July 13, SFUAD, 1600 St. Michael’s Dr., for more time frame information and to register, visit artfestsf.com, 473-6200.

Interactive photography project Diné photographer Will Wilson takes studio portraits at no charge, 10 a.m.-4 p.m. daily through July 19, O’Keeffe Museum Education Annex, 123 Grant Ave., register at the museum front desk, 217 Johnson St. Japaneses kite workshop Artist Mikio Toki leads a class in conjunction with the Museum of International Folk Art exhibit Tako Kichi: Kite Crazy in Japan, 1-4 p.m. today and Tuesday, 706 Camino Lejo, Museum Hill, by museum admission, 476-1200.

Santa Fe opera Backstage Tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

NIghTlIFe

(See Page 64 for addresses) el Farol Jazz saxophonist Trey Keepin, 8 p.m., no cover. la Fiesta lounge at la Fonda Cuba Pancha Trio, 7:30 p.m.-close, no cover.

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

pasa week

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exhibitionism

A peek at what’s showing around town

Joy Campbell: From This to That, 2013, altered books.

Paper is more than just a surface for other mediums in Vivo Contemporary’s latest exhibition, Unfolded: Paper, Pages, Pen. Artists Ilse Bolle, Joy Campbell, and Patty Hammarstedt explore paper’s versatility using repurposed books, interwoven papers, and mixed media. There is a reception Friday, July 5, at 5 p.m.

Vivo is at 725 Canyon Road.

Call 982-1320.

Janice st. marie: Quiet Shadows, 2011, pastel. Janice St. Marie’s landscapes capture the beauty of desert terrain, valleys, and seacoasts. Points of View, an exhibition of her pastels and, acrylics, opens in the Tybie Davis Satin Gallery at the Santa Fe Public Library’s main location (145 Washington Ave.) on Thursday, July 11, with a reception at 5 p.m. Call 955-6780.

Jane Jones: In the Milky Way, 2013, oil on canvas. Still-life painter Jane Jones creates photorealistic images of botanicals and other objects. Her paintings are rich in color and detail.

Miracles, an exhibition of her work, opens at Sugarman-Peterson Gallery (130 W. Palace Ave.) on Friday, July 5, with a 5 p.m. reception. Call 982-0340.

hung Liu: Portrait of a Chinese Self #1, 2013, oil on canvas. Turner Carroll Gallery (725 Canyon Road) presents an exhibition of new work by Hung Liu. The show, Portraits of a Chinese Self, includes a series of self-portraits Liu created in an artist residency program in Punta Mita, Mexico. Liu’s self-portraits capture the artist at various life stages, including growing up under China’s Cultural Revolution. The show opens Friday, July 5, with a 5 p.m. reception. Call 986-9800.

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eva Carter: Refresh, 2005, oil on canvas. Pippin Contemporary (200 Canyon Road) presents Time-Lapse, an exhibition of abstract paintings by Eva Carter.

The show’s title refers to the passage of years in the artist’s life when the paintings were made.

Rather than figurative depictions of moments in time, Carter’s paintings capture moods and feelings. The show opens Friday, July 5, with a reception at 5 p.m. Call 795-7476.

At the GAlleries A Gallery Santa Fe 154 W. Marcy St., Suite 104, 603-7744. Rhode Island School of Design New Mexico Third Annual Alumni Show, through July 27.

Argos Gallery/Eli Levin Studio 1211 Luisa St., 988-1814. Eli Levin’s 75th Birthday, intaglio prints and paintings, through Sunday, July 7.

Bellas Artes 653 Canyon Rd., 983-2745.

The Maquettes, work by ceramicist Ruth Duckworth (1919-2009), through July 27.

Byzantium Lofts 1348 Pacheco St., Suite 105, 982-3305.

Reacts 1-11 & Facts 1-8, new digital drawings

by Jonathan Morse, through July 26.

Chiaroscuro Contemporary Art 702½ Canyon Rd., 992-0711. Bark, paintings

by Gayle Crites; Variations, totem-inspired sculpture by John Geldersma; through Sunday, July 7.

Darnell Fine Art 640 Canyon Rd., 984-0840. Edges, Tension & Structure, paintings by Amy Sullivan, through July 15.

Gerald Peters Gallery 1011 Paseo de Peralta, 954-5700. Earth Song, work by ceramicist Jenny Reeves and painter Margaret Schumacher, through July 20.

Giacobbe-Fritz Fine Art 702 Canyon Rd., 986-1156. Ben Steele’s Wild West Art Show: The Best Show on Canvas, through Wednesday, July 10.

Glenn Green Galleries 136 Tesuque Village Rd., 820-0008. Melanie Yazzie, an International Voice, works on paper, through July 20.

GVG Contemporary 202 Canyon Rd., 982-1494. Southwest Abstraction, group show of paintings and sculpture, through July 19.

Heidi Loewen Porcelain Gallery 315 Johnson St., 988-2225. Sexy Curve, new work by Loewen, through July 20.

Jane Sauer Gallery 652 Canyon Rd., 995-8513. Seeing, Sensing, Savoring, and Stitching, work by Cindy Hickok, through Tuesday, July 9.

LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 988-3250. Linear Language, work by sculptor Jane Manus; Dan Christensen: The Orb Paintings, postabstract expressionist paintings by the late artist; through July 14.

Meyer Gallery 225 Canyon Rd., 983-1434.

Vachagan Narazyan: Absurd Travels II, paintings, through Thursday, July 11.

Nedra Matteucci Galleries 1075 Paseo de Peralta, 982-4631. Works From My Wish List, plein air paintings by Curt Walters, through July 13.

Nüart Gallery 670 Canyon Rd., 988-3888.

Undertow, new paintings by John Tarahteeff, through Sunday, July 7.

The Owings Gallery 120 E. Marcy St., 982-6244. Roses by Starlight, paintings by Page Allen, through July 27.

Patina Gallery 131 W. Palace Ave., 986-3432.

Ecstasy of Gold, works by jewelers Lilly Fitzgerald and Judith Kaufman, through July 21; Continuum, Claire Kahn, jewelry artist, through July 28.

Santa Fe Art Institute SFUAD, 1600 St. Michael’s Dr., 424-5050. Cavities and Clumps: The Psychology and Physicality of Contested Space, site-specific installations by Martha Russo; plus, collaborative pieces with Katie Caron, Elizabeth Faulhaber, and Roberta Faulhaber, through July 12.

Santa Fe Clay 545 Camino de la Familia, 984-1122. Works by Adam Field, Lorna Meaden, and Ben Krupka, through July 20.

TAI Gallery 1601-B Paseo de Peralta, 984-1387. Bamboo sculpture by Nagakura Kenichi, through July 20.

Taylor A. Dale Fine Art 129 W. San Francisco St., second floor, 670-3488.

Australian Aboriginal art, through July.

Ventana Fine Art 400 Canyon Rd., 983-8815. Group show, through Wednesday, July 10.

Wade Wilson Art 217 W. Water St., 423-5933. Recent paintings

by Peter Sacks; work by painter Zachariah Rieke.

Waxlander Gallery 622 Canyon Rd., 984-2202. Nature’s Hues: Distinct and Obscure, new paintings by Marshall Noice, through Monday, July 8.

William Siegal Gallery 540 S. Guadalupe St., 820-3300. Sutras, works by Polly Barton and Alison Keogh, through Saturday, July 6.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Cleromancy, dice installations by Robert Dean Stockwell, through July 19.

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

Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.-5 p.m.

Saturday-Thursday, 10 a.m.-7 p.m. Fridays. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Facing the Camera: The Santa Fe Suite, photographic portraiture by Rosalie Favell • Stands With a Fist: Contemporary Native Women Artists • For Instance, Look at the Land Beneath Your Feet, video installation by Kade L. Twist • Apache Chronicle, Nanna Dalunde’s experimental documentary on the artist collective Apache Skateboards; through July.

Open 10 a.m.-5 p.m. Monday and WednesdaySaturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

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

What’s New in New: Recent Acquisitions, annual exhibit celebrating the gallery’s namesake, Lloyd Kiva New, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions.

Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays.

The Passing Storm, Navajo Country, by Gerald cassidy (1869-1934), in New Mexico Museum of Art’s exhibit Back in the Saddle

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

Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, opening Sunday, July 7, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art.

Open 10 a.m.-5 p.m. Tuesday-Sunday.

NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge.

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

Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • Stations of the Cross, works by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works

by Spanish Market artists, through August • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation.

Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; no charge for NM residents on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200.

Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014.

Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents

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

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Video Works 1994-2011, mixed-media installations, through Aug.18 • Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m.

Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings

by Helen Hardin, through September. Open noon-4 p.m. Friday-Sunday. $10 admission.

Poeh Museum 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334.

Creativity Revisited, silver anniversary of the museum’s permanent collection, through July13.

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

Saturday; donations accepted.

Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, through Aug. 16.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Open 10 a.m.5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; $10; seniors and students $5; Fridays no charge.

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

Monday-Saturday, 1-5 p.m. Sunday. Docent tours 2 p.m. Monday, Wednesday, and Saturday.

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In the wings MUSIC

Flamenco Fiesta!

Student recital followed by a flamenco lesson and a fiesta; 5:30 p.m. Friday, July 12, Teatro Paraguas Studio, 3205 Calle Marie, $10 in advance, $5 lesson and fiesta only, fiesta tickets available at the door, 424-1601.

Son Volt Alt-country band, 7:30 p.m. Friday, July 12, Santa Fe Sol Stage & Grill, 37 Fire Pl., $23, ticketssantafe.org, 988-1234.

Santa Fe Chamber Music Festival The first week of the 41st season runs Sunday, July 14, through Thursday, July 18; performers include pianists Inon Barnatan and Soyeon Kate Lee, violinist Lily Francis, and cellist Nicholas Canellakis, all performances are held at the St. Francis Auditorium, New Mexico Museum of Art, noon concerts $20-$25, 6 p.m. concerts $53-$73, 982-1890 or 988-1234, ticketssantafe. org., visit santafechambermusic.com for season schedule.

Michael Fitzpatrick The cellist performs in a benefit concert for El Santuario de Chimayó, 7 p.m. Friday, July 19, 15 Santuario Dr., Chimayó, $25, VIP seating $50, brownpapertickets.com.

KSFR Radio Music Café jazz series A New York State of Mind, Michael Morreale on trumpet, Tony Regusis on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Saturday, July 20, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

New Mexico Jazz Festival Stanley Clarke Band, Sunday, July 21; Terence Blanchard Quintet and Lionel Loueke Trio, July 26; Eddie Palmieri Latin Jazz Band, July 27; all concerts begin at 7:30 p.m. at the Lensic, $20-$50, 988-1234, ticketssantafe.org; free Santa Fe Bandstand concerts, The Mil-Tones and Larry Mitchell, July 23, full concert schedule available online at nmjazzfestival.org.

Runa Celtic-roots ensemble, 8 p.m. Saturday, July 27, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Christine Brewer The soprano in recital honoring Wagner and Britten, accompanied by pianist Joseph Illick, 4 p.m. Sunday, Aug. 4, 301 Opera Dr., $25-$50, 986-5900.

Truth & Salvage Company Roots-rock band, 8 p.m. Tuesday, Aug. 6, Santa Fe Sol Stage & Grill, 37 Fire Pl., advance tickets $10, 988-1234, ticketssantafe.org, $13 at the door.

Toad the Wet Sprocket Alt-rock band, 7:30 p.m. Thursday, Aug. 8, Santa Fe Sol Stage & Grill, 37 Fire Pl., $27, 988-1234, ticketssantafe.org.

Music From Angel Fire The 30th season features Chick Corea as the 2013 composer-in-residence; artists include Ida Kavafian, Anne-Marie McDermott, the Harlem Quartet, and Imani Winds, Aug. 16Sept. 1, Angel Fire, Taos, Raton, and Las Vegas, $20-$35, 888-377-3300, musicfromangelfire.org.

Slaid Cleaves Singer/songwriter, 7:30 p.m. Friday, Aug. 30, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $20 in advance, $25 at the door, southwestrootsmusic.org.

Music and Myth Robert Mirabal’s theatrical concert, 7 p.m.

Friday and Saturday, Aug. 30-31, Santa Fe Opera, 301 Opera Dr., $25-$65, 986-5900.

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PASATIEMPO I July 5 -11, 2013

Melissa Etheridge Rock singer/songwriter, 7:30 p.m. Friday, Sept. 6, Santa Fe Opera, 301 Opera Dr., $44-$81, 986-5900.

Neko Case Alt-country singer/songwriter, 7:30 p.m. Friday, Sept. 13, the Lensic, $29-$39, ticketssantafe.org 988-1234.

Blondie: No Principals Tour Rock band, X opens, 7 p.m. Monday, Sept. 23, Santa Fe Opera, 301 Opera Dr., $38-$86, 986-5900, proceeds benefit the Española Valley Humane Society.

THEATER/DANCE

Aspen Santa Fe Ballet New works by choreographers Cayetano Soto and Norbert de la Cruz; plus, Trey McIntyre’s Like a Samba, 8 p.m. Friday and Saturday, July 12-13; the Lensic, $25-$72, 988-1234, ticketssantafe.org.

Love’s Lonely Highway Teatro Paraguas presents a staged reading of New Mexico playwright Patricia Crespin’s drama, 6 p.m. Sunday, July 14, 3205 Calle Marie, donations accepted, teatroparaguas.org, 424-1601.

Kicking a Dead Horse Fusion Theatre presents Sam Shepard’s 2007 drama, 2 and 8 p.m. Saturday, July 20, the Lensic, $10-$40, ticketssantafe.org, 988-1234.

Gross Indecency: The Three Trials of Oscar Wilde Santa Fe REP presents a reading of Moisés Kaufman’s play, 7 p.m. Friday, 4 p.m. Sunday, July 26 and 28, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $15, discounts available, 629-6517 or sfrep.org.

Upcoming events The Screwtape Letters Fellowship for the Performing Arts presents its comedic theatrical adaptation of the C.S. Lewis novel, 8 p.m. Friday, 4 p.m. Saturday, Aug. 2-3, the Lensic, $35-$55, student discount available, 988-1234, ticketssantafe.org.

Still Around Kaye Ballard and Liliane Montevecchi on stage at the Lensic, 7:30 p.m. Thursday, Aug. 8, tickets start at $20, VIP tickets ($125) include CD, poster, and dinner with the cast, 988-1234, ticketssantafe.org.

From Nofire Hollow to Hollywood Wes Studi’s one-man show, 6:30 p.m. Monday, Aug. 12, The Club at Las Campanas, $85 in advance, includes wine and hors d’oeuvres, 820-0552, silverbulletproductions.com, proceeds benefit SBP’s educational workshops.

Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico CryptoJews, Friday-Sunday, Aug. 16-25, Teatro Paraguas Studio, 3205 Calle Marie, call 424-1601 for ticket information.

Stepology: Tap into the Now! Tap dancers’ showcase, 7:30 p.m. Thursday, Aug. 29, the Lensic, $15-$35, 988-1234, ticketssantafe.org.

HAPPENINgS

SITE Santa Fe events The experimental exhibit series SITElab, presented primarily in the lobby gallery space, continues with Enrique Martínez Celaya: The Pearl, opening July 12; My Life in Art series (held at the Armory for the Arts) begins July 16, with Lowery Stokes Sims and Jaune Quick-to-See Smith; other shows are scheduled in November, December, and January 2014, visit sitesantafe.org for updates.

Santa Fe Opera community events Family Night Discount Program, La Donna del Lago, July 13; The Grand Duchess of Gérolstein, Friday, July 19; La Traviata, Wednesday, July 24; The Marriage of Figaro, Tuesday, Aug. 20, 986-5900, visit santafeopera.org for a schedule of other community events.

stanley clarke and his band perform at the new mexico Jazz Festival July 21, at the Lensic.

Museum Hill garden grand opening Santa Fe Botanical Garden hosts a gala with live music, tapas, and tours of the newly planted Meadow Garden, 6-8 p.m. Friday, July 19, $125 in advance, santafebotanicalgarden.org.

Behind Adobe Walls House and garden Tour Santa Fe Garden Club’s annual guided tour of local private residences; noon-5 p.m.

Tuesday, July 23 and 30, tour $75, optional pre-tour luncheon $20, call Terry at Westwind Travel, 984-0022,a or visit thesantafegardenclub. org for information and reservations.

Oscar Wilde: Celebrity or Notoriety?

Four-day seminar presented by the Santa Fe Opera; Thursday-Sunday, July 25-28, keynote speaker, biographer and grandson of Wilde, Merlin Holland; also, a staged reading of Moisés Kaufman’s play Gross Indecency: The Three Trials of Oscar Wilde, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $85, 946-2417.

Santa Fe Opera community events Ranch Tours, extended tours of the grounds with a meet-the-artist component, July 26 and August 30, tour $12, added backstage tour $20, call 986-5900, visit santafeopera.org for a schedule of other community events.

41st Annual girls Inc. Arts & Crafts Show On the Plaza, 9 a.m.-5 p.m. Saturday and Sunday, Aug. 3-4, 982-2042, girlsincofsantafe.org.

SITE Santa Fe gala Featuring a live auction of contemporary art; guest artist Richard Tuttle; Wednesday and Thursday, Aug. 7-8, 1606 Paseo de Peralta, 989-1199.

30th Annual Antique Ethnographic Art Show Gala preview Thursday, Aug. 8, show Friday and Saturday, Aug. 9-10, Santa Fe Community Convention Center, 201 W. Marcy St., 955-6707, preview opening $75, general admission $10, whitehawkshows.com, 992-8929.

Santa Fe Show: Objects of Art More than 65 galleries and exhibitors, gala opening night Friday, Aug. 9, expo Aug. 10-13, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $13 run-of-show, opening-night gala $50, tickets available in advance online at thesantafeshow.com, proceeds benefit New Mexico PBS. 35th Annual Invitational Antique Indian Art Show Gala preview Sunday, Aug. 11, show Monday and Tuesday, Aug. 12-13, Santa Fe Community Convention Center, 201 W. Marcy St., gala preview opening $75, general admission $10, whitehawkshows.com, 992-8929.

92nd Annual Indian Market Monday-Sunday, Aug. 12-16; more than 1,000 Native artists; market events include the 13th Annual Native Cinema Showcase, Best of Show ceremony and luncheon, concerts, and a Native American Clothing Contest, on the Plaza and surrounding streets; visit swaia.org for full events schedule.

38th annual Wheelwright Museum of the American Indian benefit auction Silent auction and live auction preview Thursday, Aug. 15; The Collector’s Table, live auction preview, and live auction Friday, Aug. 16; plus, artist demonstrations and optional catered lunch, 704 Camino Lejo, Museum Hill, 982-4636, wheelwright.org.

Palace Portal Artisans’ Celebration Native specialties food booth, music, handcrafted work, and traditional dances, 10 a.m.-5 p.m.

Saturday and Sunday, Aug. 17-18, Palace of the Governors on the Plaza, 476-5200.

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9 Tuesday in concert

Santa Fe Bandstand Folk singer/songwriter Cali Shaw, 6 p.m.; blues/rock guitarist Alex Maryol, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23.

theater/dance

Flamenco at el Farol opening night 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.

Juan Siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1.

BookS/taLkS

Louise Glück and dana Levin The poets read from and sign copies of their collections, 5:30 p.m., O’Shaughnessy Performance Space, Benildus Hall, SFUAD, 1600 St. Michael’s Dr., no charge, 473-6011 (see Subtexts, Page 12).

Museum of international Folk art panel discussion Artists participating in the International Folk Art Market share their views on Using Folk Art to Commemorate Those Living With HIV or Having Died From AIDS, 1-2 p.m., 706 Camino Lejo, Museum Hill, by museum admission, 476-1200. new Mexico Museum of art lecture Curator Petra Giloy-Hirtz discusses the abstract expressionist Hassel Smith (1915-2007), 6 p.m., St. Francis Auditorium, 107 W. Palace Ave., no charge.

Santa Fe Photographic Workshops’ instructor image Presentation series Open conversation and slide presentation of works including those of Seth Resnick, Susan Burnstine, and Jennifer Spelman, 8:30-10 p.m., Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, no charge, 983-1400, Ext 11.

Sara Marie ortiz and Max early The poets read from their respective collections Red Milk and Savage: A Love Story, and Ears of Corn: Listen, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

eventS

Museum of international Folk art Japaneses kite workshop Artist Mikio Toki leads a class in conjunction with the exhibit Tako Kichi: Kite Crazy in Japan, 1-4 p.m., 706 Camino Lejo, Museum Hill, by museum admission, 476-1200.

Santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098.

Santa Fe Farmers Market on the Southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940, Tuesdays through Sept. 24.

Santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900 weekdays through Aug. 13.

niGhtLiFe

(See Page 64 for addresses) ¡chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover.

cowgirl BBQ Cello/guitar duo Montana Skies, 8 p.m., no cover. el Farol Canyon Road Blues Jam with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover.

La Fiesta Lounge at La Fonda Cuba Pancha Trio, 7:30 p.m.-close, no cover.

Second Street Brewery at the railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; pianist/vocalist Bob Finnie, pop standards, 8 p.m.-close; call for cover.

10 Wednesday GaLLery/MuSeuM oPeninGS

earth tones Gallery 124 Galisteo St., 984-1258. Ceramics by Mamerto Sánchez Cárdenas, artist meet-and-greet 11 a.m.-3 p.m., through Thursday.

oPera

The Marriage of Figaro Mozart’s satire on the privileges of the French nobility, 8:30 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

Santa Fe opera apprentice concert Free community event, 6 p.m., Four Seasons Resort Rancho Encantado, 198 NM 592, 986-5900.

in concert

Festival au desert: caravan for Peace tour Malian artists Ali Farka Touré All-Stars, featuring Mamadou Kelly and trance-groove ensemble Tartit, 7:30 p.m., the Lensic, $25-$40, 988-1234, ticketssantafe.org (see story, Page 26).

Music on the hill 2013 St. John’s College’s free outdoor summer concert series continues with jazz vocalist and guitarist Janice Zummo and Vinnie Zummo, 6-8 p.m., outdoors at the college’s athletic field, 1160 Camino de Cruz Blanca, visit stjohnscollege.edu for schedule.

Santa Fe Bandstand Traditional Latin band Family Vigil, noon; 15-piece ensemble Mariachi Aztlan, 6 p.m.; Hispanic cumbia band Severo y Grupo Fuego, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23.

theater/dance

Flamenco at el Farol 8 p.m. TuesdaysSundays through Aug. 11, $25, 983-9912.

Juan Siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, Tuesdays-Sundays through Sept. 1.

BookS/taLkS

creative Photography: Betty hahn New Mexico Museum of Art’s artist-ofthe-week docent talks continue, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075.

Museum of international Folk art panel discussion Artists participating in the International Folk Art Market share their views on What’s Happening in Our Communities Around HIV/AIDS: Advocacy, Education, and Awareness, 1-2 p.m., 706 Camino Lejo, Museum Hill, by museum admission, 476-1200.

Priscilla Stuckey and elizabeth rose The authors read from and sign copies of their respective books Kissed by a Fox: And Other Stories of Friendship in Nature and Poet Under a Soldier’s Hat, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Folk-fusion duo A Hawk and a Hacksaw perform on The Plaza at 7:15 p.m. Thursday.

Santa Fe clay Summer Slide Lecture The series continues with Getting Graphic: Screen Printing, with ceramicist Jason Bige Burnett, 7 p.m., Santa Fe Clay, 545 Camino de la Familia, 984-1122, Wednesdays through Aug. 14.

School for advanced research lecture Anthropologists at Work: The Production and Reproduction of Anthropological Knowledge in “Indians at Work,” 1933-1945, by Mindy Morgan, noon, 660 Garcia St., no charge, 954-7203.

eventS

arts alive!

Weekly walk-in art workshops for children (ages 3 and up) and adults; led by tinwork artist Richard Gabriel, 10 a.m.-2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, no charge, 982-2226.

Museum of international Folk art workshop Make a World AIDS Day sign or story-box depicting an HIV/AIDS issue, led by artists participating in the International Folk Art Market, 2-4 p.m., 706 Camino Lejo, Museum Hill, by museum admission, 476-1200.

Santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

niGhtLiFe

(See Page 64 for addresses) agoyo Lounge at the inn on the alameda Jazz guitarist Pat Malone, 5-7 p.m., no cover. cowgirl BBQ Todd Tijerina Band, blues and rock ’n’ roll, 8 p.m., no cover. el Farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover.

La casa Sena cantina Savor, Cuban rhythms, 5:30-7:30 p.m., no cover.

La Fiesta Lounge at La Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

the Palace restaurant & Saloon Americana guitarist/singer Ray Matthew, 8-11 p.m., call for cover. the Pantry restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. tiny’s Mike Clymer of 505 Bands’ electric jam, 7:30 p.m.-close, no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

11 Thursday GaLLery/MuSeuM oPeninGS

art Santa Fe 2013 gala opening and vernissage Art: The Heart of the Matter, 13th annual contemporary art expo, 5 p.m., Santa Fe Community Convention Center, $100, ticketssantafe.org, 988-1234.

James kelley contemporary 550 S. Guadalupe St., 989-1601. Concepts and Studies for The Pearl, interdisciplinary work by Enrique Martínez Celaya, reception 5-7 p.m., through Aug. 17.

Santa Fe Public Library Main Branch, 145 Washington Ave., 955-6780. Points of View, work by plein air pastelist Janice St. Marie, reception 5-7 p.m., through July.

cLaSSicaL MuSic

Santa Fe desert chorale 2013 Summer Festival opening night Celebrating 31 years; pre-concert dinner 5:30 p.m., Inn and Spa at Loretto, 211 Old Santa Fe Trail, $60; performance 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $15-$100, 988-2282, desertchorale.org (see story, Page 20).

in concert

Goggle Saxophone Quartet 8 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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Santa Fe Bandstand Gothic-Americana band Cloacas, 6 p.m.; intermission act ukulelist Sage Harrington; folk-fusion duo A Hawk and a Hacksaw, 7:15 p.m.; on the Plaza, santafebandstand.org, continues through Aug. 23.

holocaust and Intolerance Museum of new Mexico 616 Central Ave. S.W., 505-247-0606. Disturbing, but Necessary, Lesson, scale model of a WWII prisoner transport to Auschwitz • Hidden Treasures, 158-year-old German-Jewish heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.-3:30 p.m.

Tuesday-Saturday, donations accepted.

Indian Pueblo cultural center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

Maxwell Museum of anthropology UNM campus, 505-277-4405. Prehistoric pottery, hands-on activities for children, and exhibits showcasing early Southwestern peoples. Open 10 a.m.-4 p.m. Tuesday-Saturday; closed Sundays and Mondays; no charge. new Mexico Museum of natural history & Science 1801 Mountain Rd. N.W., 505-841-2804. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays. richard levy gallery 514 Central Ave. S.W., 505-766-9888.

Alex Katz, retrospective exhibit of prints; Elderly Animals, photographs by Isa Leshko; through July 26.

UnM art Museum Center for the Arts Building, 505-277-4001.

Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.

Weyrich gallery 2935-D Louisiana Blvd. N.E., 505-883-7410.

The Unique and Unusual, new work by Judith Duff; mixed-media paintings by Susan Zimmerman, through July 26.

theater/dance

Flamenco at el Farol 8 p.m. Tuesdays-Sundays through Aug. 11, $25, 983-9912.

Juan Siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, TuesdaysSundays through Sept. 1.

BookS/talkS

nickel Stories Open five-minute prose readings, 6 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, 428-0321.

Priyanka kumar The author reads from and signs copies of Take Wing and Fly Here, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 12).

eventS

community kite flying event Join artist Mikio Toki in flying a traditional Japanese kite, 4:30-6 p.m., at the Railyard, 1607 Paseo de Peralta, in conjunction with the Museum of International Folk Art’s exhibit Tako Kichi: Kite Crazy in Japan, call the museum for more information, 476-1200. reel new Mexico’s Summer Shorts Screenings include Paul Marcus’ Underway, Meow Wolf’s Construction and Destruction of “The Due Return,” and Dusty McGowan’s Mickey, 7 p.m., a conversation with the filmmakers follows, La Tienda Performance Space, 7 Caliente Rd., Eldorado, $5 suggested donation at the door, reelnewmexico.com.

Santa Fe International Folk art Market community celebration Procession of market artists, concert, artist demonstrations, and hands-on activities, 5-9 p.m., at the Railyard, 1607 Paseo de Peralta, folkartmarket.org, no charge.

Santa Fe Jewish Film Festival The season continues with Rama Burshtein’s debut film Fill the Void, 7 p.m., Cinematheque, 1050 Old Pecos Trail, advance tickets $12, santafejff.org, $15 at the door, 216-0672.

Santa Fe opera Backstage tours Visit the production areas, costume shop, and prop shop, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10, discounts available, 986-5900, weekdays through Aug. 13.

nIghtlIFe

(See Page 64 for addresses) cowgirl BBQ Mitch Lacassagne Band, indie rock, 8 p.m., no cover. el Farol Rock and blues trio The Attitudes, 8 p.m., no cover. evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m.-close, call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

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PASATIEMPO I July 5 -11, 2013

events/Performance

Darnell Fine Art shows paintings by Amy Sullivan, 640 Canyon Rd.

la Posada de Santa Fe resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover. the Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m.-close, no cover.

Second Street Brewery Country Blues Revue, 6-9 p.m., no cover.

Second Street Brewery at the railyard Felix y Los Gatos, zydeco/Tejano/juke-swing, 6-8 p.m., no cover. tiny’s DJs Feathericci and Bacon, 9 p.m.-close, no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.

Zia diner Swing Soleil, Gypsy jazz and swing, 6-8 p.m., no cover.

▶ Elsewhere Abiquiú

abiquiú lecture Series Praise for Georgia O’Keeffe and Her Houses: Ghost Ranch and Abiquiú, book signing and lecture by co-author Agapita Judy Lopez, 7 p.m. Thursday, July 11, Abiquiú Inn, 21120 NM 84, 505-685-4378, no charge, continues on the first Thursday of the month through Oct. 3.

galleria arriba 21120 NM 84, 505-685-4378. Works by sculptor Tom Bowker and jeweler Carol Bowker, reception 5-7 p.m. Saturday, July 6, through July.

AlbuquErquE Museums/art Spaces

516 arts 516 Central Ave. S.W., 505-242-1445. Native American contemporary artists’ group shows: Air, Land, Seed and Octopus Dreams, through Sept. 21. albuquerque Museum of art & history 2000 Mountain Rd. N.W., 505-243-7255.

Estampas de la Raza: Contemporary Prints From the Romo Collection, opening Saturday, July 6, through Sept. 29 • Changing Perceptions of the Western Landscape, contemporary group show, through Sept. 1 • Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. harwood art center 1114 Seventh St. N.W., 505-242-6367. Original home of the Harwood Girls School (1925-1976).

Open 10 a.m.-4 p.m. Monday-Friday, no charge.

chatter Sunday The ensemble performs music of Stravinsky, 10:30 a.m. Sunday, July 7; plus, poetry performances by members of the 2013 Albuquerque Slam Team, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org. chatter cabaret Pianist Daniel Spiegel and clarinetist James Shields perform music of Brahms, Schumann, and Nathan Davis, 5 p.m.

Sunday, July 7, Casablanca Room, Hotel Andaluz, 125 Second St. N.W., $20, brownpapertickets.com, chatterchamber.org.

18th annual Summer thursday Jazz nights Lee Taylor Quartet; 7:30 p.m.

Thursday, July 11, Outpost Performance Space, 210 Yale Blvd. S.E., $15, students $10, 505-268-0044.

chimAyó

chimayó Museum 13 Plaza de Cerro, 505-351-0950. Portrait of a Community, photographs by Don Usner, through July. Open 11 a.m.-4 p.m. WednesdaySaturday, through October, donations welcome.

EspAñolA

Bond house Museum 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-4 p.m. Tuesday-Saturday, no charge.

Misión Museum y convento 706 Bond St., 505-747-8535. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598.

Open noon-4 p.m. Wednesday-Friday, 11 a.m.-3 p.m. Saturday; no charge.

los alamos

Oct. 11 dinner, designed to generate financial support for artistic innovation; applications accepted online only at spreadsantafe.com through Sunday, July 7.

Museums/Art Spaces

Bradbury Science Museum 1350 Central Ave., 667-4444.

Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge.

Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens.

Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m.

Saturday, no charge, visitpajaritoeec.org for weekly programs and events schedule.

Filmmakers/Performers

New Mexico Dance Coalition student scholarships Three scholarships awarded to New Mexico residents aged 8 to adults in the amount of $400; visit nmdancecoalition.org for guidelines and application forms; applications accepted through Friday, July 26; email Dyan Yoshikawa at nmdancecoalition@gmail.com.

Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.

Santa Fe Independent Film Festival Submissions sought for the Oct.16-20 festival; Visit santafeindependentfilmfestival.com for rules and guidelines; deadline Aug.1.

Events/Performances

Downtown Friday Nights City-wide cultural, historical, and educational events; 5-8 p.m. weekly through July 26, call Los Alamos Main Street, 661-4844, or visit creativelosalamos.org or for events schedule.

Gordon’s Summer Concerts Yo Mama’s Big Fat Booty Band, 7 p.m. Friday, July 5, Los Alamos Co-op Market, 95 Entrada Dr., no charge, gordonssummerconcerts.com.

Volunteers

madrid Museums/Art Spaces

Johnsons of Madrid 2843 NM 14, 471-1054. Six group shows of interdisciplinary works, reception 3-5 p.m.

Saturday, July 6, through July.

Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Madrid’s Ghost Town Past, new display celebrating Madrid’s 40th Rebirth Day, through October.

Steam locomotive, mining equipment, and vintage automobiles. Open 10:30 a.m.-4:30 p.m. daily. $5, seniors and children $3.

Events/Performances

11th Annual Madrid Gypsy Fest Bellydancers, musicians, circus acts, food vendors, and a beer garden; noon to dusk Saturday, July 6, Oscar Huber Memorial Ballpark, proceeds benefit a Madrid playground, $10, discounts available, 505-553-5460, madridculturalprojects.org.

Peñasco

An Evening with Stalker Theatre founder David Clarkson The theater director/performer discusses his work, 7:30 p.m. Saturday, July 6, Peñasco Theatre, $12, 15046 NM 75, a project of Wise Fool New Mexico, 575-587-2726.

taos Museums/Art Spaces

203 Fine Art 203 Ledoux St., 575-751-1262. New still lifes

by America Martin, reception 5-8 p.m. Saturday, July 6, through July 27.

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m.

Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday.

Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. In the Groove, paintings

by Mimi Chen Ting, through Sept. 1.

Grand Bohemian Gallery at El Monte Sagrado Living Resort and Spa 317 Kit Carson Rd., 575-737-9840. Trucks in Their Natural Habitat, paintings by Elizabeth Jose.

Still lifes by America Martin at 203 Fine Art, 203 Ledoux St., Taos

Greg Moon Art 109-A Kit Carson Rd., 575-770-4463.

After Dark II, nocturnal-themed show, reception 4-8 p.m. Saturday, July 6, through July 27.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 11 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m.

Sunday. Adults $8; under 16 $4; children under 5 no charge.

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

Retrospective, Altar Screens and Retablos: Catherine Robles Shaw & Family, through Sunday, July 7. Open 10 a.m.-5 p.m. daily.

NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge.

Taos Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122.

New works by painter Peter Bonesteel, pastelist Carolene Herbel, and mixed-media artist Jan Nelson, reception 4-7 p.m. Saturday, July 6, through Aug. 2. Oil+Water=Emulsion, group show of works by members of the collective, through Friday, July 5.

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

Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances

Dirty Bourbon River Show New Orleans-based Gypsy brass/circus rock band, 8 p.m. Sunday, July 7, KTAOS Solar Center, 9 NM 150 (Taos Ski Valley), $5 in advance online at holdmyticket.com.

Historic E.I. Couse and J.H. Sharp properties studio and garden open house and exhibit Uncle Henry, Up Close and Personal, paintings by Joseph Henry Sharp (1859-1953), 5-7 p.m. Saturday, July 6, 146 Kit Carson Rd., no charge, 575-751-0369.

Kit Carson Home & Museum Summer Lecture Series Writer/historian Stephen Zimmer discusses the friendship between Kit Carson and Lucien Maxwell, 6 p.m. Saturday, July 6, 113 Kit Carson Rd., no charge, 575-758-4945.

▶ People who need people Artists

Cleveland Millfest Outdoor spaces available for artists, craftspeople, and food vendors during Labor Day weekend, Aug. 31-Sept. 1, at Cleveland Roller Mill Museum; 575-387-2645 or 575-387-6763; or dancas@nnmt.net.

La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 699-6788, lensandpens@comcast.net.

Pojoaque River Art Tour Area artists are invited to join the annual studio tour Sept. 21-22; pojoaqueriverarttour.com, 455-3496.

Santa Fe Public Libraries exhibits Month-long exhibits open to local artists; all two-dimensional work considered; no commissions taken; for information call 955-4862 or 955-6784; visit santafelibrary.org for application process details.

SITE Santa Fe’s Spread 4.0 dinner Artists of all disciplines are invited to submit proposals for food-related projects for the

Girls Inc. of Santa Fe Artists needed to act as jurors during the 41st annual arts & crafts show Aug. 3-4, on the Plaza; also, various positions are available during the show; visit girlsincofsantafe.org or call 982-2042 for details and to sign up.

Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; fundraise; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 316-3596, alanna@railyardpark.org.

Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; the hours are 9:30 a.m.4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details.

Santa Fe Spanish Market Sit at barricades for two- or three-hour shifts 7 a.m.-7 p.m. July 26-28, call Linda at 982-2226, Ext. 121 for details and to sign up.

▶ Under 21 Graduation Hip-hop performers Thyme, Jarab, The Big D, Drayz Garcia, and Autumn Faulkner, 7 p.m. Saturday, July 6, Warehouse 21, 1614 Paseo de Peralta, $8, 989-4423.

▶ Pasa Kids Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, 989-8359, visit santafechildrensmuseum.org for weekly scheduled events.

Santa Fe Art Institute graffiti workshops Free; geared to ages 6-19; 11 a.m.-1 p.m. Saturdays through August, call 424-5050 to register.

Arts Alive!

Weekly walk-in art workshops for children (ages 3 and up) and adults; led by tinwork artist Richard Gabriel, 10 a.m.-2 p.m.

Wednesday, July 10, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, no charge, 982-2226.

Dig Into Reading Santa Fe Public Library 2013 Summer Reading Program, toddlers and children up to age 12, visit santafelibrary.org for registration and events schedule, through July 27. ◀

PASATIEMPOMAGAZINE.COM

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