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The New Mexicanâ€™s Weekly Magazine of Arts, Entertainment & Culture September 12, 2014

Lensic Presents

P h oto : G a b r i e l l e S avoy

ime Grammy Nominees Four-T

Cajun Music from South Louisiana

September 13 | 7 pm | $15–$35 “Steve Riley and the Mamou Playboys make sweet Cajun music . . . steeped in the French heritage of southwestern Louisiana and driven by accordion and fiddle. It’s sweetly melodic, danceable music with origins in French-Canadian history that dates back to the 1760s—think of it as their country music.” —NPR

Tickets: 505-988-1234 www.TicketsSantaFe.org

giggle. wiggle. groove. An eclectic mix of informative and entertaining programs await you on KUNM – your passport to the worlds of news, music, community and culture. Publicly supported. Publicly responsive. KUNM is an essential part of New Mexico’s day.

S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

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PASATIEMPO I September 12 - 18, 2014

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PASATIEMPO I September 12 - 18, 2014

Grand OpeninG State Fair

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Lensic Presents Direct from Beijing

The National Acrobats

of The People’s Republic of China October 1 | 7 pm | $20–$45 discounts for Lensic members

FRIDAY, FRIDAY,SEPTEMBER SEPTEMBER12 5 THROW SAVAGE THE WISDOM TEMPLE & S*** HAPPENS INC. METHOD BLANK

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PASATIEMPO I September 12 - 18, 2014

High Holy Days 5775~2014 ErEv rosh hashanah Rabbi Martin Levy—Renewing the World: Understanding our Middle East Responsibilities Wednesday, September 24 7:30 pm

Congregation

Beit Tikva Rabbi Martin W. Levy Cantor Michael G. Linder & the High Holy Day Choir

rosh hashanah Rabbi Martin Levy—Judaism is a Team Sport (the first Jewish family working with G-d) Thursday, September 25 10:00 am Children’s Service Immediately Following Kol nidrE Rabbi Martin Levy—This is our Religion: What of our Spiritual Future? Friday, October 3 7:30 pm Yom Kippur Rabbi Martin Levy—At the End of the Day: What Neilah Teaches Us Saturday, October 4 10:00 am Children’s Service 2:00 pm Afternoon service 3:00 pm Followed by Yizkor, Concluding Service and Break-the-Fast

www.beittikvasantafe.org

Call the synagogue office to arrange for High Holy Day tickets: 505.820.2991 2230 Old Pecos Trail, Santa Fe. Or, download a ticket order form from our website.

THE PREMIER SOURCE JEWELRY FASHION RUGS

Experience this seasoned designer collection from the Tuscany region of Italy. Sizes 38-50

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

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THE SANTA FE NEW MEXICAN

Septempber 12 - 18, 2014

www.pasatiempomagazine.com

ON THE COVER 24 Erin Currier: From Taos to Laos Erin Currier’s signature style, developed when the artist was waitressing in Taos more than a decade ago, incorporates scraps and trash, which the artist says lends itself to Buddhist ideas of impermanence and transformation. The collages are layered over portraits of activists and ordinary people she has met during her travels, which have taken her from the American Southwest to Southeast Asia. A collection of Currier’s new work opens Friday, Sept. 12, at Blue Rain Gallery. On our cover is Currier’s Guadalupe, acrylic and mixed media on panel; courtesy Blue Rain Gallery.

MOVING IMAGES

BOOKS 18 20 22 36

42 Frontera 44 God Help the Girl 46 Frank 50 Chile Pages

In Other Words How to Ruin a Queen Life in the Faust lane Alfredo Corchado Type A The future of libraries Dennis Lehane A niche of his own

CALENDAR

ART 40

Frank Ettenberg Artist without borders

AND

MUSIC AND PERFORMANCE

14 17 54

26 Listen Up Fall concert season 28 Pasa Tempos Album Reviews 31 Random Acts Roberto Capocchi 32 Pain and gain Lucha libre

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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

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

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

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Copy Editor — Sandy Nelson 505-986-3096, snelson@sfnewmexican.com

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

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Mixed Media Star Codes Restaurant Review: Chicago Dog Express

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

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St., Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com

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Pasa Week

Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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

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

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

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

TURN UP THE HEAT Sunday, September 14 · 10:00 AM – 4:00 PM · Museum Hill

This free-to-the-public, day-long family food event is brought to you by FUZE.SW and Delicious New Mexico. Vendors will offer tastes of and sell New Mexico-grown, produced, and prepared foods, from jams to empanadas. Enjoy Native American dance performances, cooking demonstrations, cookbook signings, a green chile roast, tours of the Santa Fe Botanical Garden, food trucks, and more activities that everyone will relish.

“FUZE.SW is a recipe for the finest cooking, conversation, and camaraderie in New Mexico.”

DANIEL BARSOTTI

AT THE FREE FUZE.SW MARKETPLACE!

CHERYL SAYS:

— Cheryl Alters Jamison, James Beard Award-winning author

PASATIEMPOMAGAZINE.COM

FACULTY ART SHOW Opening Reception Friday, September 12, 4:30 to 7:00 p.m.

Exhibition September 12 to October 24, 2014 Works in multiple media by faculty members of Santa Fe University of Arts and Design and Santa Fe Community College bookart, ceramics, jewelry, painting, photography, sculpture, video and woodworking

ADDDDDDDDDDDDDDDDDDDDDDDDDDDDF H H H H H H H H H H Give My Regards To Broadway: H Grand Opera Embraces Great Musicals HH H Musicals such as 1'%&- 2.*+"*! 1-'$,'.&! 1$//)/# 0'(( and H H David Geist others now grace the stages of opera houses. Why is this cross- H H H over occurring? What are the particular social, cultural, and artistic circum- H H stances driving this change? Broadway trained, David Geist performs and H H discusses these topics and others introduced by Tom Franks. H Cash Bar—Parking nearby H Wednesday, Sept. 17, 5:30–7PM H Free to Santa Fe Opera Guild Members;; H H Eldorado Hotel and Spa $10 non-Guild members 309 West San Francisco H H JLLLLLLLLLLLLLLLLLLLLLLLLLLLL:

back to bridge

for those who have played before . . .

Lessons taught by Grand Life Master & National Champion Dennis Dawson

The Red Dot Gallery is made possible through the generous support of Zane Bennett Contemporary Art.

Red Dot Gallery AN SFCC ART LABORATORY

Red Dot Gallery I 826 Canyon Road, Santa Fe, NM 87501 I Fridays through Sundays, 11 a.m. to 5 p.m. Learn more. Call 505-820-7338 I www.red-dot-gallery.com

8 Week Course Monday Evenings 5–7 pm Starts September 22

Helman Bridge Center, 3827 Thomas Road, Santa Fe $20 per class To sign up, email dennis@bridgevacations.com or call 505-660-9927

pairings Justin Winery & Vineyard Dinner: Thursday, September 25 Silver Oak & Twomey Cellars Dinner: Friday, September 26 Celebrate the 2014 Santa Fe Wine & Chile Fiesta! #loveluminaria | 505.984.7915 | luminariarestaurant.com 12

PASATIEMPO I September 12 - 18, 2014

Beckett on Film A Four-Part Series

Beckett on Film is a collection of ﬁlms presenting all 19 of Samuel Beckett’s plays including Endgame, Waiting for Godot, Catastrophe and Rough for Theatre. Each ﬁlm is unique, featuring some of the world’s most talented directors and actors including David Mamet, Harold Pinter, Michael Gambon and Kristin Scott-Thomas. SEPTEMBER 7 Act Without Words 1 Endgame SEPTEMBER 14 Rough for Theatre 1 Footfalls That Time Catastrophe Rough for Theatre 2 SEPTEMBER 21 Breath Waiting for Godot SEPTEMBER 28 Act Without Words 2 A Piece of Monologue Play Rockaby

Every Sunday in September at 11am At The Screen FREE ADMISSION (FIRST-COME, FIRST-SERVED)

VISIT WWW.THESCREENSF.COM FOR A FULL SCHEDULE

Santa Fe University of Art & Design 505.473.6494 1600 St. Michael’s Drive Santa Fe, NM 87505

www.lannan.org PASATIEMPOMAGAZINE.COM

MIXED MEDIA

Still from Godfrey Reggio’s 2013 film, Visitors

Take a long, hard look

Among the more memorable of the roughly 70 high-definition images in Godfrey Reggio’s film Visitors (2013) are the portraits. Filmed in black and white, Reggio’s film is a mesmerizing experience that taps into the power of the human and animal gaze. PREcognition/REcognition: Examining the Reciprocal Gaze in Godfrey Reggio’s Film “Visitors,” an exhibition conceived by curator James Rutherford as a corollary to the film, presents portraits from Visitors as photographs and invites viewers to consider the precognitive responses that are activated when we look into the eyes of another being. Such responses “come from such a primal and instinctual place since the exchange of the reciprocal gaze with our mother after we are born is likely among our first experiences as human beings,” Rutherford writes in a curator’s statement. Reggio’s captivating images evoke sensations and emotions and inspire a visceral experience in the viewer. “Experiencing the images outside of the constraints of the cinematic environment enables us to take the time to recognize our precognitive responses and cultivate an awareness of the true nature of that which we are observing,” Rutherford added. PREcognition/REcognition opens with a 5 p.m. reception on Thursday, Sept. 18, at the Santa Fe Community College’s Visual Arts Gallery (6401 Richards Ave., 505-428-1501). The reception is followed at 8 p.m. with a free viewing of Visitors at The Screen on the campus of the Santa Fe University of Art and Design (1600 St. Michael’s Drive, 505-473-6494). — Michael Abatemarco 14

PASATIEMPO I September 12-18, 2014

The state of eating well

The second annual FUZE.SW New Mexico food and folklore festival, hosted by the Museum of Indian Arts and Culture and the Museum of International Folk Art, brings more than 60 award-winning chefs, authors, food journalists, and food and food-source scholars to Museum Hill for a weekend of tastings and talks from Friday, Sept. 12, to Sunday, Sept. 14. This year’s gathering focuses on Native American food, the local food movement, and how traditional Native practices can inform modern agricultural and culinary techniques and traditions. On Friday, Sept. 12, ticket-holders can partake in a lunch cooked by Native American mothers and grandmothers, followed by a keynote address, “Cooking With Spirit,” by Chef Nephi Craig (White Mountain Apache), which discusses the concept of “food as empowerment and conduit for the messages embodied in plants, land, animals, and water.” Other panels and talks include “The ‘New’ Pueblo Diet,” which centers on permaculture at Santa Clara Pueblo; “How to Cook and Care for Micaceous Pottery”; “Churro Sheep, Corriente Cattle, Bison, and the Modern Rangeland”; and “The Good, the Bad and the Ugly: Fried Dough.” A full FUZE.SW schedule is available at www.fuzesw.museumofnewmexico.org. Tickets, good for full entry to the festival, are $250/person, and there are a limited number of scholarships available as well. This year features a no-charge event, which takes place all day on Sunday, Sept. 14: the FUZE.SW Marketplace on Museum Hill. Vendors offer tastes of (and sell) their food that’s grown and prepared in New Mexico. Also on offer are cooking demonstrations, cookbook signings, and musical entertainment. For more information and to inquire about scholarships, call 505-476-1162. — Jennifer Levin

Friday Outdoor Grill Come and join us on our beautiful patio for lunch or dinner. Featuring Guinness Bratwursts cooked by Chef Cristian Pontiggia on our outdoor grill this Friday for lunch. We will also have a guest sommelier in house this Friday and Saturday evening to assist in helping guests with wine pairing selections. Buon Appetito! 986-5858 • 58 S. Federal Place • Santa Fe, NM 87501 • www.osteriadassisi.com

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Governor ’s Awards for excellence in the arts 2014 Honorees

robert mirabal jean anaya moya donald redman robert “shoofly” shufelt dr. kent jacobs and sallie ritter george r.r. martin dr. dave warren

Est. 1993

505.424.7774 • www.brokensaddle.com

ERIN CURRIER From Taos to Laos, September 12 – 27, 2014 Artist Reception: Friday, September 12th from 5 – 7 pm

Robert “Shoof ly” Shufelt, That Pretty Little Corral on the P.O. Ranch, 2001. Graphite drawing. Courtesy of Jerry and Michell Wright.

fr iday, september 19 3:30 – 4:30 pm ¬ Ex hibition Opening Governor’s Gallery, Fourth Floor, State Capitol

Fiesta Queens VI (left panel detail), acrylic and mixed media on panel 36" h x 48" w (each panel); 36" h x 96" w (diptych)

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

5:15 – 7:00 pm ¬ Awards Ceremony

St. Francis Auditorium, New Mexico Museum of Art 107 West Palace Avenue, Santa Fe 505-476-5072 ¬ nmartmuseum.org Events are free and open to the public.

PASATIEMPOMAGAZINE.COM

This Wine & Chile Fiesta, experience The Historic Bishop's Lodge and Fine Wine - The Perfect Pairing. With two wine-country inspired dinners created by our nationally-acclaimed NEW Executive Chef, Tom Kerpon and his culinary team.

(505) 216-3800 6824 CERRILLOS RD

Five-Course Winemaker Dinner Thursday • September 25, 2014 Reception at 6:15 pm • Dinner at 7 pm $95* per person

Four-Course Winemaker Dinner Friday • September 26, 2014 Reception at 6:15 pm • Dinner at 7 pm $95* per person

Reservations Required. 505.819.4035 *Plus tax & gratuity.

PASATIEMPO I September 12 - 18, 2014

STAR CODES

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

Heather Roan Robbins Touch-up

Notice an undertone of melancholy, an awareness of what’s

leaving and what’s in the depths of our soul as Mars finishes its last few days in Scorpio. Let this be a clean sweep; look in the corners but don’t feel stuck in these moody dimensions. Friday opens with a wonderfully stabilizing grand trine of moon, Venus, and Pluto in practical earth signs. It helps us find workable cures for the blues as we attend to pragmatic, earthy matters. Then we should get ready to have our minds blown, or at least our opinions unsettled, as Mercury opposes eccentric Uranus over the weekend. We may deal with fresh truth, come to a new understanding, or cope with a reality we were avoiding under this urgent, electrifying aspect. We also need to watch for strange, eccentric accidents where events don’t move as planned. Mars enters cheerful, truth-speaking Sagittarius late on Saturday and can impart a new emotional resilience and balance. Mars in Sagittarius brings hidden truths to the surface, but before we start those lethal sentences that begin “Frankly,” let’s make sure we have the whole picture. Comments made now can trigger changes that build momentum. Mars in Sagittarius can also make us restless; if we’ve been unhappy, we may suddenly want to move to Mozambique. But it’s time to hang in there and see if we can make the relationship travel into new territory rather than moving away from the relationship.

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505-670-9019

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Friday, Sept. 12: Do what needs to be done efficiently, steadily, and with heart intact. Compassion can stretch us into pragmatic action. A nervous, curious, if more frazzled and accident-prone mood grows late tonight. Saturday, Sept. 13: The earthy Taurus moon wants everything stable, while Mercury opposes erratic Uranus and jars us with a changing landscape. Open the mind but stay calm; plans need adjustment, electrical snafus and accidents need to be avoided. Energy increases tonight. Sunday, Sept. 14: A talkative Gemini moon brings a fresh, nervy, staccato mood; we think in short sound bites and speak unusual truths. Venus trines Pluto and reminds us that the more difficult the situation, the more our hearts need to be engaged. Monday, Sept. 15: A communicative, intelligent morning requires that we follow through on recent changes. Diplomatically broach tough subjects or appeal a recent bad decision. Tuesday, Sept. 16: Slow the pace and take care of one another under a tender, defensive Cancer moon. Give room for concerns and be gentle, not reactive. Digestive systems need healthy comfort food. Wednesday, Sept. 17: Our hearts are tender and easily nicked midday, but they grow sturdier tonight. Let’s think about our relationship to personal authority in the face of outside authority and gently stand our ground to make wiser, more egalitarian decisions. Thursday, Sept. 18: Early morning activity swirls, but we may disagree on priorities. Midday it’s hard to initiate or conclude projects, but we can make progress in the middle. The mood becomes sociable but more interpersonally demanding tonight under a Leo moon. ◀ www.roanrobbins.com

PASATIEMPOMAGAZINE.COM

IN OTHER WORDS book reviews How to Ruin a Queen: Marie Antoinette and the Diamond Necklace Affair by Jonathan Beckman, Da Capo Press, 408 pages Late in the evening of Aug. 12, 1784, Cardinal Louis de Rohan anxiously lurked in the gardens of Versailles, waiting for one of the most important meetings of his life — and one he had desired for years. He saw her: clad in a flowing gray dress and holding a rose, Marie Antoinette sat in the moonlight. The rose was for him. Rohan, a womanizing snoot from an ancient noble family, saw, according to Jonathan Beckman, a “woman of loose clothes and looser morals” whose eagerness to meet in the royal gardens (a popular gathering spot for prostitutes) “confirmed his own seductive prowess.” Unfortunately for the cardinal, his eagerness to seduce the queen had given him severe myopia. The woman was not the queen; she was, rather, a prostitute. Nicole le Guay bore something of a resemblance to the queen, and for this reason she had been recruited by one of her clients to unwittingly participate in one of the juiciest scandals in history: the affair of the diamond necklace. Beckman, the senior editor of the London-based Literary Review, does not skimp on the tantalizing details in How to Ruin a Queen, his excellent account of the affair. The true tale features spirit-divining séances, burning flesh, forgery and smuggling, political pornography, and countless acts of self-reinvention, with vagabonds assuming names like “Count Cagliostro” (born Giuseppe Balsamo) and “Comtesse de La Motte.” The “comtesse” was actually Jeanne de Saint-Rémy, the mastermind of the affair. As a child, Jeanne had stood on the streets of Paris begging, “Ladies and gentlemen, take compassion on a poor orphan, descended directly from Henry II,” while her mother stood by proffering genealogical charts. It was true that Jeanne had descended from a king’s illegitimate son, which gave her a lifelong sense that she deserved more: more wealth, more admiration, more access to the court. Her ascent began when an aristocratic family took pity on and adopted the six-year-old Jeanne; through her benefactors she eventually, as a young woman, met Cardinal Rohan. (Jeanne’s aspirations were somewhat curbed when she accidentally became pregnant by Nicolas de La Motte, a penniless gadabout whom she married and through whose future extramarital trysts she learned of a Marie Antoinette-look-alike prostitute.) Rohan had been smarting for a while over the queen’s poorly disguised hatred for him, which stemmed in part from the time he made fun of her mother. When Jeanne (likely Rohan’s lover) informed the cardinal 18

PASATIEMPO I September 12-18, 2014

that the queen, her supposed confidante, was willing to hear from Rohan, an exchange of letters began between Rohan and the “queen.” Though the letters do not survive and it is difficult to know to what degree Rohan committed lèse-majesté in them — the crime of offending royal dignity — Beckman notes, “Any letter from a man to a woman, especially in secret, is stamped with an erotic seal.” Rohan had no clue that the other writer was Rétaux de Villette, a somewhat skilled forger who was probably another of Jeanne’s lovers. Following the rendezvous in the garden — Jeanne’s attempt to squelch the cardinal’s insistence that he meet his correspondent in person — the “comtesse” came across the opportunity for her grandest scheme yet. The royal jewelers, Charles Boehmer and Paul Bassenge, had created a 647-diamond-encrusted necklace for Louis XV’s mistress, but then “the king inconveniently died,” leaving the jewelers unpaid and at risk of total ruin. Marie Antoinette had no interest in purchasing the garish necklace, which, with its thick, ropelike strands sagging from a choker, “resembled an item of chain mail or something a monk might wear in penitential self-chastisement.” And so Jeanne swept in, presenting the cardinal with a letter in which the “queen” expressed a wish to purchase the necklace in secret — without, that is, the knowledge of her husband, Louis XVI. Rohan jumped at the chance to serve discreetly, arranging the terms of sale, taking the necklace from the jewelers, and handing it over to a “member of the queen’s household” (again Villette, appropriately clad in black). Jeanne and her consorts now had hundreds of diamonds. She also had the small problem of not having thought of a way to keep the charade going. Unsurprisingly, Jeanne was locked away in the Bastille shortly after. The second half of How to Ruin a Queen, which focuses on the ensuing investigations, lacks the dynamism of the preceding chapters. Beckman has clearly pored over the mounds of first- and secondhand accounts — the affair generated such hoopla that, Beckman argues, it was a turning point in the events leading to the French Revolution, a “defining pedagogic encounter for the French people in which they learned to discuss, interpret and judge the actions of their betters” — but the legal recounting dips in energy and momentum after such an invigorating first act. How to Ruin a Queen has many of the elements of a sensational play, with participants acting as others, wearing masks, using letters to woo and deceive. Beckman brings his literary background to exegeses of — or comparisons to — Les Liaisons Dangereuses, The Marriage of Figaro, Twelfth Night, and other works; he brings his appreciation for a good yarn inventively told to his book’s wild plot and colorful writing. And some of the mental images he creates are marvelously twisted. “It does not take much force to make a choker choke,” he writes. “And, as the French discovered, the quickest way to kill a queen was to slice straight through her throat.” — Grace Labatt

SUBTEXTS What have you done for me lately? Julie Powell, author of Julie & Julia — her best-selling blog-based book that became an award-winning movie — hosts a screening of the film and gives a reading at Santa Fe University of Art and Design (1600 St. Michael’s Drive) in separate events on Monday and Tuesday, Sept. 15 and 16. During a visit designed to show off the pathways between literature, film, and popular culture, Powell will also visit classes in the SFUAD Creative Writing and Literature Department. Powell rose to fame for cooking (and blogging about) all 524 recipes in Child’s Mastering the Art of French Cooking over the course of a year. The undertaking required considerable doggedness, as Powell was unfamiliar with the required cooking techniques and had to hunt down ingredients no longer in common use. The internet world fell in love with the project, and with Powell’s bouncy prose. Meryl Streep won an Academy Award for her portrayal of Child in the film. Powell was living the ultimate fairy tale of writerly success, riding a new wave of glory for bloggers-turned-authors who were signing book deals for singular projects. But her second book, Cleaving: A Story of Marriage, Meat, and Obsession, a memoir about learning the art of butchery along with marital infidelity (with graphic depictions of both things), didn’t achieve the same public and critical success as Julie & Julia. How to experience fame, overcome bad reviews, and continue living as a writer might be a good discussion topic for her local appearances. Julie & Julia shows at The Screen on Monday, Sept. 15, at 7 p.m.; tickets can be purchased at www.thescreensf.com. The reading, which is free of charge and is followed by a book signing and question-and-answer session, is on Tuesday, Sept. 16, at 7 p.m., in the O’Shaughnessy Performance Space in Benildus Hall. For more information, call 505-473-6200. — Jennifer Levin

Santa Fe

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(505) 983-5984 Manymothers.org info@manymothers.org

Portrait Drawing Portrait and Painting Drawing & Painting

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Casey Sanchez I For The New Mexican

LI FE I N THE

LANE journalist ALFREDO CORCHADO risks his life to cover Mexican cartels

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or much of the past seven years of reporting on drug-related violence and government corruption in Mexico, journalist Alfredo Corchado has dodged a death threat from one of that country’s biggest cartels. The Dallas Morning News’ Mexico bureau chief tells that story in Midnight in Mexico: A Reporter’s Journey Through a Country’s Descent Into Darkness. Corchado’s investigative reporting in Mexico began in 1994. After decades of work exposing links between the Juárez and Gulf cartels and corrupt government officials in the U.S. and Mexico, he reached the security limits of his passport in 2007 with a story about a secret truce between high-level Mexican government officials and the Sinaloa and Gulf cartels — the country’s two largest drug-trafficking organizations at the time. “The information in the story ... had jeopardized millions of dollars in future kickbacks — as much as $500 million annually,” he writes. The day after his story ran, Corchado received a phone call from a longtime source, an American intelligence agent, who told him Los Zetas — the armed security wing of the Gulf cartel at that time — planned to kill an American journalist within 24 hours. “Three names came up,” said the source. “I think it’s you. I’d get out.” Ignoring the advice of his source, his journalist girlfriend, and his editors to leave the country immediately, Corchado embarked on a clandestine road trip across Mexico, working the most underground of his sources — including Drug Enforcement Administration agents and Mexican lawyers in service to the drug underworld — to discern the truth and the source of this threat. “If a narco makes a threat to you and you’re still alive, you have to wonder why,” Corchado said in an interview with Pasatiempo. “Was it my American passport, or was it that I am too high profile? Is it that I can get on a plane and fly away? Mexico is a country where you almost have to justify why you are alive.” Corchado speaks at the Lensic Performing Arts Center at 7 p.m. on Wednesday, Sept. 17, as part of the Lannan Foundation’s In Pursuit of Cultural Freedom lecture series. His speech is followed by a conversation with Melissa del Bosque, a Texas Observer reporter who covers borderland issues. Born in Durango, Mexico, Corchado grew up in California picking crops with his migrant-worker family and graduated from the University of Texas-El Paso. His upbringing gave Corchado an intimate understanding of the class resentments beneath the surface of Mexico’s immigration and drug-trafficking problems. “Over the decades, locals faced two viable options for earning a living: Work in the United States, legally or not, or stay put and work for the cartels, growing or moving drugs.” For decades, opium and marijuana were grown, refined, and distributed in the states of Durango, Chihuahua, and Sinaloa — a region known as “the golden triangle” — with collusion among rival cartels and the government. “While the cartels would

resort to violence to resolve internal disputes, few of those battles ever got too out of hand, lest the PRI [the Institutional Revolutionary Party, Mexico’s dominant political party for seven decades] step in to exercise its authority,” Corchado writes. The rise of Mexican democracy in 2000, signaled by the election of President Vicente Fox of the National Action Party, threatened this delicate arrangement. “Without a strong central authority to hold them in check, the cartels started running wild.” Mexico’s nascent democracy was ill-equipped to play drug cartel referee, unlike its authoritarian predecessor. “We all underestimated how profound the power vacuum was going to be” after Fox’s election, Corchado said. “I moved from Washington, D.C., to Mexico to begin covering Mexican reality from Mexico ..., traveling to Tamaulipas, where cartels brazenly flouted their control of the police, the papers, and, in many cases, the functioning local government.” The cartels brought Dark Ages violence into the daylight, with more than 80,000 Mexicans kidnapped or murdered in drug-related violence in the past six years, according to Corchado. Many victims were brutally tortured in acts of public spectacle. In the central plaza of Uruapan, dead bodies were propped up in plastic chairs, notes of warning stabbed into their skin with ice picks. In the same city, cartels decapitated their rivals and sent hooded men to roll their severed heads across a nightclub dance floor. In Nuevo Laredo, a female blogger who had the temerity to chastise cartels online was disemboweled and hung from her feet on a highway overpass.

The cartels brought Dark Ages violence into the daylight, with more than 80,000 Mexicans kidnapped or murdered in drug trade-related violence in the past six years, according to Corchado.

Reporting on these macabre killings made Corchado question why he had ignored his parents’ warnings not to return to Mexico to report on the narcos. But he wanted to understand what was happening to his native country. He consulted “La Paisana,” a cross-border smuggler of electronics and light goods whom Corchado met as a teenager while working in his parents’ El Paso restaurant. La Paisana knew narcos romantically, professionally, and socially, and she warned Corchado that further reporting would be seen as meddling by an American — interference that encroached on the macho, myopic, and brutal nationalism of the cartels. “The more the United States tries

to bully Mexico, the more ballsy these men become,” she told Corchado. “What do they have to lose when they come from practically nothing? They’re coldblooded. ... Hardheaded and nationalistic too, resentful sons of bitches who will kill for everything they’ve earned by killing others.” Corchado acknowledged that cartels feed a voracious American appetite for hard drugs and benefit from laissez-faire gun regulations in the United States. Mexican cartels, for example, enlist Americans without criminal records to purchase assault weapons that are then smuggled into Mexico. But, he said, drug decriminalization and gun control alone won’t curtail the violence. “I’m a Johnny-come-lately on the whole issue of legalization and decriminalization,” he said. “That would have a huge impact, and the drug trade would level off to some ... degree. But the Zetas, for example, are involved with much more than drugs at this point. They kidnap people, they extort people for money — things that have nothing to do with whether drugs are illegal.” Mexican journalists are explicitly targeted by cartels: since 2000, nearly 100 members of the Mexican media have been killed or kidnapped, according to a 2013 report by PEN America, an international organization that raises awareness about restrictions on writers’ freedoms. U.S. journalists have the platform and relative geographic independence to report more freely in Mexico, but few are assigned to the country because of deep cuts in newspaper staffing in the United States in recent years. “When I first began, there were 13 papers in the Southwest that had correspondents in Mexico,” Corchado said. “Now it’s dwindled down to one paper in Dallas and one correspondent in Mexico — that’s me. It’s not a lack of interest that this story isn’t covered more in the U.S. or that we didn’t see the problems with the cartels developing. Mexico is the U.S.’ largest trading partner, but because of lack of financing in the newspaper industry, we are having a hard time keeping American journalists on the story.” While the chaotic violence of border towns like Ciudad Juárez is said to have subsided over the past two years, Corchado doubts that drug cartels have loosened their grip on the country. Instead he suspects they have moved to more remote regions. “The truth is we don’t know. That’s the sad fact. Yes, Juárez is a region that has gotten better, but others have worsened. In Tamaulipas, it’s incredibly difficult to gain access there as a journalist or even as [a nongovernmental organization]. It’s the same picture with Sinaloa, with Michoacán, and parts of Veracruz.” Corchado has no plans to stop reporting on Mexico, despite the personal dangers. But to do so means he can never stop looking over his shoulder. “You cover a traumatized country for so many years,” he said, “and after a while you feel yourself as traumatized as the country in many ways.” ◀

details ▼ Alfredo Corchado, followed by a conversation with Melissa del Bosque ▼ 7 p.m. Wednesday, Sept. 17 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 with student ID; 505-988-1234 or www.ticketssantafe.org

PASATIEMPOMAGAZINE.COM

TYPE A A column exploring the changing world of publishing and reading James McGrath Morris

Are libraries the dinosaurs of the digital age? Deep in the heart of Texas, where, according to the 1941 song, the prairie sky is wide and high and the coyotes wail along the trail, an imaginative chapter is being written in the history of libraries. In Bexar County, the new library is devoid of printed books, and patrons seem quite happy. Instead of books packed on shelves, the new BiblioTech library’s collection of 18,000 titles is stored electronically. To read a book, a patron downloads one on his or her e-reader or on one of the 600 or more available for loan. It is the nation’s first all-digital library. “We have maintained from the beginning that we are a digital library, not a bookless library,” Ashley Eklof, the head librarian, told The New York Times when the newspaper sent a reporter to investigate. But upon walking into the place, patrons might easily conclude they accidently stepped into an Apple store. With its bright, plastic-orange walls, abundant computer screens, and a staff in matching sportslike attire, BiblioTech hardly looks like a library. Maybe it looks like the future? The Texas experiment is only one of many that libraries are conducting as they try to carve out a sustainable role for themselves in the changing world of books. The challenge they face is more daunting than budget cuts. To put it simply, if storing a book is a matter of gigabytes rather than linear feet of shelving and if getting a book is a matter of clicking rather than driving, what role — if any — will libraries have in the new world of e-books? Perhaps none. A columnist for Forbes magazine suggested it would be cheaper to close all public libraries and equip everyone with a Kindle and an Amazon Kindle Unlimited subscription. Publishers, whom one would think could be counted among the friends of libraries, are certainly not helping. They worry that libraries stocked with e-books will make it so convenient to read that folks won’t buy books. No longer would patrons have to make a trip to the library, find parking, walk to a shelf for that recommended novel, and wait in line to check it out. A couple of clicks on a device, even while languishing in a bathtub, and — presto — the book is in one’s hands. E-book collections simplify library tasks as well: late items are a thing of the past because the library automatically retrieves the book, and e-books don’t wear out and don’t need to be taken out of circulation for repair. 22

PASATIEMPO I September 12-18, 2014

the book — in short, turning the library into a retail operation. In the models so far, the library doesn’t get to own an e-book in the same way it owns a paper book. Like other digital resources such as newspapers, journals, and magazines, the books are licensed for use on a contractual basis. In most of these agreements, the libraries may not preserve the contents, nor can they sell the books when they’re no longer needed or accept donated e-books. Librarians also fear they cannot safeguard patron privacy when it comes to e-books. Many opposed provisions of post-9/11 laws that permit government agencies to learn what books a reader checks out. But providers of e-books, like other internet companies, thrive on data and collect as much as they can. When a library supplies e-books through an outside firm, many librarians worry they are renouncing their long-held tradition of patron privacy. Libraries, however, are doing their best to provide a selection of e-books under these difficult circumstances. More than 90 percent of the 16,400-plus public libraries in the United States have turned to a Clevelandbased company called OverDrive, which has amassed 2 million books from 5,000 publishers, to supply a selection of e-books to their patrons. But even OverDrive, with its market might, faces restrictions from publishers with new titles. For instance, the e-book of Santa Fe author Hampton Sides’ bestselling In the Kingdom of Ice is unavailable

The BodleianLibrary at Oxford University As a result, the major book publishers — known in the business as the “big six” — who consent to sell e-books to libraries have adopted two draconian models: either they sell the books at a price as much as 10 times higher than the retail price or, in a more Bradburian fashion, provide e-books that self-destruct after they’ve been loaned out a specific number of times. One publisher, Simon & Schuster, is playing with a different model. In a yearlong pilot program, the publisher is offering its entire catalog to three New York City public libraries but limiting each book to one checkout at a time. In return, the electronic lending system provides patrons with an opportunity to buy

to library patrons in his hometown. Instead, more than 35 readers are waiting for a turn with one of the six paper copies on order. Patrons, mostly unaware of what publishers are doing, complain about the dearth of e-book titles. This puts libraries on the defensive, as it implies they are the dinosaurs of the digital age. Douglas County Libraries, in Colorado, resorted to publishing an open letter about e-books. The library detailed how HarperCollins requires that books be repurchased after 26 uses and Random House has raised the price of new books by 300 percent. “That’s neither sensible nor sustainable,” reads the letter. “While the Douglas County Libraries

will continue to buy print copies of popular titles published by the big six, we won’t be spending $120 for a single copy of an e-book.” Some see the problem as the same one that brick-and-mortar stores face from internet competition. However, real-world stores can open internet operations and continue selling the same products. Unless matters change, libraries are being prevented from following a similar path. Even if libraries and publishers were to reach some suitable arrangement, the essential challenge to libraries remains: they are physical institutions in an increasingly cyber-oriented world. This uncertain future weighs on the mind of the nation’s 366,894 library employees. There were two national gatherings of librarians this spring on this theme; tellingly, one of them was titled “Survival Summit.” Many librarians hope that traditional roles — such as building literacy, serving as community places, choosing what to collect and preserve, and advancing research and scholarship — will preserve libraries as we know them. To put it simply, if storing a book is a matter of gigabytes rather than feet

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of shelving and if getting a book is a matter of clicking rather than driving, what role — if any — will libraries have in the new world of e-books? Others, however, seek to reinvent the library entirely. In the modestsized Netherlands city of Delft, librarians are determined to make their institution “future-proof.” To do this, they abandoned “the idea that the medium we lend out determines what we are,” explained Erik Boekesteijn, who works for the library’s Communication and Innovation Department. “What does it matter whether we share our stories in the form of a book, a CD, a DVD, an MP3 player or MP3 file, or a work of art?” Further, the staff reimagined its library’s role not as a storehouse of information but as a guide — in short, turning the library from simply being a place to find information into a place where information is accessible in a wise and inviting style. That concept resonates with Pat Hodapp, director of libraries for the City of Santa Fe. She believes that librarians, not buildings or collections, are what make libraries essential. “We can have all the e-books in the world, but what it comes down to is personal interaction,” she said. A sustainable library is comfortable to visit and offers professional guidance to obtain the information visitors seek. Those at the top of the profession echo this mantra. “The thing that will still bring people into the building is the same thing that has brought them in the past, and that is the relationship with people who work in the library,” according to Sari Feldman, the incoming president of the American Library Association. “Increasingly, libraries of all kinds must be prepared to answer ‘What can the library do for me?’ instead of ‘What does the library have for me?’” ◀

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Jennifer Levin I The New Mexican

ASCENDED “From a distance, I think my work looks like a textural painting. Then you get up close and see that it’s made out of wrappers from cans of salmon or a matchbook or a mosquito-repellent box,” said Erin Currier, a painter and recycled-materials collage artist with a show of new work, From Taos to Laos, opening at Blue Rain Gallery on Friday, Sept. 12. Reflecting on her undergraduate training in costume design and technical theater at the College of Santa Fe in the mid-1990s — where she quickly discovered she couldn’t sew — Currier told Pasatiempo, “For a long time I didn’t think I was using that education in my work, but in retrospect it makes sense. In scene design, we would take plywood and make it look like a marble mansion or make Styrofoam look like a brick alley. We hot-glued plastic and rhinestones to a gown, and, from a distance, they looked like bejeweled diamonds. My work is very theatrical in that way.”

Erin Currier’s homage collages

Erin Currier: Sombath Somphone as the Buddha, acrylic and mixed media on panel; opposite, Tuk Tuk Gaucho, acrylic and mixed media on panel; images courtesy Blue Rain Gallery

PASATIEMPO I September 12-18, 2014

Currier paints environmental portraits of wellknown social-justice activists as well as of ordinary people she has encountered on her travels around the world: schoolgirls, migrants, and other workers in Vietnam, Cairo, Paris, Laos, Venezuela, Thailand, China, Italy, and Spain. For the past three years she has divided her time between the American Southwest and Southeast Asia. Some of the new work highlights the connections between those two cultures — adobe churches in Taos and Buddhist temples in Laos, as well as roadside descansos and alleyway shrines, santos-filled household nichos and altars, and the similarities between the tuk tuk (auto-rickshaw) culture of Laos and the New Mexico culture of vintage cars and lowriders, which she evokes in Tuk Tuk Gaucho. Other pieces, such as Sombath Somphone as the Buddha, are part of a careerlong series of re-creating civil rights and other heroes of social justice as Buddhist deities, in collages made from garbage. The artist developed her signature collage style when she was waitressing in Taos about 15 years ago, and she began making portraits of Buddhist deities using scraps of tossed-away packaging from the coffee shop where she worked. She had been teaching herself Tibetan thangka painting and exploring the idea of impermanence when she noticed just how much packaging was thrown away every day and how beautiful some of it was. “The trash lent itself to the philosophy of impermanence and also to the idea in Buddhist practice of all these transformative potentials, like anger into clarity.” Her work became sociopolitical when it was no longer enough for her to “visualize some deity — for instance,” she said, “Green Tara is the embodiment of compassion, but I started asking where that exists in our day and age. I wanted to see living examples

of these ethical ideals that we’re supposed to absorb through spiritual practice and meditation.” Her questions led her to the civil rights movement and to reading Parting the Waters: America in the King Years 1954-63, by Taylor Branch. “After that, I read everything I could get my hands on about the civil rights movement, because I came across all these extraordinary figures. Martin Luther King Jr. and Rosa Parks are just two of the thousands of people who dedicated all of their energy and talent into equality and a better life for everyone,” she said. Among her first politically oriented collages were representations of civil rights activist, feminist, and educator Angela Davis as the Green Tara and of Septima Poinsette Clark — who taught African Americans to read and write so they could vote — as Prajnaparamita, the goddess of wisdom in Mahayana Buddhism.

Currier has had extraordinary success as a young artist, with her work included in the private collections of several celebrities — Julia Roberts, Whoopi Goldberg, and Carlos Santana among them — as well as at the U.S. Embassy of the Bolivarian Republic of Venezuela and on the campus of California State University. She lives and works in a modest casita in a South Capitol compound in Santa Fe with her partner, Anthony Hassett, an artist himself as well as a writer. Hassett often accompanies Currier on her trash-finding forays to exotic places. These trips, an important part of Currier’s art-making process, are done on the cheap, with the couple staying in pensions, guest rooms, or small apartments and buying food at local markets. The travel is financed by Currier’s art sales — amounting to a sort of recycled economic exchange. She keeps detailed journals,

writing and sketching her impressions. And wherever she goes, she collects refuse and sends it back home. The individual pieces of trash are more than an aesthetic choice for texture or design. Though at times she uses something purely for its color, Currier uses materials that have symbolic resonance — or an even more direct relationship — to a portrait’s subject. Seed packets and pages from an old Sears catalog selling wheelbarrows and shovels are visible in Sombath Somphone as the Buddha, as is a flier that reads, “BOYS ARE NOT 4 SALE.” Somphone is a respected community-agriculture organizer and advocate in Laos who disappeared at the hands of police in Vientiane in December 2012. His abduction was caught on tape, but despite an international outcry, Somphone has never surfaced. “He tried to empower the young people of his country so they wouldn’t have to sell their labor or themselves,” Currier said. She pointed out that the rays of light around his “Buddha” head are made from Parisian playing cards depicting male saints. “It made sense to use them because he was something of a saint, by all accounts — and also, in Laos a lot of people still use the French language.” Each collage begins as a painting. Currier, who has been drawing and painting all her life, is blessed with an innate talent for technical rendering. Though she doesn’t attempt to achieve photorealism, her figures have a bold physicality and brim with personality, seeming almost solid enough to step off the canvas and into the room. She paints in the people as well as the surrounding scenery and only then, when she is satisfied with that layer, does she move on to collaging. Sometimes she even seals the painting before she begins gluing on pieces of foil cigarette wrappers, pasta and incense boxes, tea packets, and torn bits of old posters. The contours and shadows in her works come from a combination of the built-up layers, the patterns and textures of those layers, and the paint and glaze she applies to certain parts after the collage is complete. In the final stage she applies several coats of glaze and then wax, giving the finished pieces a deep luster that is intensified by her striking color choices. Though she integrates the religion’s practices into her life, Currier stops short of calling herself a Buddhist, though she explained that the layering process she uses to make her collages is itself a spiritual exercise for her. “Sometimes I have a painting I’m really happy with, and then I start gluing trash all over it, and I have to just hope I arrive back at the original painting. It’s a circle,” she said. “All the work is about the value of human life. I consider all human beings equally deserving of dignity, whether they’re a man or a woman, whatever their age, or the color of their skin, or their religion. All the work tries to pay homage to what I see as the beauty inherent in all human beings.” ◀

details ▼ From Taos to Laos: New Work by Erin Currier ▼ Opening reception 5 p.m. Friday, Sept. 12; exhibit through Sept. 27 ▼ Blue Rain Gallery, 130-C Lincoln Ave., 505-954-9902

PASATIEMPOMAGAZINE.COM

LISTEN UP James M.Keller Leafing through the fall season

the outer world, musical Santa Fe is largely defined by the summertime frenzy, which is indeed so remarkable as to attract a deluge of visitors from distant climes. More than a few of those cultural tourists express surprise when they are told that the city does not lapse into silence during the other months. In fact, one would be hard pressed to find an American city of fewer than 100,000 souls that enjoys as rich a classical concert scene when only the locals are listening — at least if one excluded towns that happen to house music-oriented colleges and conservatories where notes pour forth around the clock. Santa Fe’s fall concert season flowed seamlessly from the summer to autumn offerings on Aug. 31, when Performance Santa Fe presented its first orchestral concert of the season; some of the chairs were occupied by members of the Santa Fe Opera orchestra who had lingered a week beyond the end of the opera season. (Performance Santa Fe’s 2014-2015 events were previewed in Pasatiempo two weeks ago.) But most of the city’s ensembles and presenters don’t gear up until September, and the first of those to get going is the Santa Fe Symphony, which on Sunday, Sept. 14, at 4 p.m., gives its season-opening “Showcase of the Stars” concert.

he Santa Fe Symphony is in the midst of a search for a new principal conductor. The process began in earnest with the 2013-2014 stretch, when a half-dozen aspirants were included among the season’s conductors. Two musicians who had led the group prior to then, but within recent memory, also figure on the candidate list: Oriol Sans (a native of Catalonia who received a Doctor of Musical Arts degree from the University of Michigan in 2011) and Guillermo Figueroa (well known in these parts as the former music director of the now defunct New Mexico Symphony). Those two, along with James Feddeck (assistant conductor of the Cleveland Orchestra and music director of the Cleveland Youth Orchestra), will all be returning during this new season. Gregory W. Heltman, the Symphony’s founder and general director, is careful to define how their return visits are to be construed: “They are the first of our initial candidates whose schedule coincided with our schedule to allow a second look. There are others we are interested in seeing again, but scheduling was not possible this season.” Another handful will be arriving fresh this season. Kevin Rhodes, who leads the Sept. 14 performance, is music director of both the Springfield Symphony in Massachusetts and the Traverse Symphony in Michigan as well as principal conductor of the Pro Arte Chamber Orchestra in Boston. He has appeared widely in Europe as a guest conductor, particularly for opera and ballet. Both of those fields are represented on this season opener by way of Offenbach’s Overture to Orpheus in the Underworld and a suite from Tchaikovsky’s

PASATIEMPO I September 12-18, 2014

Kevin Rhodes

ballet Sleeping Beauty, but he will also preside over three pieces conceived for the concert hall: Vittorio Monti’s Csárdás (featuring violinist Mark Kaplan), David Popper’s Hungarian Rhapsody (with cellist Clancy Newman), and Brahms’ ever-welcome Double Concerto (spotlighting both players). Three further conductors will appear this autumn. Sans gets his “second look” on Oct. 19, leading, among other works, Tchaikovsky’s Symphony No. 4 and Rodrigo’s ubiquitous Concierto de Aranjuez (with guitar soloist Jason Vieaux). The Santa Fe Symphony & Chorus’ annual performance of Handel’s Messiah will be entrusted to Gary Thor Wedow on Nov. 23. An enthusiast of historically informed interpretation, he has conducted a number of well-received productions at Seattle Opera and the late New York City Opera. This year he returns for his second appearance on the podium for the New York Philharmonic’s annual Messiah concert and leads Bach’s St. Matthew Passion with Juilliard415, the period-instrument orchestra of The Juilliard School, where he has taught for the past two decades. Then the orchestra’s annual Christmas “pops” concert, on Dec. 14, will be entrusted to Jason Altieri, who is director of orchestras at the University of Nevada and associate conductor for the Reno Philharmonic. Still ahead as the Symphony moves through the winter and spring will be appearances by Figueroa on Jan. 18, 2015; Sarah Hicks, the Minnesota Orchestra’s principal conductor for “pops and presentations” and staff conductor at the Curtis Institute, on Feb. 22; Michael Butterman, music director of the Boulder Philharmonic and the Shreveport Symphony as well as resident conductor for the Jacksonville Symphony Orchestra, on March 15; and Ryan McAdams, a well-traveled guest conductor, former apprentice conductor of the Royal Stockholm Philharmonic, and (in 2010) the first-ever recipient of the Sir Georg Solti Emerging Conductor Award, on April 12. Feddeck’s return visit comes on May 16-17,

when he will lead a single work with the Orchestra & Chorus: Verdi’s Requiem. Music lovers may want to take particular note of the second name in the roster of soloists, which consists of soprano Alexandra Loutsion, mezzo-soprano Christine Brewer, tenor Issachah Savage, and baritone Lester Lynch. Yes, this is mezzo-soprano Christine Brewer, the distinguished interpreter of dramatic soprano roles by Strauss and others, but Heltman informs us that she is now viewing lower-lying repertoire. Although the Symphony’s search had been initially envisioned as a two-year process, it will certainly stretch into a third season. The 2015-2016 season is expected to include repeat visits from leading candidates from the first two years, and efforts are still underway to schedule at least two conductors who were on the initial target list but whose own previous commitments have proved problematic so far: David Danzmayr and Alondra de la Parra. Stay tuned.

he Santa Fe Symphony is not the only group in town looking for a new conductor. The music director’s position is also open at the Sangre de Cristo Chorale, a community chorus that has been singing since 1978. Maxine Thévenot assumed the position in 2012, but the affiliation proved short-lived. The group will audition two candidates this season, beginning with Andrew Phillip Schmidt in its concerts on Dec. 6 in Los Alamos and Dec. 7 in Santa Fe; he was most recently director of choirs at the Princeton Day School in New Jersey. Another of our city’s ensembles also tends to keep its events rather unpublicized, although some people might like to know about them. I refer to Concordia Santa Fe, which styles itself “a professional wind ensemble serving Northern New Mexico,” although its concerts have generally struck me as more on the semipro level. Some of the players are certainly quite skilled, and they don’t lack for enthusiasm, but the likelihood of their hitting a bull’s-eye seems to depend on who the guest conductor is for a given concert. The group’s website suggests that its fall season will include a concert by the wind orchestra (Oct. 26) plus a wind-oriented chamber concert (Nov. 16), in addition to a performance by High Desert Winds (Oct. 19), which is made up of high school students, music educators, and other community participants. A nice feature of Concordia’s concerts is that they are free, so music lovers on a budget are especially encouraged to click from time to time on the organization’s website, where announcements sometimes appear close to the performance date.

nother enterprise that throws its doors wide open to all is the TGIF concert series of First Presbyterian Church, which welcomes you cheerfully whether or not you drop a donation into the box at the door. The concerts normally run just over a half-hour every Friday at 5:30 p.m., and they provide a forum for a mix

Peter Norby

Santa Fe Pro Musica

of musical sensibilities, mostly focused on classical repertoire. Also in the realm of the free seat one finds the Santa Fe Community Orchestra, conducted by Oliver Prezant. It’s an amateur ensemble, but Prezant asks his musicians to play to their limits and often places arcane but interesting repertoire on their music stands. On Oct. 10 at 7 p.m., the group will spend an hour investigating the first movement of Tchaikovsky’s Fourth Symphony, with Prezant providing a commentary as the orchestra dissects and reassembles the music. On Oct. 12 at 2:30 p.m., they’ll play the complete symphony, along with several other works; in one, Saint-Saëns’ Marche militaire française, they’ll be joined by young musicians from the Gonzalez Community School Band. Both events take place at St. Francis Auditorium. Keep an eye on their website. Advance notice will appear, but you never know when. Ditto the New Mexico Performing Arts Society, which usually gives its concerts at the Immaculate Heart of Mary Chapel on Mount Carmel Road, not far from St. John’s College (which also sponsors free concerts now and again). A series at the historic San Miguel Chapel got a somewhat tentative start last year, but it seems to be now settling in to its operations. Its fall concerts begin Friday, Sept. 12, with a guitar recital by Roberto Capocchi (see “Random Acts,” Page 31), and also include, on Nov. 29, an evening of Baroque music with nationally noted musicians Elizabeth Blumenstock (violin), Mary Springfels (viola da gamba), and Kathleen McIntosh (harpsichord).

erenata of Santa Fe, a chamber collective that has been going since 1987, is among the groups that have had to bid farewell to the Scottish Rite Center, which continues to sit with a big “For Sale” sign in front. This year Serenata offers six programs at First Presbyterian Church, beginning on Sept. 20 with a concert titled “Other Worlds.” On the program are some pieces relating to places more or less distant from what we think of as the musical mainstream: compositions by the late Alan Hovhaness (an American composer, represented here by a work with Middle Eastern references), Osvaldo Golijov (the ArgentineJewish composer), American Kenji Bunch, and two clarinetist-composers, David Krakauer (a klezmer proponent) and the Syrian Kinan Azmeh. More

standard repertoire arrives in the group’s Oct. 17 concert (Reinecke, Britten, and Dohnányi), and then on Nov. 16 it offers Dmitry Sitkovetsky’s much-played arrangement for string trio of Bach’s Goldberg Variations.

anta Fe Pro Musica launches its new season on Sept. 20-21 with an all-Beethoven program, with Thomas O’Connor conducting his orchestra in the Third Piano Concerto (Melissa Marse is the soloist) and the Fifth Symphony. The organization continues by presenting, on Oct. 5, the St. Lawrence String Quartet, a much-respected Canadian foursome, playing quartets by Haydn (in F minor, Op. 20, No. 5) and Beethoven (Op. 59, No. 3), as well as more Golijov: his Qohelet, which the ensemble premiered in 2011. O’Connor and the Orchestra return to the stage on Nov. 8-9 to perform Schoenberg’s Verklärte Nacht and the chamber version (arranged by Erwin Stein) of Mahler’s Symphony No. 4, with Santa Fean Deborah Domanski as the vocal soloist in the concluding movement. Pro Musica’s warmly embracing Christmas-season programs are reliable entries in the calendars of local music lovers, and this year’s presentations should be no exception. Twelve go-rounds of a Baroque Christmas concert (Bach, Handel, Vivaldi, and carol arrangements) are distributed from Dec. 19 to 24 in the Loretto Chapel; then, on Dec. 28-29, O’Connor conducts the Orchestra in orchestral suites by Handel and Telemann (including the former’s Music for the Royal Fireworks) plus two of Vivaldi’s Four Seasons concertos (featuring violinist Cármelo de los Santos). Music lovers not averse to casting their nets beyond city limits will find plenty of offerings in Albuquerque, including those of the New Mexico Philharmonic and of the chamber ensemble Chatter. In a different direction, the road leads up the hill to Los Alamos. There, the Los Alamos Concert Association gets its season underway on Sept. 28 with a recital by the charismatic piano duo Anderson and Roe and then continues on Nov. 1 by presenting the Salzburg Marionette Theater, with pianist Orion Weiss providing live accompaniment. Exciting news from that series is that its performance hall, the Duane Smith Auditorium of Los Alamos High School, underwent serious renovation over the summer, so audiences this year will be able to settle into new seats in what one hopes will prove a more inviting venue. ◀

Oriol Sans

“Showcase of the Stars”: Santa Fe Symphony, conducted by Kevin Rhodes, with violinist Mark Kaplan and cellist Clancy Newman Sunday, Sept. 14, at 4 p.m., Lensic Performing Arts Center, 211 W. San Francisco St. Tickets ($22-$76) at the Symphony’s office, 551-D W. Cordova Road, 505-983-1414 or 800-480-1319; or at the Lensic Performing Arts Center, 505-988-1234 or www.ticketssantafe.org For your planning: Performance Santa Fe: www.performancesantafe.org; tickets directly from the organization (505-984-8759) or from www.ticketssantafe.org (505-988-1234) Santa Fe Pro Musica: www.santafepromusica. com; tickets directly from the organization (505-988-4640, Ext. 1000) or from www.ticketssantafe.org (505-988-1234) Serenata of Santa Fe: www.serenataofsantafe. org; tickets directly from the organization (505-989-7988) or from www.ticketssantafe.org (505-988-1234) TGIF at First Presbyterian Church: www.fpcsantafe.org/music-art/concerts/ Sangre de Cristo Chorale: www.sdcchorale.org Concordia Santa Fe: www.concordiasantafe.org Santa Fe Community Orchestra: www.sfco.org Concerts at San Miguel Chapel, 401 Old Santa Fe Trail: no website; check Pasatiempo’s calendar for updates New Mexico Performing Arts Society: www.nmperformingartssociety.org Los Alamos Concert Association: www.losalamosconcert.org; tickets available through www.ticketssantafe.org (505-988-1234)

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PASA TEMPOS album reviews

THE JUAN MACLEAN In a Dream (DFA) If there was one member of LCD Soundsystem who “broke out” in terms of fame, besides frontman James Murphy, it was backup singer and multi-instrumentalist Nancy Whang. Her musical sensibilities and cool attitude endeared her to many fans, who then followed her to guest appearances and her project with multi-instrumentalist (and longtime Murphy associate) Juan MacLean, titled The Juan MacLean. The musicians have similar dance-rock sensibilities and together may remind listeners of the progressive pop and cross-gender vocals of The Human League. They complement each other on the mic: MacLean’s vocals are cold and direct, while Whang’s are brash and personable. They lay the vocals out over extended dance tracks, none of which are more exciting than the 10-minute closer, which is rich with bright, electronic tones: “The Sun Will Never Set on Our Love.” “Love Stops Here” is a futuristic anthem that periodically blooms into bursts of keyboards, while “Running Back to You” seems to bubble up from a deeply funky bass line. The main issue is tonal variety: opener “A Place Called Space” recalls Giorgio Moroder’s dance-floor-filling work with Donna Summer, and the pace only quickens or slows in subtle degrees from there. As such, it seems like an album that is intended to be pulled apart and listened to as singles, whether in iPod shuffles, on a Spotify radio station, or — preferably — at a club. — Robert Ker SPOHR Der Fall Babylons (Coviello Classics, 2 CDs) The Fall of Babylon would seem to be an unfortunately timely topic, although modern Iraq was in the distant future when Louis Spohr’s oratorio received its first full performance in 1842. It tells the familiar biblical tale, from the Book of Daniel, involving the Jews (Daniel among them) held in slavery by the Babylonians, headed by Belshazzar, and how the latter’s defeat by the Persian king Cyrus leads to the Jews’ liberation. England adored Spohr — a review declared this oratorio “the greatest work since Handel” — but British taste during the Victorian era tended to be retrograde, and his music fell out of fashion elsewhere, buried beneath the sweep of Wagnerism. This major oratorio gets a compelling reading in its first recording, in which Matthias Stanze conducts the highly accomplished Staatsorchester and KonzertChor Braunschweig. Soloists are all good except for Dirk Schmidt in the role of Cyrus (the baritone proving nasal and underpowered in a role that should dominate). Tenor Matthias Stier is an earnest Daniel of forthright tone, soprano Ekaterina Kudryavtseva offers a touching lullaby as a Jewish mother, and bass Rossen Krastev makes a fearsome, imposing Belshazzar. Still, the choral and orchestral writing defines the overall symphonic effect, which is engaging and felicitous through the nearly two-hour span. The music greatly resembles that of Mendelssohn, right up to the neo-Bachian touches that composer so enjoyed. — James M. Keller

PASATIEMPO I September 12-18, 2014

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WEDNESDAY 17 SEPTEMBER AT 7PM LENSIC PERFORMING ARTS CENTER My cell phone vibrated in my jeans pocket…It was July 2007. The last time I felt safe in Mexico. I recognized the low-pitched voice on the other end: a longtime trusted source, a U.S. investigator with informants inside some of the most brutal drug cartels in Mexico. I grabbed a pen and notepad and slipped into my bedroom. I closed the door… I spoke his secret code name and joked, “Hey --------, Qué onda? What’s up?” He got to the point: “Where are you?” “In Mexico”. “Where exactly?” “In my apartment. Why?” “They plan to kill an American journalist within twenty-four hours,” he said. “Three names came up. I think it’s you. I’d get out.”

— From Midnight in Mexico: A Reporter’s Journey Through a

let’s take a look WEDNESDAY, SEPTEMBER 17TH, 12:00–2:00 PM Curators from the Museum of Indian Arts and Culture and the Laboratory of Anthropology will be in the lobby of MIAC to look at your treasures and attempt to identify and interpret artifacts and historic objects. Free and open to the public. Federal and state regulations prohibit the curators from appraising any artifact.

Turquoise Perspectives and MeaningS SUNDAY, SEPTEMBER 21ST, 1:00–2:00 PM Dan Simplicio, a descendent of the famed Zuni jewelry artist of the same name and a noted scholar, will speak about Zuni traditions for using turquoise. All are free with paid admission, 16 and under always free. New Mexico residents with ID always free on Sundays.

Alfredo Corchado, Mexico bureau chief for the Dallas Morning News, is a noted expert on immigration, drug violence, and U.S.-Mexico foreign policy. He has reported on many topics, from the disappearance and murders of women in Ciudad Juárez, to the exodus of Mexico’s middle class to the United States, to the exposure of government corruption and the reach of Mexican drug traffickers into U.S. communities. TICKETS ON SALE NOW

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PASATIEMPOMAGAZINE.COM

All Things Japanese

September Tansu, Kimono, Obi, Basketry, dolls,scrolls

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PASATIEMPO I September 12 - 18, 2014

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RANDOM ACTS THIS WEEK

Punch lineup

The fourth installment of the Lulz Comedy Night takes place on Saturday, Sept. 13, at 8:30 p.m. It features touring comedians and talent from closer to home. This year’s Lulz, presented by Meow Wolf and Year of the Octopus, includes Albuquerque comedians Sarah Mowrey and Black Mike as well as stand-up routines from Santa Feans Max Walukas and local stage veteran Mary Beth Lindsey, who is debuting in this event as a stand-up performer. The event is hosted by Santa Fe native Lauren Poole, creator of the popular Sh*t Burqueños Say videos and the character Lynette. This year, Lulz has a new home: Skylight Santa Fe (139 W. San Francisco St., 505-982-0775). Tickets are $10 at the door. — Michael Abatemarco

A little night music

Violist Shanti Randall, below, and pianist Jacquelyn Helin offer a concert that includes Shostakovich’s Viola Sonata as well as Franck’s Violin Sonata (in an arrangement for viola). Also on the program is the Prelude from Bach’s Suite No. 6 for Unaccompanied Cello (again, recast for viola). Apart from his work on classical concert stages, Randall, an Albuquerque native, is a busy studio musician, having played in more than 350 movie soundtracks and recorded and performed with the likes of Willie Nelson, Ray Charles, Bette Midler, and Barbra Streisand. Helin appears frequently with Santa Fe-based performing ensembles, serves as music director of the United Church of Christ here, and is on the faculty of the New Mexico School for the Arts. The concert takes place at 7:30 p.m. on Friday, Sept. 12, in the Great Hall of the Peterson Student Center at St. John’s College (1160 Camino de Cruz Blanca). There is no charge. For further information, call 505-984-6000. —James M. Keller

On a melodic mission

A concert series at the historic and intimate San Miguel Mission was a welcome addition to Santa Fe’s musical scene last year. It succeeded enough to warrant a second season, which begins at 7 p.m. on Friday, Sept. 12, with a recital by guitarist Roberto Capocchi, a Brazilian-born musician who has been a mainstay of New Mexico’s concert stages since he settled here in 2000. His program consists entirely of Latin American and Spanish works by Agustín Barrios, Astor Piazzolla, and Francisco Tárrega, among others. Tickets ($20, $5 for students; 505-577-1447) can be purchased at the door (401 Old Santa Fe Trail) on the evening of the concert. For more information on the San Miguel Mission Concert Series, call 505-438-7186. — J.M.K.

PASATIEMPOMAGAZINE.COM

Pain

and gain

Cassandro el Exótico fights inside and outside the lucha libre ring Michael Abatemarco I The New Mexican

FOR

professional wrestler Cassandro el Exótico, the road to fame has not been easy. While growing up in El Paso, Texas, as Saúl Armendáriz, he faced abuse and bigotry from family and community because of his homosexuality. But from the time he was about eight or nine years old, Cassandro had a fascination with the luchadores, wrestlers from the world of lucha libre, a freestyle form of wrestling that’s popular in Mexico and other Latin American countries. “I started seeing movies of lucha libre on television, until I went to a real show in Juárez,” Cassandro told Pasatiempo. “I fell in love with it. It would help me get through the hard week of going to school or whatever happened at home, bringing me through the pain, anger, and resentment. I’ve been an abused child since six years old — physically, mentally, verbally, and sexually.” Cassandro and his family made frequent weekend trips from El Paso to the cross-border town of Ciudad Juárez, where he attended live matches. He never thought he would become a professional wrestler until a friend who worked as a lucha libre trainer in Mexico convinced him to give it a try. He was just sixteen years old. “They beat me up so bad I had a fever and bruises,” he said. “But I never left.” Cassandro is the former Universal Wrestling Association World Lightweight Champion and the current National Wrestling Association World Welterweight Champion.

PASATIEMPO I September 12-18, 2014

On Saturday, Sept. 13, El Museo Cultural de Santa Fe hosts Lucha Libre Exótica, part of the AHA Festival of Progressive Arts, in the first such wrestling event to be staged in Santa Fe. Cassandro is joined in the ring by Diva Salvaje and female wrestler Estrellita, and the three exóticos face wrestlers Niebla Roja, Magnus, and Magno. The AHA Festival also features a documentary photo exhibition by Belgian photographer Annick Donkers, The Cassandro Project, and a short documentary film, Cassandro el Exótico, by Mexican filmmaker and cinematographer Michael Ramos-Araizaga. Also screening is the trailer for U.S. cinematographer T. Hunter McCann’s feature-length documentary Cassandro Goes to the Bullfights, scheduled for international release in 2015. The screenings and photographs are presented as projections during the event and remain on view at the north entrance gallery at El Museo through Sept. 21. Luchadores, the wrestlers in lucha libre, wear colorful masks and costumes. Traditionally, luchaderos are divided into two groups: rudos, the bad guys, and técnicos, the good guys. The matches play out as epic struggles between good and evil in front of live audiences, and the fights are often brutal and bloody. Cassandro has undergone four surgeries in his career to treat injuries sustained in the ring. According to Cassandro, straight male wrestlers dressed in drag at lucha libre events as early as the 1940s, bringing an element of comedy to

the events. The cross-dressing participants, or exóticos, were often confined to playing rudos, sparking inflammatory responses from people in the audience who tended to side with the técnicos. Today, exóticos more frequently tend to be gay men, but their matches, no longer done for comic effect, are about as tough and dangerous as professional wrestling can get. “In Mexico, it was hard for us to come out, even though a lot of the other wrestlers knew we were gay. Nowadays the exóticos are very well respected. What we have proved is that we do know how to wrestle, and we do have talent. Once we get inside the ring, we know how to work it. We don’t get inside the ring to be the clowns of the circus like they used to do.” For Cassandro, lucha libre was a blessing and a curse. Wanting to fit in with the other professional wrestlers he competed against, he began to party hard, abusing alcohol and drugs, including cocaine. In 1991, he endured vicious backlash from wrestling fans when he was booked to fight Mexican world welterweight champion El Hijo del Santo — partly because del Santo was the son of the most celebrated luchador in Mexico and a fan favorite, and partly because twenty-one-year-old rising star Cassandro was openly gay. The pressure drove Cassandro to attempt suicide by cutting his wrists. He survived and bravely faced his opponent in the ring, though he lost the match. continued on Page 34

Above: Cassandro on a backstage photo shoot with luchaderos exóticos; far left: Cassandro trains in El Paso, Texas; left, right, and far right: Cassandro in Mexico City

PASATIEMPOMAGAZINE.COM

Lucha Libre, continued from Page 32

AHA moments aplenty Besides this year’s marquee event, Lucha Libre Exótica, the AHA Festival of Progressive Arts offers plenty of entertainment Saturday, Sept. 13, at El Museo Cultural and Sunday, Sept. 14, at the Railyard Park plaza. Events continue after the 8 p.m. Saturday match with an electronic music showcase at 9:30 p.m. featuring Santa Fe DJ Dirt Girl, followed by an 11 p.m. public address and performances at midnight by Houston’s FLCON FCKER and at 1 a.m. Sunday by Santa Fe DJ Feathericci, with an aerial performance by Laura Stokes and Ilana Blankman. Tickets are $5 to $10 on a sliding scale; there’s no charge with admission to Lucha Libre Exótica. Sunday features free performances by local supergroup the GRYGRDNS as well as Thieves & Gypsys, The Room Outside, Tone Deff, and more. Performances begin at 1:30 p.m. A list of events and times for Sunday follows: North Stage 1:30 p.m. – The Candyman Summer Rock Camp presents Tone Deff and Magnificent Vibration 2:30 p.m. – Aunt Kackle and The Coleslaw King 3:30 p.m. – The Old Way 4:30 p.m. – The Room Outside 5:30 p.m. – Venus and the Lion 6:30 p.m. – CassoVita 7:30 p.m. – Inner Oceans South Stage 2 p.m. – Accordion Crimes 3 p.m. – finger B. 4 p.m. – Andrew Cryptic 5 p.m. – Mushi Trio 6 p.m. – Sex Headaches 7 p.m. – GRYGRDNS 8 p.m. – Thieves & Gypsys Sunday events in the Railyard include local artist Sydney Cooper’s Japanese Jewish Market; Axle Contemporary’s current exhibition, Economologies, on the theme of art, economy, and ecology; and pop-up performances by Max Friedenberg, Julia Goldberg, and the Moria West African Drum Ensemble. All are open to the public at no charge. For a complete list of events, visit www.ahafestival.com. — Michael Abatemarco

“In lucha libre, I discovered first who I was not,” he said. “Lucha libre is full of ego, selfrighteousness, and all this arrogance. When I became a professional in Mexico City, I became a people pleaser. I wanted to be a part of them. In the dressing room they would be drinking and I would say, ‘No. Thank you. I don’t drink,’ and they would say, ‘Well, what the ... are you doing here? Get out of here. Get out of the dressing room.’ I was with my idols, people I used to admire a lot. So I became whatever they wanted me to be. Later on, when I became an addict, they didn’t want to have anything to do with me. That was my life until June 4 of 2003, when I got cleaned up here in El Paso. Lucha libre fulfills my heart, my soul, and my spirit and gives me validation and purpose in life. Now, with my spirituality and my religion, I discovered who I really am.” In December 2011, Cassandro connected with communtities of contemporary Mexihca, indigenous peoples in Juárez and El Paso whose roots go back to the Aztec Empire, and he began learning the pre-Hispanic Aztec ritual dance known as danza Azteca, which honors the Mexihcan ancestors. “I came back to my roots in danza Azteca, and I drum because my knees won’t allow me to dance,” said Cassandro, who suffered a severe leg fracture during a live pay-per-view match against Rhett Titus at the Grady Cole Center in Charlotte, North Carolina, in 2010. Cassandro defeated Titus, but the leg fracture precipitated his most recent surgery. “I’ve been wrestling for 26 years, so I’ve been around for a long time. I’m almost at the end of the road. I’m too hurt. I never thought I would hurt my body this bad, even though it’s lucha libre and not a beauty salon. I really think I’m

done. New doors are opening, and I’m asking my higher power to guide me.” For most of his pro wrestling career Cassandro did not have the support of his family. His father has never seen his son in a live match. “I was the first son, and being homosexual was not easy. He didn’t know how to deal with me. He was a provider, but he was not a father. He would never talk to me, never hug me. Every time I tried to play football or big-man’s sports just to get some validation from him, it never worked.” After the Charlotte match, his father was waiting in El Paso for his injured son. “As soon as I arrived home on crutches and a brace on my left leg, he started carrying me from my house to the doctor’s office and taking me back home. Before the surgery he was the last person I saw. When I came out of surgery, he was the first person I saw. He came to see me every day. We started talking about all these issues. We worked a lot through the forgiving process. Today my dad just loves me, and he hugs me and he kisses me, and he’s very proud of me. Our relationship is just a blessing right now. My sisters and brothers support me, and they go to every event they can. Wherever I am in the ring, I can hear them screaming their lungs out for me.” ◀

details ▼ Lucha Libre Exótica ▼ 8 p.m. Saturday, Sept. 13 ▼ The Cassandro Project; exhibit through Sept. 21 ▼ El Museo Cultural de Santa Fe, 555 Camino de la Familia ▼ $20 ($35 for front-row seats) at the door or at www.thecassandroproject.com; 505-270-2332

Cassandro performs in a farewell show for famed Mexico City wrestler Ray Mendoza; except where noted, all photos taken in Mexico City between 2012 and 2013 by Annick Donkers

PASATIEMPO I September 12-18, 2014

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Georgia O’Keeffe and Ansel Adams: The Hawai‘i Pictures

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Georgia O’Keeffe, White Bird of Paradise, 1939. Oil on canvas, 19 x 16 in. Georgia O’Keeffe Museum. Gift of Jean H. McDonald. © Georgia O’Keeffe Museum. Ansel Adams, Leaves, Foster Gardens, Honolulu, Hawaii, 1957-1958. Gelatin silver print, 13 x 9 7/8 in. Center for Creative Photography, University of Arizona. © 2013 The Ansel Adams Publishing Trust.

Georgia O’Keeffe and Ansel Adams: The Hawai‘i Pictures was organized by the Honolulu Museum of Art and made possible with generous support from Barney Ebsworth, First Insurance Company of Hawaii, Patrick and Edeltraud McCarthy, and the National Endowment for the Arts. Additional support for this exhibition and related programming is provided by a grant from The Burnett Foundation, New Mexico Arts, a division of the Department of Cultural Affairs, and the Santa Fe Arts Commission and the 1% Lodgers’ Tax.

on view through october 26

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DENNIS LEHANE

South Boston, AP Photo

ennis Lehane’s playbook doesn’t have a chapter on playing it safe. After writing five books that starred private investigators Patrick Kenzie and Angela Gennaro, he shifted his gaze to a different Boston neighborhood with Mystic River in 2001. When that book became a movie that won multiple Academy Awards and exponentially broadened his audience, Lehane pivoted again, releasing the gothic mystery Shutter Island in 2003. By then, Lehane was familiar not just to the crime-novel aficionados who welcomed his arrival with 1994’s A Drink Before the War. The trajectory of his career was all vertical: two more movie deals, for the Kenzie-Gennaro novel Gone Baby Gone (2007) and Shutter Island (2010); a writing gig on HBO’s awardwinning drama The Wire starting in 2004; teaching jobs at numerous colleges and universities, including Harvard University; and even an appearance — as himself — on the TV series Castle. Lehane surprised readers again in 2008 with the first novel of a trilogy set in Boston at the end of World War I — a time when police officers were on strike, labor activists were organizing for better wages and 36

PASATIEMPO I September 12-18, 2014

Sandy Nelson I The New Mexican working conditions, and Irish gangs ruled the criminal underworld. That trilogy culminates in World Gone By, due for publication next year. Meanwhile, the author has adapted an earlier short story, “Animal Rescue,” into a movie screenplay and a novel of the same name — The Drop. The story is set in a bar used by Chechen mobsters to stash their black-market booty. An afterhours robbery thrusts the protagonist — bartender Bob Saginowski — into the thick of a complicated, dangerous conspiracy. The film version of The Drop — starring James Gandolfini (The Sopranos) in his final role — opens in Santa Fe on Sept. 19. The book is available now. Lehane talks about his new projects on Saturday, Sept. 13, at Jean Cocteau Cinema, followed by a special screening of the movie. He spoke first to Pasatiempo about the zigs and zags of his unconventional career. Pasatiempo: What kinds of questions do you expect to get in Santa Fe? Dennis Lehane: There’s always an interest in how I got from Point A to Point B, where I was 20 years ago to where I am now. I don’t know that anybody would want to walk my path, because it’s a very odd path; there’s no straight-through line. I don’t think I’d

recommend it to anybody. It really worked out for me, but if you tried to follow my playbook, it’s a recipe for absolute failure. I just got lucky. Pasa: Was “Animal Rescue” one of your favorite short stories? Lehane: I like it a lot. Bob is one of my favorite characters. He has been around a long time, since 2001. He’s gone through a lot of permutations. He was part of a failed novel. He was part of a stand-alone short story. He was a script, then he was a film, and then he was a novel. He’s lived with me a long time. I know him backward and forward. Pasa: You created him. Lehane: Yeah, but a lot of the time the characters you create — you have a lot of flat characters, the reader just has to understand their essence. They’re on the page and that’s it. Bob is an iceberg character: his tip shows above the waterline, and that’s what you see in the book, but there’s a whole base to that iceberg. Pasa: Is there more pressure on you to produce now that you’ve reached this level of success? Do you have control over the tempo at which you produce? Lehane: Oh yeah, but this is a decision you make, and you let the chips fall where they may and make your

peace with it. I wrote Mystic River to break out of sort of a series model that I felt in danger of being stuck in [the Kenzie-Gennaro books], and ... I realized that with that book’s success everybody’s expecting me to write Mystic River 2, 3, 4, 5, 6. So I [decide] to go completely in the opposite direction so I can control my career. And that’s when I wrote Shutter Island, which was not something that anybody was expecting. And after Shutter Island I thought, everybody expects me to go back to my safe place, so I’m going to write a 700-page historical epic about an obscure event in Boston history. And that became A Given Day. If you look at it in a commercial sense, I’ve probably damaged my career. But I had the latitude to do that damage. And it’s allowed me to have a freedom that I still have that’s wonderful. The perception of how successful I am versus the reality is a pretty big gulf, because people think I’m flying private jets. It’s nothing like that, because I have left a lot on the table financially to have the type of artistic career I’ve always wanted. And that’s great. And my publisher supports me on that, and my agent supports me on that. I don’t think they’re happy about it all the time, but they support it. Pasa: Your readers support you on that too. Lehane: Yeah. I have this really wonderful core, fervent fan base that sticks by me and says, “That’s who he is. You don’t necessarily know where he’s going to go from book to book.” That’s why I say it’s very hard to do what I’ve done. I know people who’ve tried to do what I’ve done, and they’ve done it too early in their career, and they haven’t survived it. So it’s a very dangerous career plan to follow, and you’ve got to know exactly the moment to make a move. So I’ve felt the pressure, but I refuse to respond to it, because if I wanted to treat what I do for a living simply as a career as opposed to a mix If you look at it of art and commerce, then I would do another career. in a commercial sense, I’ve There are a lot simpler ways probably damaged my career. But I to make money. I have this nice little niche, and I like it. had the latitude to do that damage. And Pasa: Given the gutting of the publishing industry, few it’s allowed me to have a freedom writers of popular fiction that I still have that’s wonderful. appear to be edited. But you seem to be. — Dennis Lehane Lehane: I get edited, but I’ve stayed with the same editor for 20 years for that reason. Because I think if I were to move to another house or to another editor, I think very few people would have the [guts] to edit me. … I’ve got no vanity when it comes to that: I need an editor. That’s just how my process is. I tend to write long, and I need to be cut back. Pasa: The characters in your book feel believable. Dialogue is extremely hard to write in a way that sounds authentic, but your dialogue seems natural for a screenplay. Lehane: Actually, my dialogue is deceptively hard to say. I’ve talked to a lot of actors about it. You’ve got to have a particular type of ear and sometimes to come from a certain place. It’s stylized in a way that you don’t realize when you’re reading it, and then you try to say it, and you go, “Whoa.” What reads on the page, which is great, is surprisingly difficult for actors to play. That’s why I was doing cartwheels when James Gandolfini was cast, because he could do my dialogue in his sleep. Pasa: What else is in the works? Lehane: I have a novel coming out in March. And I’m just working on a lot of scripts ... and some TV shows, and we’re gonna see what happens. ◀

details ▼ Dennis Lehane reading & book signing, followed by screening of The Drop ▼ 6 p.m. Saturday, Sept. 13 ▼ $10 general or $5 with purchase of hardcover edition of The Drop; no charge for the 8 p.m. movie screening ▼ Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528, www.jeancocteaucinema.com

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iographical content is rarely explored effectively as a component of nonobjective abstraction, but in examining the expressionistic canvases of Frank Ettenberg, it’s not possible to separate the man from the work if you know him. While his paintings are lush, improvisational, and gestural compositions, there is a conceptual element to each one, with specific allusions to moments and experiences in the artist’s life. Frank Ettenberg: Vienna/Santa Fe, an exhibition of recent paintings, opens at Phil Space on Friday, Sept. 12. Some works were completed during the artist’s years in

Michael Abatemarco I The New Mexican brilliantly. Had I died, the whole estate would’ve been taxed by Austria, and that would have been that. I would have had enormous red tape as a ghost.” Ettenberg returned to Santa Fe after completing chemotherapy in Vienna. “Just because I went away doesn’t mean I blew the scene entirely,” he said. “I was showing here, actually, during my absence. That was an affiliation with New Concept Gallery that lasted for about four years.” Regarding the show at PHIL Space, he said, “I’m very excited about the possibility of being very personal. I have a piece coming up that’s a direct reaction to 9/11 that I painted in Austria between

F R A N K Austria and some were done since his 2012 return to Santa Fe, where he’s been active in the art world since the early 1970s. It might be considered a journal of sorts, a story told in paint, of the artist’s odyssey over the past decade. Ettenberg grew up in Brooklyn. After graduating from high school in 1962, he attended college at the University of Michigan. “I knew I wanted to be an artist, but there was a kind of challenge between my wishes and my parents’ wishes,” he told Pasatiempo. “I was a good student and I liked the well-rounded education I got at the University of Michigan, but I knew at the age of 14 that I was destined to be an artist. I made that choice. My parents said, ‘You’re just too young to know what’s best for you. So we’re going to tell you what to do.’ I wanted to go to Cooper Union, and they overruled that. Actually, I had some very great professional experiences in Michigan. I won a purchase award as a junior; the Detroit Institute of Arts bought a 5-by-4-foot painting. It was really a great honor. So here I am. I’ve been an artist most of my life.” Although Ettenberg’s work has roots in abstract expressionism, it’s infused with a personal iconography. “It’s a process that was instigated by my teenage reaction to reading Ulysses, or trying to read Ulysses, in 1964,” he said. “It was impossible, but what I got from it was this kind of freedom of association. It turned me on totally and it corresponded to my being really spontaneous as a visual inventor, letting it flow and letting verbal prompts be an important influence on which directions I would go.” In 2006, while still in Vienna, Ettenberg was diagnosed with cancer. “I was renting a ground-level studio, which had windows onto a courtyard. I was able to do painting there despite the ... slight odor of mold. I, fatalistically, let that be. Actually, I’m now thinking that it might have precipitated the cancer. I was breathing that atmosphere for a steady number of years.” With the help of a friend, Ettenberg decided to ship his Vienna paintings, totaling 115 canvases, to Santa Fe. A studio sale helped to finance the shipping costs. “It was handled 40

PASATIEMPO I September 12-18, 2014

ended. “I just trusted that I had to keep going as an artist. I got a great studio in the Lensic [Performing Arts Center] building starting in ’74. I was there 17 years. It was the best artist loft I could have ever had, comparing it even to Soho. I was paying my rent to United Artists as my landlord. At the end of 17 years, I got married to an Austrian. She’s still here.” Ettenberg belongs to an older generation of venerated New Mexico artists that includes Eugene Newmann, Reg Loving, John Connell, and Sam Scott. He and these four were included in the Ettenberg-curated exhibit Five Allies presented at the state Capitol in 2002, the same

E T T E N B E R G

2001 and 2003.” That piece, Combined Forces, is a raw, bleeding canvas in somber tones of gray, brown, and khaki, made all the more visceral by deep red brushstrokes. “I was hearing that George W. Bush was about to invade Iraq. I was listening to the outcry on the part of European nations against these measures. I was all too mindful of how I felt in the aftermath of 9/11. There’s a form in here I’ve always seen as cut in half. It’s depicting a cataclysm or destruction typical to a military campaign.” Ettenberg first arrived in Santa Fe in 1972 after attending the coveted Roswell Artist-in-Residence Program in Roswell, New Mexico. He hadn’t achieved prominence as an artist and saw his career as open-

year Ettenberg emigrated to his now ex-wife’s native Austria. “I learned to speak German pretty well. I was relating the best I could as a foreigner there.” His visual vocabulary is something of a lingua franca. “I’m always involved with foreign language in my own work as something to decipher. It’s a personal code sharing, so to speak. It’s still very playful work, I think. With the least bit of encouragement people can find things to relate to in the work.” There are layers to the imagery, as well, where mark making recedes into the background and other marks come to the fore. But the receding elements, sometimes barely visible, are integral to what Ettenberg describes as part of the personal vocabulary. “I like that kind of juxtaposition of fresher, raw strokes that pop up from strokes that are consigned to history, in effect. It has a kind of palimpsest feel. Things are fading into the distance, but just like certain memories, they’re still there. This notion of time passing and altering one’s mentality is part and parcel of what I do.” Ettenberg paints using a direct technique. The works in the exhibit are painterly compositions that allow him free rein to explore the possibilities of his chosen medium. “It’s a very musical process. Even though I’ve been talking conceptually, the concepts are there as an allotment of structuring or planning. This is part of my intellectual side. I’m interested in structures and conceptual schemes. It allows this childlike, instinctual, creative person that I am to let loose within self-selected limitations.” ◀

details ▼ Frank Ettenberg: Vienna/Santa Fe ▼ Opening reception 5 p.m. Friday, Sept. 12 ▼ Phil Space, 1410 Second St., 505-983-7945

Above, Combined Forces, 2001- 2003, acrylic on canvas; opposite, Painter’s Movie, 2011-2014, acrylic on canvas; images courtesy Phil Space

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MOVING IMAGES film reviews

Bad day at the border Jonathan Richards I For The New Mexican Frontera, drama, rated PG-13, some Spanish with subtitles, Jean Cocteau Cinema, 2 chiles If the road to hell is paved with good intentions, there should be a nice straight stretch of highway somewhere near the southern U.S. border marked with a sign that reads, “Adopted by Frontera.” The heart of this border-crossing drama is in the right place, with its messages of understanding and tolerance and not jumping to prejudice-driven conclusions. The movie has its moments. And it has Ed Harris. But director Michael Berry, a theater actor (Next to Normal) and director making his feature film debut, shuffles his styles and his stories with a careless hand. His screenplay (co-written with Louis Moulinet) is strewn with clunky, obvious dialogue and muddled situations, and the movie comes up lame. Roy (Harris) is an Arizona rancher living on the Mexican border. We know he’s no bleeding heart, because when his wife, Olivia (Amy Madigan, Harris’ real-life spouse), saddles her horse to go for a ride along the wash, he grumbles about that area being a favored route for “the damned Mexicans.” Olivia has a softer spot for the border crossers. She goes anyway and runs into a pair making their way north: Miguel (Michael Peña, Cesar Chavez) and José (Michael Ray Escamilla). A tragic incident occurs, but it’s not what we, or the local authorities for that matter, might have expected. Berry and Moulinet have constructed three interwoven stories, or maybe two and a half. The second one begins in Mexico, with Miguel saying goodbye to his pregnant wife, Paulina (Eva Longoria), and family, and heading north, taking José along as a favor

Ed Harris

PASATIEMPO I September 12-18, 2014

Moving day: Michael Peña and Eva Longoria

to his father-in-law. José is a loose cannon, amiable but feckless, and we sense something bad is going to happen because of him. As things work out, he’s just a distraction. Story two-and-a-half begins with two pals bursting in on Sean (Seth Adkins), the teenage son of the local sheriff, about whom we know all we need to know when we first see him playing a shoot-’em-up video game. They cajole him into coming out to have a bit of fun, namely holing up on a mesa and taking potshots with high-powered rifles at illegal immigrants. “Not to kill them, just to scare them,” one of the kids explains. What could go wrong? Ed Harris could be carved into Mount Rushmore and you’d scarcely notice the difference. He’s got an iconic granite cowboy face like Gary Cooper did, burnt by the sun and etched by the wind, and as long as he’s filling the screen, everything seems as if it might be all right. But under Berry’s direction, Harris plays the stoic Westerner to the hilt, allowing Roy’s grief over a terrible loss to show only once, in a long shot, as he sinks for a moment to his knees in the desert sand. We soon discover that Roy is the former sheriff, and when his successor, Sheriff Hunt (Aden Young), doesn’t investigate a crime scene properly, a grim-faced Roy takes it on himself and turns up some evidence that upsets the easy conclusions the authorities had embraced. Upsetting easy conclusions is what this movie is after. We see both humanity and villainy on both sides

of the border, and we see the gray areas in between as well. Peña is appealing as the decent, hardworking, dream-pursuing Miguel, a good man to whom bad things happen. The trouble is, his character is written without much depth or development; while he draws the audience to him, he doesn’t take us anywhere. The rest of the performances are uneven. Longoria plays a far more desperate housewife than in the TV role that made her famous, and she does pretty well in her deglamorized circumstances. The teenagers aren’t very good, and the movie tacitly admits this by dropping them as soon as it can. (The film was shot in New Mexico, and there’s a chance to see some nice work by local actors.) Berry shows some talent in his debut feature, but too often he’s making scenes about movies instead of scenes about life. Some of the story points work better than others, but by the end he’s desperately grabbing onto ploys that must have seemed like inspiration in a late-night brainstorming session but should have withered in the cold light of dawn. You don’t quite know what to make of Miguel undertaking steady employment at Roy’s ranch fixing a wire fence designed to keep illegal immigrants out. And there’s a sniper to deal with, a faceless creep who drives an unsubtle green sport-utility vehicle with a right-wing bumper sticker about doing the job the government won’t. Frontera is not unwatchable, though it sometimes strays uncomfortably close to the border. It does have Harris, some good scenes, and that majestic New Mexico scenery. And, of course, a good heart. ◀

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Saturday, September 2014 | 7:30 Saturday, September 20,20, 2014 | 7:30 pmpm First Presbyterian Church, 208 Grant Ave, Santa First Presbyterian Church, 208 Grant Ave, Santa Fe Fe Music of Osvaldo and more. Music of Osvaldo GolijovGolijov and more. ElenaSopoci Sopoci&& Michael Shu, violin | Shanti Randall, viola Elena DanaDana Winograd, cello cello | James Shields, clarinet Winograd, | James Shields, clarinet Gail Springer, soprano | Jeff Sussmann, percussion Gail Springer, soprano | Jeff Sussmann, percussion For tickets call: 505-989-7988 or e-mail serenataofsantafe@gmail.com For more information visit: serenataoFsantaFe.org

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PASATIEMPO I September 12-18, 2014

Pretty is as pretty does Jennifer Levin I The New Mexican God Help the Girl, hipster musical, not rated, Jean Cocteau Cinema, 3 chiles Stuart Murdoch, the lead singer of the Scottish indie-pop band Belle and Sebastian, turned his musical side project, God Help the Girl, into a feature-length movie musical of the same name. Whether that concept excites you or makes you roll your eyes, you’ll probably be interested to know that the movie, which has the potential to be annoyingly twee and self-involved, is actually pretty good. The story, about a young, struggling musician with anorexia nervosa who meets two other young musicians, is more than a series of clichés in between which to string songs, and the music is both charming and interesting. It’s a coming-of-age tale about that last perfect summer before adulthood really sets in, in which pivotal events occur that change the way you see yourself. Emily Browning plays the lead character, Eve. She is as pretty as a doll, her perfect makeup worn like a mask. Men fall for her easily, but she is so guarded that she would rather sleep with someone who makes her actively uncomfortable than open herself up to someone who’s interested in more than her looks. She leaves a psychiatric hospital against medical advice and meets James (Olly Alexander), a frail young man who claims to have the “constitution of an abandoned rabbit.” He’s been teaching a high-school girl, Cassie (Hannah Murray, from Game of Thrones), to play music, and the three soon form a band. Eve has a beautiful voice and a fast facility for lyrics that meld daily activities with the complexities of her inner life. With styling that could be described as precious or pretentious and densely populated as it is with hipsters — the extras are billed as such in the credits — it’s easy to keep expecting God Help the Girl to devolve into ironic stupidity, but it favors heart to the point of sweetness. Every time it seems like it could become overly sentimental, Murdoch turns that impulse into a nod and a wink to musical theater, a style he manages to integrate well with his indie-pop sensibility. There are allusions to different kinds of musicals that will excite aficionados, including a fun jukeboxmusical moment that actually propels the plot. Eve’s eating disorder and associated psychological problems, which are treated with knowledgeable sensitivity, provide enough drama to give some surprises in a story that otherwise feels like it should be predictable. In one of the more memorable musical numbers, anorexia is portrayed as a lovely ballerina who is a loyal but terrible best friend. The friendships Eve forms with James and Cassie, however, open a window to a life of creative connection to other people. ◀

Lensic Presents | FUSION Theatre Company

A CHALLENGING AND“ INSIGHTFUL EXAMINATION “

of the complex tensions between two peoples.” -The Dallas Morning News

FASCINATING. I LOVED IT.”

“

-Augusta Silva, CALA on CNN En Espanol

A GREAT FILM.

By John Patrick Shanley

“ The story is well told and will definitely start a conversation for the good on this very relevant issue.” -Laura Zardain, Cosmopolitan en Espanol

2014 Tony Nominee for Best Play | An Irish Moonstruck! September 27 | 7:30 pm | $20–$40 This charming romantic comedy set in rural Ireland proves it’s never too late to take a chance on love.

ED HARRIS

MICHAEL PEÑA

EVA LONGORIA

AMY MADIGAN

“Mr. Shanley’s finest work since Doubt . . . ” —New York Times

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SANTA FE FRI-SAT 8:30 PM Jean Cocteau Cinema SUN 4:00 PM TUE 8:20 PM THU 6:20 PM (505) 466-5528

Rosh HaShanah Wednesday, September 24 - Friday, September 26

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MOVING IMAGES film reviews

Brilliant bobblehead band bloke Robert Ker I For The New Mexican Frank, comedy-drama, rated R, Center for Contemporary Arts, 3.5 chiles If you have ever tried your hand at songwriting — or any creative endeavor — you will likely chuckle at the familiarity of Frank’s opening scene, which nicely conveys those moments when you have an abundance of motivation but a dearth of inspiration. When we first meet aspiring songwriter Jon Burroughs (Domhnall Gleeson), he sits at the beach in his small Irish city, mentally narrating the mundane actions of the passers-by in brief, bad melodies (“Ladies with babies, that’s how it works?” is one such attempt). His efforts to find a hook for a song prove fruitless, and finally, he turns to that enemy of productivity — Twitter — to share some banal thoughts about his dinner. This scene conveys the crudest attempts at creation. Burroughs tries to generate music the way cavemen started fires: by desperately rubbing sticks together and hoping simply to find the right sticks. Few films in recent years plumb the act of creation more insightfully than Frank, and it begins with Burroughs’ basic efforts before building elaborately upon the theme, incorporating the pros and cons of collaboration, the origins of unexplainable genius, and the stubborn refusal to accept one’s mediocrity. It’s also very, very funny. Shortly after that scene, Burroughs’ life transforms when he returns to the beach at night and comes upon a band whose keyboard player has recently and dramatically lost his mind. Burroughs offers the band his services for that night’s gig. They ask if he knows

Stare master: Michael Fassbender as Frank

three chords, he informs them that he does, and soon he’s onstage and playing keyboard next to a lead singer who sings in a Jim Morrison-like baritone and wears a giant papier-mâché head on his shoulders. That singer is known only as Frank, and he wears that head — larger than a beach ball and sporting a cartoonish, fixed expression — at all times. The character is based loosely on Frank Sidebottom, the alter ego of British comic and musician Chris Sievey, who in the late 1970s and early ’80s fronted a band called The Freshies in a similar guise. In Frank, the costume is much less of a comedic gimmick and more of a mask that is used to hide its wearer from his own pain and embolden him to express himself. In a delightful bit of casting, this character with the giant mask is played

Maggie Gyllenhall, Michael Fassbender and Domhnall Gleeson in Frank

PASATIEMPO I September 12-18, 2014

by Michael Fassbender, one of the more handsome, talented, and popular actors of our time. The process of recording is comically exhaustive. The seasons change as the band works through rehearsals, and Burroughs gets to know Frank and the other members — wonderfully played by Scoot McNairy and Maggie Gyllenhaal — and improve his own work. The dynamic among the band members is odd, ever-surprising, and contentious, and when they all make it to the film’s left-turn third act (filmed in New Mexico), it feels like a miracle. There are so many places the film could have gone wrong on its path to a startlingly moving emotional payoff. Many of the jokes would have been cute were it not for the acid-tinged performances and the dry, sure-handed direction of Lenny Abrahamson. Casting your best actor as a man in a goofy mask is a dangerous move, but Fassbender gives a physical performance that reflects a person who is damaged, yet thoughtful and confident. If the music had been lousy, it would have been difficult to buy into Frank’s genius, but it’s just good — and just weird — enough that it seems to be from a different planet than Burroughs’ mediocre one. It all builds an intricate structure around the questions: “Do you need to have a tortured past to be a brilliant artist — and, if so, is it worth it?” The early scene is not the last time you’ll chuckle in this movie, but the chuckles are chased with pathos and warrant consideration that lasts long after the credits roll. The film displays a wit so deadpan it feels perfectly appropriate that the title character should wear a mask and so honest it feels that the film could only be called Frank. ◀

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PASATIEMPO I September 12 - 18, 2014

School for Advanced Research Presents

The Journey to Becoming Human our 2014-2015 Membership Lecture Series

Whence Language? The Role of Mothers and Infants

Dean Falk

Evolutionary Anthropologist and SAR Senior Scholar In this lively talk, Dr. Falk considers how and why “motherese” first appeared in our ancestors and the likely role of prehistoric mothers and infants in the subsequent origin of symbolic language. $10 Admission • Free for SAR Members Seating is limited. Come early!

Thursday, September 18, 2014 6:30 – 7:30 p.m.

Sponsored by Betty and Luke Vortman Endowment Fund and Santa Fe Audio Visual Lecture series sponsored by Joan Donner and Thornburg Investment Management

Presented at The New Mexico History Museum Auditorium (use Washington Avenue entrance). For more information, visit lectures.sarweb.org or contact the membership office at (505) 954-7245.

SEASON OPENING Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor Melissa Marse, piano

Saturday, September 20 at 4pm (new time) Sunday, September 21 at 3pm Lensic Performing Arts Center

Origami in the Garden Sculpture Exhibition by Kevin Box On Display until OctOber 25

BEETHOVEN Piano Concerto No.3inC Minor,Op.37 BEETHOVEN Symphony No.5 in C Minor, Op. 67 MEET THE MUSIC with Thomas O’Connor and special guest John Clubbe one hour before each performance. Learn more about the music you love! ARTIST DINNER: Sunday, Sept. 21 at 5:30pm with Melissa Marse*

*Limited seating, reservations through the Pro Musica Box Office required

Santa Fe Botanical Garden at Museum Hill 715 Camino Lejo Open Daily, 9am–5pm Master Peace, 1,000 cast origami cranes 25 feet tall

www.santafebOta n i c a lG a r D e n .O r G | 47 1-9103

$20, $35, $45, $65 Discounts for students, teachers, families, and groups available through the Santa Fe Pro Musica Box Office. Santa Fe Pro Musica Box Office: 505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com The 2014-2015 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.

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MOVING IMAGES chile pages

— compiled by Robert Ker

he joins a tumultuous band led by a genius (Michael Fassbender) who wears a papier-mâché head at all times. As the band works for many months on a record, director Lenny Abrahamson exhaustively explores the process of creation and the question “Do you need to have a tortured past to be a brilliant artist?” The result is a thoughtful and moving film that employs deadpan wit and is frequently chuckle-out-loud funny. Rated R. 95 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) See review, Page 46.

Nathan Gamble and Cozi Zuehlsdorff in Dolphin Tale 2, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BECKETT ON FILM When Michael Colgan, artistic director of Dublin’s Gate Theatre, and producer Alan Moloney decided to capture Samuel Beckett’s repertoire on film, they rounded up an impressive collection of movie and stage directors and stars. The second season of the Beckett cycle will be shown in free screenings at 11 a.m. on Sundays in September, with free admission courtesy of the Lannan Foundation. Rough for Theatre I, Footfalls, That Time, Catastrophe, and Rough for Theatre II screen Sunday, Sept. 14, only. Not rated. Running times vary. The Screen, Santa Fe. (Not reviewed) DOLPHIN TALE 2 Nathan Gamble, Ashley Judd, Kris Kristofferson, Morgan Freeman, and Rufus the Pelican return for this sequel to the 2011 hit. This time, the dolphin’s name is Hope. As with the first film, the story is based on true rescue stories from Florida’s Clearwater Marine Aquarium; in that respect, let’s hope there are many sequels to come. Rated PG. 107 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE DROP In his final film role, James Gandolfini is Cousin Marv, operator of a bar that is a front for 50

PASATIEMPO I September 12-18, 2014

transferring mob money. When that bar is robbed, Marv and his partner (Tom Hardy) find themselves in a whole lot of trouble. Dennis Lehane (Mystic River) wrote the screenplay (based on his own short story) and appears at 6 p.m. Saturday, Sept. 13, for a reading and book signing before a free screening of the film at 8 p.m. Rated R. 106 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) FIFI HOWLS FROM HAPPINESS When Iranian filmmaker Mitra Farahani set out to investigate what happened to exiled Iranian artist Bahman Mohassess, she did not know whether the artist was living or dead. The answer comes early in this slow-moving account of Farahani’s rediscovery of the artist, once a prerevolutionary tour-de-force, now living a quiet, humble life in Rome. Poised to make a new painting on commission, Mohassess reluctantly allows Farahani exclusive interviews at the home he seldom leaves. His statements and reminiscences of a life in art are often poetic, witty, and sharp as a knife, but a better developed context for Mohassess’ exile would have given his tragic story greater import. Not rated. 96 minutes. In Persian with English subtitles. The Screen, Santa Fe. (Michael Abatemarco) FRANK Jon Burroughs (Domhnall Gleeson) is an aspiring songwriter who can’t overcome his own mediocrity, so

FRONTERA If the road to hell is paved with good intentions, there should be a nice straight stretch of highway somewhere near the southern border marked with a sign that reads, “Adopted by Frontera.” The heart of this drama is in the right place, with its messages of understanding and tolerance and not jumping to prejudice-driven conclusions. It has its moments. And it has Ed Harris; his wife, Amy Madigan; and Michael Peña, who does nice work. But director Michael Berry, making his feature film debut, shuffles his styles and his stories with a careless hand; his screenplay (co-written with Louis Moulinet) is strewn with clunky dialogue and muddled situations; and the movie comes up lame. PG-13. 103 minutes. In English and Spanish with subtitles. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) See review Page 42. GOD HELP THE GIRL This movie, written and directed by Stuart Murdoch, the lead singer of Belle & Sebastian, has the potential to be annoyingly twee and self-involved but is actually pretty good. A young musician with anorexia nervosa meets two other young musicians in a coming-of-age story that never quite devolves into predictability. Murdoch integrates his Scottish indiepop sensibility interestingly with the genre of musical theater. The three lead actors — Emily Browning, Olly Alexander, and Hannah Murray — deliver excellent performances. Not rated. 111 minutes. Jean Cocteau Cinema, Santa Fe. ( Jennifer Levin) See review, Page 44. NATIONAL THEATRE LIVE: A STREETCAR NAMED DESIRE This staging of Tennessee Williams’ Pulitzer Prize-winning play, directed by Benedict Andrews, stars Gillian Anderson as Blanche DuBois, Ben Foster as Stanley, and Vanessa Kirby as Stella. 7 p.m. Tuesday, Sept. 16. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NO GOOD DEED Idris Elba trades on his charm to play Colin Evans, a fugitive who’s wanted for severely abusing and murdering women. When he’s in a car accident and stranded in a rural area, a mother (Taraji P. Henson) who is home alone with her daughter takes him in. What happens next will surely be a

fun time at the movies! The trailer includes multiple shots of Elba in the shower, which will likely be the best part of the film for many audience members. Rated PG-13. 84 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with this encore showing of Rudolf Nureyev and Margot Fonteyn’s 1966 performance of Swan Lake from the Vienna State Opera House, restored from the original film reels. 11:15 a.m. Saturday, Sept. 13, only. Not rated. 107 minutes. The Screen, Santa Fe. RICH HILL This film, which won the Grand Jury Prize for Best Documentary at the 2014 Sundance Film Festival, takes us into the lives of three boys in a small Midwestern town who live in poverty. They show us how hard their lives are and how hope and their families ease the difficulties. Not rated. 91 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)

now in theaters AS ABOVE, SO BELOW Those who are old enough to remember 1990’s Flatliners may find this story, in which a group of young people are haunted by their pasts, pretty familiar. Rather than flirting with death, these crazy kids (who have done some really bad things) are exploring the catacombs beneath Paris when they come across something supernatural. Rated R. 93 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) BEGIN AGAIN John Carney, director of 2006’s Once, returns with another music-themed romantic comedy. Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and CeeLo Green help fill out the cast. Rated R. 104 minutes. Regal DeVargas, Santa Fe. (Not reviewed) BOYHOOD Richard Linklater’s extraordinary achievement has been to take one boy, a six-year-old named Ellar Coltrane, and film him for a few days every year for a dozen years. He wrote each screenplay segment based on talks with his cast, which includes Ethan Hawke and Patricia Arquette as the boy’s parents. We watch as the boy grows up and makes his way safely through childhood’s adventures and discoveries: his limbs lengthen, his cheeks hollow, his mind grows, his

heart breaks and mends, and he arrives on the brink of young adulthood as the movie ends. It’s not just that 12 real years pass and Linklater holds the whole thing together. It’s the way it happens, the way he tells the story. It’s a life. Rated R. 166 minutes. Center for Contemporary Arts, Santa Fe; DreamCatcher, Española. (Jonathan Richards) CALVARY On a Saturday in a small church in the west of Ireland, Father James (Brendan Gleeson) listens in the confessional as a parishioner describes his repeated sexual abuse as a child by a now-deceased priest. The man then promises to kill Father James the following Sunday, to execute a good priest as retribution for the sins of the bad one. Writer-director John Michael McDonagh (The Guard) salts his tragicomic pyramid of weighted metaphor and indelible characters with a soundtrack of keenly appropriate vintage music. Gleeson is magnificent, and the supporting cast is scarcely less so. This is a concept with many facets and a ground strewn with mines, and it makes a terrific movie. Rated R. 100 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CANTINFLAS This movie tells the story of Mario Moreno, more commonly called Cantinflas — the beloved film comedian known as “the Charlie Chaplin of Mexico.” Óscar Jaenada plays the title character in this biopic, which traces his rise to fame. Rated PG. 106 minutes. In Spanish with subtitles. Regal Stadium 14, Santa Fe. (Not reviewed) CHEF Jon Favreau wrote, directed, and stars as Carl Casper, an L.A. chef with a successful restaurant and a failed marriage. Carl gets into a war of words with a critic (Oliver Platt); loses his job; and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook ( John Leguizamo) heads to Miami with his son (Emjay Anthony), hoping to start over. Chef is part food porn, part tale of selfdiscovery, part father-son story, and part road-trip movie. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) DRUNKTOWN’S FINEST The first feature by Sydney Freeland is a moving coming-of-age tale that follows three Navajo youths struggling to escape reservation life. The lives of father-to-be Luther “SickBoy” Maryboy (Jeremiah Bitsui); the transgendered and promiscuous Felixia (Carmen Moore); and college hopeful Nizhoni Smiles (Morning Star Wilson), the adopted daughter of a non-Native family, intertwine as they learn the value of family, culture, and tradition without sacrificing their individual identities. The title was inspired by an episode of 20/20 in which the

writer/director’s hometown of Gallup was referred to as “Drunktown, U.S.A.” Freeland turns the tables on Native stereotypes and brings dignity and depth to her characters. Not rated. 95 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) EXPEDITION TO THE END OF THE WORLD This documentary by SwedishDanish director Daniel Dencik chronicles a contemporary research expedition to the remote extremes of northeast Greenland. Those aboard the three-masted schooner include scientists from a wide range of disciplines, with a few strong-willed artists thrown in for variety’s sake. Miraculously, everyone gets along. Less about the research and the participants’ résumés than their thoughts on life, the film is often profound, occasionally stilted, and always visually stunning, thanks to the jagged beauty of the Arctic backdrop. In English and Danish with subtitles. Not rated. 90 minutes. The Screen, Santa Fe. (Loren Bienvenu) THE EXPENDABLES 3 Take a deep breath before reciting the cast for this latest all-star gathering of action-movie heroes: it’s Sylvester Stallone, Jason Statham, Antonio Banderas, Jet Li, Wesley Snipes, Dolph Lundgren, Kelsey Grammer, Harrison Ford, Arnold Schwarzenegger, and more — most of them fighting a villain played by Mel Gibson. Rated PG-13. 126 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE GIVER Lois Lowry’s 1993 children’s novel was widely read and won a Newbery Medal. The story — about a boy named Jonas (Brenton Thwaites) who lives in a dystopian future and learns the value of free will — finally comes to life in theaters. Jeff Bridges plays the wisdom-bestowing title character, and Meryl Streep plays the chief elder, who opposes Jonas’ awakening. Rated PG-13. 97 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) GUARDIANS OF THE GALAXY The best film yet from Marvel Entertainment is this satisfying space opera, which injects fun back into the science-fiction genre. Chris Pratt plays Star-Lord, the leader of a gang of intergalactic misfits and outlaws that includes a talking raccoon and a tree (voiced by Bradley Cooper and Vin Diesel, respectively). They learn to overcome their differences and become unlikely friends just in time to guard the galaxy. Great music, loads of heart, a superb cast, and a healthy dose of irreverence and humor overshadow even the wild special effects and the intricate world building. Rated PG-13. 121 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) continued on Page 52 PASATIEMPOMAGAZINE.COM

MOVING IMAGES chile pages

continued from Page 51

THE HUNDRED-FOOT JOURNEY This movie hits many of the check marks for art-house cinema: it takes place in France, it involves a restaurant, the plot centers on cross-cultural understanding, Lasse Hallström (Chocolat) directs, and Helen Mirren is prominently involved. She plays a restaurateur who must learn to coexist with the Indian family that sets up an eatery across the street. Rated PG. 122 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE IDENTICAL What if Elvis Presley’s stillborn identical twin had lived? This faith-based film asks that question and answers it by following the life of Ryan Wade (Blake Rayne), a son of a preacher man who must balance pleasing his father (Ray Liotta) with the yearning and envy he feels over the meteoric rise of singer Drexel Hemsley (also played by Rayne). Rated PG. 107 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) IF I STAY Mia (Chloë Grace Moretz) is a teenage cello prodigy who has a shot at getting into Juilliard and starting a new romance with an indie-rock heartthrob (Jamie Blackley). But then she and her family are in a car accident, and she is the only survivor. Now in a coma, Mia has an out-of-body experience that informs her “decision” to live or die. Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) INTO THE STORM This is the biggest tornadobased thriller since 1996’s Twister, and it ramps the severity of the weather up to an almost comical degree. Little-known actors play citizens in a small town that is ravaged by tornadoes before the biggest one ever recorded spins in to finish the job. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) LET’S BE COPS Jake Johnson and Damon Wayans Jr. play two losers who decide to dress up as cops for a costume party. They enjoy the illusion of authority so much they decide to keep the charade going for as long as they can. When they end up having to fight actual bad guys, they realize they may have taken it a bit too far. Rated R. 104 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

spicy bland

medium

mild

heartburn

Read movie reviews online at www.santafenewmexican.com/pasatiempo

PASATIEMPO I September 12-18, 2014

LUCY Scarlett Johansson is Lucy, a woman who works as a drug mule until an experimental drug leaks into her body and unleashes the full potential of her brain. What does she do with this power? It’s never quite clear, but it is compelling. Director Luc Besson balances stylish action with goofy pseudoscience about evolution and the brain’s capacity, but it all blends together for a movie that is original and highly unpredictable. Morgan Freeman also stars. Rated R. 90 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) MAGIC IN THE MOONLIGHT In Woody Allen’s latest, Colin Firth is Stanley, a celebrated English illusionist who travels the world and astounds audiences. Stanley is a committed debunker of charlatans, so when an old friend (Simon McBurney) asks him to help expose a young medium (Emma Stone), Stanley accepts the challenge. Allen may not have a soft spot for psychics, but he does understand the magic of romance. He knows that rigid rationality isn’t everything and that only a fool would reject the possibility that there are more things in heaven and earth than are dreamt of in his philosophy. Rated PG-13. 97 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

excellent chemistry and turn in nuanced, convincing performances. Rated R. 91 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) TEENAGE MUTANT NINJA TURTLES Back in 1990, the TMNT craze hit its apex among Generation Y with the reptilian quartet’s first movie, in which the leads were brought to life through Jim Henson’s Creature Shop. Michael Bay produced this comeback movie, which animates the turtles using computers and gives their latest bout with Shredder the overthe-top action treatment. Rated PG-13. 101 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE TRIP TO ITALY Director Michael Winterbottom’s follow-up to 2010’s The Trip is nearly identical in plot but set in Italy, providing ample opportunity to take in stunning vistas and, as before, sumptuous meals, laughing all the way. On their second outing as food reviewers, Steve Coogan and Rob Brydon, playing fictional versions of themselves, reverse roles; this time Coogan is the more settled of the two. The improvised tête-à-têtes and (mostly) spot-on impersonations that made the first film a delight haven’t changed. Not rated. 108 minutes. The Screen, Santa Fe. (Michael Abatemarco)

A MOST WANTED MAN Nobody did rumpled like the late, lamented Philip Seymour Hoffman, who haunts this movie as German intelligence officer Günther Bachmann in John le Carré’s Hamburg-set spy tale of honorable people working in a dishonorable world. The time restrictions of feature-length films don’t do justice to le Carré’s plotting, but director Anton Corbijn moves the story efficiently. The film never achieves whiteknuckle excitement, but it manages good storytelling and has a solid cast. Rated R. 121 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

WHEN THE GAME STANDS TALL This movie, “based on actual events,” is about a team that went from obscurity to winning 151 games straight. The story centers on the personalities and the many challenges they faced. Jim Caviezel and Laura Dern star. Rated PG. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

THE NOVEMBER MAN Pierce Brosnan gets back in the spy game to play Peter Devereaux, an old hand who’s called out of retirement to protect a gorgeous witness (Olga Kurylenko). When the CIA sics Devereaux’s most talented protégé (Luke Bracey) on him, a globe-trotting game of cat and mouse ensues. Rated R. 108 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

Duel Brewery, 505-474-5301 8 p.m. Sunday, Sept. 14: Kati With an I, including Skype interview with director Robert Greene. Screens with the local-made short Family Vacation.

THE ONE I LOVE Ethan (Mark Duplass) and Sophie (Elisabeth Moss) are sent off for a couple’s weekend by their marriage counselor (Ted Danson), and their getaway quickly takes a turn for the surreal. What they are meant to discover about themselves and each other remains a mystery, but this highly original movie doesn’t play tricks on the audience, even as it becomes more complex. Duplass and Moss have

other screenings

Jean Cocteau Cinema, 505-466-5528 Animal House (1978) Regal Stadium 14, 505-424-6296 The Maze Runner, The Nutty Professor (1963), This Is Where I Leave You, A Walk Among the Tombstones The Screen, 505-473-6494 7 p.m. Tuesday, Sept. 16: Hector and the Search for Happiness, part of the New York Film Critics Series, followed by a simulcast Q & A with star Simon Pegg and director Peter Chelsom. 7 p.m. Monday, Sept. 15: Julie & Julia, including Q & A with author Julie Powell. 8 p.m. Thursday, Sept. 18: Visitors ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. to Sun. 1 p.m., 4 p.m., 7:15 p.m. Mon. to Thurs. 2 p.m., 5 p.m., 7:30 p.m. Frank (R) Fri. to Sun. 11:45 a.m., 4:30 p.m., 8:30 p.m. Mon. to Thurs. 5:30 p.m., 8:15 p.m. The One I Love (R) Fri. to Sun. 11 a.m., 6:30 p.m. Rich Hill (NR) Fri. to Sun. 2 p.m. Mon. to Thurs. 3 p.m. JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com The Drop (R) Sat. 8 p.m. Drunktown’s Finest (NR) Fri. 4 p.m. Sun. 8:30 p.m. Frontera (PG-13) Fri. 8:30 p.m. Sat. 1:10 p.m. Sun. 4 p.m. Tue. 8:20 p.m. Wed. 3:30 p.m. Thurs. 6:20 p.m. God Help the Girl (NR) Fri. 6:20 p.m. Sat. 3:20 p.m. Sun. 1:40 p.m., 6:20 p.m. Wed. 8:20 p.m. Thurs. 4 p.m., 8:30 p.m. National Lampoon’s Animal House (R) Fri. and Sat. 11 p.m. REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Begin Again (R) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:40 p.m., 4:10 p.m., 7 p.m. Calvary (R) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:50 p.m., 4:50 p.m., 7:40 p.m. Chef (R) Fri. and Sat. 1:35 p.m., 4:25 p.m., 7:05 p.m., 10:05 p.m. Sun. to Thurs. 1:35 p.m., 4:25 p.m., 7:05 p.m. The Hundred-Foot Journey (PG) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. Magic in the Moonlight (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. A Most Wanted Man (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com As Above, So Below (R) Fri. to Wed. 12:05 p.m., 2:25 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Cantinflas (PG) Fri. to Wed. 12:25 p.m., 2:55 p.m., 5:20 p.m., 7:50 p.m., 10:20 p.m. DolphinTale 2 (PG) Fri. to Wed. 12 p.m., 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m. The Expendables 3 (PG-13) Fri. to Tue. 10:05 p.m. Wed. 10:15 p.m. The Giver (PG-13) Fri. to Wed. 12:30 p.m., 2:55 p.m., 5:25 p.m., 7:55 p.m., 10:15 p.m. Guardians of the Galaxy (PG-13) Fri. to Wed. 1:30 p.m., 4:40 p.m., 7:35 p.m., 10:20 p.m. Guardians of the Galaxy 3D (PG-13) Fri. and Sat. 1:05 p.m., 4:10 p.m., 7:15 p.m. Sun. 7:15 p.m. Mon. and Tue. 1:05 p.m., 4:10 p.m., 7:15 p.m. The Identical (PG) Fri. to Wed. 1:45 p.m. If I Stay (PG-13) Fri. to Wed. 12:15 p.m., 2:40 p.m., 5:15 p.m., 7:45 p.m., 10:20 p.m. Into the Storm (PG-13) Fri. to Wed. 4:35 p.m., 7:10 p.m., 9:30 p.m. Let’s Be Cops (R) Fri. to Wed. 1:25 p.m., 4:15 p.m., 7 p.m., 9:50 p.m. Lucy (R) Fri. to Wed. 12:35 p.m., 3 p.m., 5:25 p.m., 7:40 p.m., 10 p.m.

The Maze Runner (PG-13) Thurs. 10 p.m. No Good Deed (PG-13) Fri. to Wed. 12:30 p.m.,

2:50 p.m., 5:05 p.m., 7:20 p.m., 9:40 p.m. The November Man (R) Fri. to Wed. 12:50 p.m., 4:05 p.m., 7:30 p.m., 10:15 p.m. The Nutty Professor (NR) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Teenage Mutant Ninja Turtles (PG-13) Fri. to Wed. 12:20 p.m., 2:50 p.m., 5:20 p.m., 7:50 p.m., 10:20 p.m. This Is Where I Leave You (R) Thurs. 10:10 p.m. A Walk Among the Tombstones (R) Thurs. 8 p.m., 10:20 p.m. When the Game Stands Tall (PG) Fri. to Wed. 1:20 p.m., 4:45 p.m., 7:25 p.m., 10:10 p.m.

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Explore Santa Fe’s Best Calendar on

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Beckett on Film (NR) Sun. 11 a.m. The Expedition to the End of the World (NR) Fri. to Sun. 1:25 p.m. Wed. 12:45 p.m. Fifi Howls from Happiness (NR) Fri. and Sat. 5:45 p.m. Sun. 7:45 p.m. Mon. to Wed. 2:40 p.m. Thurs. 6 p.m. Vienna State Opera House: Swan Lake (1966)

(NR) Sat. 11:15 a.m. The Trip to Italy (NR) Fri. and Sat. 3:20 p.m., 7:45 p.m. Sun. 3:20 p.m., 5:40 p.m. Mon. and Tue. 12:30 p.m., 4:30 p.m. Wed. 4:30 p.m., 7:30 p.m. Thurs. 1 p.m., 3:30 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com As Above, So Below (R) Fri. 4:50 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. Boyhood (R) Fri. 6:45 p.m. Sat. and Sun. 2:20 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m. Dolphin Tale 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. Guardians of the Galaxy (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m. The Identical (PG) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. If I Stay (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:05 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Let’s Be Cops (R) Fri. 4:55 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:35 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:35 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. No Good Deed (PG-13) Fri. 4:45 p.m., 7:05 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:05 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:05 p.m. Mon. to Thurs. 4:45 p.m., 7:05 p.m. Teenage Mutant Ninja Turtles (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. When the Game Stands Tall (PG) Fri. 4:25 p.m., 6:55 p.m., 9:35 p.m. Sat. 1:50 p.m., 4:25 p.m., 6:55 p.m., 9:35 p.m. Sun. 1:50 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m.

This weekend

FRIDAY Gallery Talk

September 12, 5:30–6:30 p.m. Artist Delilah Montoya talks about her new photography exhibition Syncretism. Free.

SATURDAY Film & Panel Discussion

September 13, 2 p.m. Curator of Photography Katherine Ware, artist Joyce Neimanas, and filmmaker Scott Rankin discuss the career of Neimanas, with an excerpt from the film project Re Joyce. St. Francis Auditorium, free.

SUNDAY Community Conversation

September 14, 2–3:30 p.m. “Revolutions: Big.” The writing cooperative Cut+Paste facilitates the second in its conversations. Participants can share a defining moment that shaped the course of their creative lives. Free.

Coming up

SUNDAY Family Fun Day

September 28, 1–4 p.m. “Upstairs/Downstairs.” Explore the museum’s galleries and behind the scenes to learn how the museum works. Visitors can make their own solar photograph in the museum’s patio. Instruction and supplies provided. Free.

PASATIEMPOMAGAZINE.COM

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Doggie heaven

Chicago Dog Express 600 Cerrillos Road, 505-984-2798 8 a.m.-4 p.m. Mondays-Fridays, 10:30 a.m.-4 p.m. Saturdays, closed Sundays Vegetarian options No alcohol Counter ordering and takeout Patio dining in season Credit cards, no checks

]

The Short Order At Chicago Dog Express, a tiny shack perched on a corner at the junction of Paseo de Peralta and Cerrillos Road, your dog will runneth over. You can opt for standard-size Vienna Beef dogs or the jumbo upgrade, or you can substitute a Polish sausage or a turkey dog instead. All the requisite toppings are offered — yellow mustard, pickle relish (the non-neon-green kind), chopped onion, tomato, a pickle spear, spicy “sport” peppers, and celery salt, with chopped cucumber thrown into the mix — and the super-soft bun is dusted with poppy seeds. If you don’t dig dogs, try the vegetarian “sandwich,” the Frito pie, or tamale pie. Food takes only minutes to prepare — or assemble, rather — and everyone on the other side of the window is friendly, helpful, and polite. Recommended: Chicago dog, plain dog, veggie “sandwich,” and Frito pie.

Ratings range from 1 to 5 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value. 5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor

PASATIEMPO I September 12-18, 2014

I’m not afraid to admit that I love the spork. Aside from its portmanteau name, I appreciate its utilitarian nature, the stubby tines giving you piercing power, the shallow bowl cradling liquids. The spork comes in handy at Chicago Dog Express, a tiny shack perched on a corner at the junction of Paseo de Peralta and Cerrillos Road. You won’t need it for the dog itself, of course, but for the generous toppings. Your dog will runneth over. CDE is hard to miss with its bright blue awning and colorful table umbrellas tucked amid the draping green leaves of trees out front. Parking can be tricky, so plan accordingly. Or just be patient and circle the block — service is so quick, no one will be dominating a spot for too long. Step up onto the covered wooden deck and order at a window. Everyone on the other side of that window is impressively friendly, helpful, and polite. The traditional Chicago dog is as much about the “salad on top” as the frankfurter: yellow mustard, pickle relish (often it’s a surreal green hue), chopped onion, tomato, a pickle spear, spicy “sport” peppers, and celery salt. The bun should be dusted with poppy seeds and steamed, the dog nestled snugly inside. But you can’t put the words Chicago Dog in your name unless you start with the most essential element — namely, franks from Vienna Beef, a company founded in Chicago in the late 1800s and located there ever since. At CDE you can opt for standard-size dogs or the jumbo upgrade, or you can substitute a Polish sausage or a turkey dog instead. All the requisite toppings are offered, though CDE swerves only slightly from tradition by adding chopped cucumber to the mix. Native Chicagoans might also fuss that the tomatoes are diced and not in wedges, but let’s not pick nits. Regardless of shape, the flavor is the same, and it all ends up in your tummy. Food takes only minutes to prepare — or assemble, rather. None of it’s very complicated, so it’s hard to find much to rave about, but I only had a few complaints. On one visit, someone forgot the relish on our fully loaded dog (CDE serves the non-neon-green variety, by the way). Maybe the dog was still a bit damp when it was tucked into the super-soft steamed bun. That would account for the way the whole already-messy affair began to fall apart after one bite. CDE calls their vegetarian option a sandwich rather than a dog because there’s no meat (or meat substitute) involved. Rather, the pillowy bun is loaded with the crisp, fresh ingredients that top the traditional dog. This can be pleasantly refreshing and light, and the flavors are varied and bold, but I missed the slightly smoky umami-ness of meat (real or fake). If you don’t want your lunch to be “dragged through the garden,” as they say, other dog variations are available. The plain dog is classic, like the dogs of your childhood (unless you grew up in Chicago): topped with mustard, relish, the

otherwise-verboten ketchup, and chopped onion, if you like. Naturally, a Santa Fe dog (with cheese, onion, and red or green chile) is on the menu as well. Or you can top a Polish dog with heaps of sauerkraut and some onion and mustard. If you find the dose overly generous, as we did, choose the moderate option and ask for your dog “half loaded.” Our sausage was meaty and juicy but a bit overcooked and tough — lunch can become awkward if you chomp through a tangle of kraut only to have to tug at the meat to pull away a bite. What if you don’t dig dogs? CDE’s Frito pie is well known around town. Rather than using meat-centric Tex-Mex chili, they ladle red and/or green chile (vegetarian versions of both are available) over those classic salty corn curls and top with lettuce, tomato, and a sport pepper or two. Neither chile is terrifically spicy, but the flavors are solid, the red offering that earthy bitterness you expect, the green like a peppery stew. It’s all a pretty soupy mess but addictive in its tinglingly mellow heat; pockets of tangy, stretchy cheese; the occasional herby and starchy bean; and salty corn beneath, sometimes still with a bit of crunch. Offering a similar soupiness and flavor profile is the tamale pie, with its soft, sweet masa hiding beneath the chile, cheese, and beans. Breakfast burritos are an early-morning option. On one visit, a meat-free version with green chile was heavy with egg and cheese, juicy and vaguely spicy, but with nary a potato in sight. The tortilla was haphazardly folded, too, so the whole thing began to collapse rather quickly, and in a very sloppy fashion. Where was that spork when I needed it? ◀

Lunch for three at Chicago Dog Express: Chicago dog ......................................................$ 4.81 Veggie “sandwich”.............................................$ 3.98 Frito pie.............................................................$ 6.94 Stewart’s root beer .............................................$ 2.50 TOTAL...............................................................$18.23 (before tax and tip) Lunch for three, another visit: Polish dog with kraut........................................$ 7.72 Plain dog ...........................................................$ 3.56 One-tamale pie ..................................................$ 5.09 TOTAL...............................................................$16.37 (before tax and tip)

Join us in welcoming 5775 and Rabbi Neil Amswych to Temple Beth Shalom!

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C A L E N D A R

L I S T I N G

G U I D E L I N E S

• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. • Send material no less than two weeks prior to the desired publication date. • For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words). • All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings. • To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab. • Return of photos and other materials cannot be guaranteed. • Pasatiempo reserves the right to publish received information and photographs on The New Mexican website. • For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.

ARTS AND ENTERTAINMENT CALENDAR

September 12-18

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 9/12 Gallery & Museum Openings Art Exchange Gallery

60 E. San Francisco St., 505-603-4485 New Sculptures by Jim Griffith, reception 4-6 p.m., through September.

Back Street Bistro

513 Camino de los Marquez, 505-982-3500 Mixed media by Patricia Wyatt, reception 5:30-7:30 p.m., through Oct. 25.

Blue Rain Gallery

130-C Lincoln Ave., 505-954-9902 Mixed-media paintings by Erin Currier, reception 5-7 p.m., through Sept. 27. (See story, Page 24)

Crazy Fox

227 Don Gaspar Ave., 505-989-7935 Paintings and silkscreen prints by Elizabeth Hahn, reception 5-7 p.m.

David Copher Gallery

307 Johnson St., 505-235-3641 Contemporary sculpture, paintings, and jewelry by the gallerist, reception 5-7 p.m., through Oct. 3.

David Richard Gallery

544 S. Guadalupe St., 505-983-9555 Transparency: Color and Light, paintings by Salvatore Emblema (1929-2006), reception 5-7 p.m., through Oct. 18.

Gallery 203

203 Canyon Rd., 505-699-2506 Paintings, prints, and sculpture by Abraham Gelbart, reception 5-7 p.m.

Governor's Gallery

Fourth floor, State Capitol 2014 Governor's Awards for Excellence in the Arts, works by award recipients Jean Anaya Moya, Donald Redman, and Robert "Shoofly" Shufelt, through November; open 8 a.m.-5 p.m.

Henington Fine Art Gallery

802 Canyon Rd., 505-690-9160 Still Life and the Southwest, group show of paintings, reception 5-8 p.m.

Joe Wade Fine Art

102 E. Water St., 505-988-2727 Moments in Time, paintings by Roger Williams, reception 5-7 p.m., through Sept. 21.

Meyer Gallery

From Sunrise to Sunset, paintings by Grant Macdonald, reception 5-7 p.m., through Sept. 25.

Phil Space

1410 Second St., 505-983-7945 Vienna/Santa Fe, paintings by Frank Ettenberg, reception 5-8 p.m., through Oct. 10. (See story, Page 40)

PASATIEMPO I September 12-18, 2014

S.R. Brennen Galleries shows paintings by Zvonimir Mihanovic, 555 Canyon Rd.

Red Dot Gallery

826 Canyon Rd., 505-820-7338 Santa Fe University of Art & Design and Santa Fe Community College faculty exhibit, reception 4:30-7 p.m., through Oct. 24.

Rothermel Contemporary

142 Lincoln Ave., 505-642-4981 Landscapes From the Archives, paintings by David Rothermel, reception 5-8 p.m., through Sept. 24.

Wade Wilson Art

217 W. Water St., 505-660-4393 Paintings by Regina Foster, reception 5-7 p.m., through Oct. 4.

Without Reservations Studio

112 W. San Francisco St., Suite 104 Before Columbus, drawings by cartoonist Ricardo Caté, reception 5-8 p.m.

Classical Music Roberto Capocchi

San Miguel Mission, 401 Old Santa Fe Trail The classical guitarist opens the mission‘s concert series season, 7 p.m., $20, students $5, 505-577-1447, capocchimusic.com.

St. John's College recital

Peterson Student Center, 1160 Camino de Cruz Blanca, 505-984-6000 Pianist Jacquelyn Helin and violist Shanti Randall, music of Bach, Franck, and Shostakovich, 7:30 p.m., no charge.

TGIF Black Mesa Brass Ensemble

First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16. Music of Reiche, Bruckner, Rossini, and Nehls, 5:30-6 p.m., donations welcome.

In Concert American Jem

Dance Station, 947-B W. Alameda St. Americana trio, 7:30 p.m., $15 at the door.

Jerry López and Friends

The Lensic Local singer/guitarist, 7 p.m., $20-$35, 505-988-1234, ticketssantafe.org, benefit concert in support of the National Latino Behavioral Health Association.

Green Chile Cheeseburger Smackdown

Theater/Dance Cascarones

Teatro Paraguas, 3205 Calle Marie DNAWORKS and Teatro Paraguas presents a play by Irma Mayorga, curtain 7 p.m., discussion with codirectors Adam McKinney and Daniel Banks follows, $15, discounts available, 505-424-1601, final weekend.

Books/Talks New Mexico Museum of Art gallery talk

107 W. Palace Ave., 505-476-5068 Photographer Delilah Montoya discusses her work in the exhibit Syncretism, 5:30 p.m., no charge.

Events FUZE-SW 2014: Food + Folklore Festival

Museum of Indian Arts and Culture and Museum of International Folk Art, Museum Hill This year's three-day conference focuses on Native foods. Today's events begin at 9 a.m. with the keynote speech Native American Food Traditions and Identity, followed by tastings and panel discussions; details and tickets available online at fuzesw.museumofnewmexico.org; a portion of the proceeds benefit MIAC and Museum of International Folk Art.

Green Chile Cheeseburger Smackdown

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Sample burgers from seven local restaurants;

Instameet Santa Fe!

Cinematheque lobby and Muñoz Waxman main gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338 Free community event 6-10 p.m.; including portrait setups, meet-and-greet with instagrammers, a pop-up restaurant by Paper Dosa, and an exhibit of photographs by Erin Azouz and Ja Soon Kim. Santa Fe Community College Planetarium, 6401 Richards Ave. A program about the Cassini-Huygens mission to Saturn and its moon, 7-8 p.m., $5 at the door, discounts available, not suitable for children under 5, for more information contact Juan Alvarez, 505-428-1744.

Santa Fe Jewelers Annual Meet & Swap 3200 Mercantile Court, 505-988-9157 Open to the public; exchange tools, stones, and supplies, 9 a.m.-4 p.m., no charge.

Nightlife

(See addresses at right)

Bishop’s Lodge Ranch Resort & Spa

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

Café Café

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

¡Chispa! at El Mesón

Three Faces of Jazz, featuring guest vocalist Sonji, 7:30-10:30 p.m., no cover.

Cowgirl BBQ

Bill Hearne, classic country, 5-7:30 p.m.; The Santa Fe Revue, all-star Americana, 8:30 p.m., no cover.

El Farol

Rock band J.J. & The Hooligans, 9 p.m.-close, call for cover.

Rock cover band Chango, 10 p.m.-1 a.m., no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Quartet, 6:30-9:30 p.m., no cover.

Mine Shaft Tavern

Banjo-driven roots-rock duo Todd & The Fox, 8 p.m., call for cover.

Palace Restaurant & Saloon

Digital Storm Riders, electronic dance music, 10 p.m.-close, call for cover.

Pranzo Italian Grill

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

Second Street Brewery

The Center for Contemporary Arts hosts a symposium with presentations of specific projects 9 a.m.-1 p.m. Saturday, Sept. 13, followed by a roundtable discussion from 3 to 5:30 p.m.; the audience is invited to participate. The event is held at the CCA Livingroom, 1050 Old Pecos Trail. Suggested donation $10; call 505-982-1338 for more information; shown, Gourd Curve, by Chase Daniel.

Gallery and Museum Openings Chiaroscuro

702 ½ Canyon Rd., 505-992-0711 The Edges, mixed media by Rebecca Bluestone, Chris Richter, and Jay Tracy, reception 2-4 p.m., through Oct. 4.

CD-release party for southern gothic Ameritronica duo Catahoula Curse, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Hot Club of Santa Fe, Gypsy swing, 7-10 p.m., no cover.

Shadeh

Throw the Temple, 9 p.m.-4 a.m., no cover.

Swiss Bakery Pastries and Bistro

Troubadour Gerry Carthy, on the patio, 7-10 p.m.

In Concert After Hours Alliance Festival of Progressive Arts

El Museo Cultural de Santa Fe, 555 Camino de la Familia DJ performances 9:30 p.m.-2 a.m., including Dirt Girl, Public Address, and Feathericci, $5-$10 sliding scale at the door.

Check with venues for updates and sp ecial events Agoyo Lounge

Ring World

Junction

EVOLVING INTENTIONS IN PUBLIC ART

SATURDAY 9/13

at the Inn on the Al The Matador ameda 303 E. Alameda St. 116 W. San Francisc , 505-984-2121 o St. Anasazi Restauran Mine Shaft Tavern t & Bar 113 Washington Av 2846 NM 14, Madr e., 505-988-3030 id, 505-473-0743 Betterday Coffee Museum Hill Café 905 W. Alameda St. 710 Camino Lejo, Mi , 505-555-1234 lner Plaza, 505-984-8900 Bishop’s Lodge Ra nch Resort & Spa 1297 Bishops Lodg e Rd., 505-983-6377 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Tra Burro Alley Café il, 505-982-1851 207 W. San Francisc Odd Fellows Hall o St., 505-982-0601 1125 Cerrillos Rd., Café Café 505-473-0955 500 Sandoval St., 50 Omira Bar & Grill 5-466-1391 1005 St. Francis Dr ¡Chispa! at El Mesó ., 505-780-5483 n 213 Washington Av Palace Restaurant e., 505-983-6756 & Saloon 142 W. Palace Ave., Cowgirl BBQ 505-428-0690 319 S. Guadalupe St. Pranzo Italian Grill , 505-982-2565 540 Montezuma Av The Den at Coyote e., 505-984-2645 Ca 132 W. Water St., 50 fé Santa Fe Commun 5-983-1615 ity Convention Center Duel Brewing 201 W. Marcy St., 50 1228 Parkway Dr., 5-955-6705 505-474-5301 Santa Fe Sol Stage El Cañon at the Hi & Grill lton 37 Fire Place, solof 100 Sandoval St., 50 santafe.com 5-988-2811 Se cond Street Brewer Eldorado Hotel & Spa 1814 Second St., 50 y 309 W. San Francisc 5-982-3030 o St., 505-988-4455 Second Street Brew El Farol er 1607 Paseo de Peral y at the Railyard 808 Canyon Rd., 50 ta, 505-989-3278 5-983-9912 Shadeh Buffalo Th El Paseo Bar & Grill under Resort & Casino 208 Galisteo St., 50 5-992-2848 Po joa que Pueblo, U.S. 84 Evangelo’s /285, 505-455-5555 200 W. San Francisc o St., 505-982-9014 Sk yli ght High Mayhem Em erging Arts 139 W. San Francisc 2811 Siler Lane, 50 o St., 505-982-0775 5-438-2047 Sweetwater Harves Hotel Santa Fe t Kitchen 1512-B Pacheco St. 1501 Paseo de Peral , 505-795-7383 ta, 505-982-1200 Swiss Bakery Pastr Jean Cocteau Cinem ies a 401 S. Guadalupe St. and Bistro 418 Montezuma Av , 505-988-5500 e., 505-466-5528 Taberna La Boca Junction 125 Lincoln Ave., 50 530 S. Guadalupe St. 5-988-7102 , 505-988-7222 Tiny’s La Boca 1005 St. Francis Dr 72 W. Marcy St., 50 ive, Suite 117, 5-982-3433 505-983-9817 La Casa Sena Cant ina The Underground 25 E. Palace Ave., 50 at Evangelo’s 5-988-9232 200 W. San Francisc o St. La Fiesta Lounge at La Fonda Upper Crust Pizza 100 E. San Francisc o St., 505-982-5511 329 Old Santa Fe Trail, 505-982-00 La Posada de Sant 00 a Fe Resort and Sp Vanessie a 330 E. Palace Ave., 505-986-0000 434 W. San Francisc o St., 505-982-9966 Lensic Performing Arts Center Veterans of Foreign 211 W. San Francisc Wars o St., 505-988-1234 370 Montezuma Ave., 505-984-2691 Lodge Lounge at Th e Lodge at Santa Fe Warehouse 21 750 N. St. Francis Dr ., 505-992-5800 1614 Paseo de Peral ta, 505-989-4423 Low ’n’ Slow Lowr ider Bar Zia Dinner at Hotel Chimayó de Santa Fe 326 S. Guadalupe St. 125 Washington Av , 505-988-7008 e., 505-988-4900

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

9/12

enjoy brews and music, and help crown the 2014 Green Chile Cheeseburger Smackdown king or queen, 6 p.m., $20 in advance and at the door, 505-988-1234, ticketssantafe.org.

Vanessie

Pianist Robin Holloway, 6:30 p.m., call for cover.

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Events Contra Dance

9/13

Odd Fellows Hall Folk dancing; easy steps; beginners class 7 p.m., dance 7:30 p.m., $9, students $5, 505-820-3535.

FUZE-SW 2014: Food + Folklore Festival

Museum of Indian Arts and Culture and Museum of International Folk Art, Museum Hill The conference continues with panel discussions on Native foods beginning at 10:30 a.m.; other events include an11:30 a.m. lunch with the Street Food Institute provided by food trucks and 2:45 p.m. tastings with local chefs; visit fuzesw.museumofnewmexico.org for tickets and details; a portion of the proceeds benefit MIAC and Museum of International Folk Art.

Native American film series

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 On the Ice, Andrew Okpeaha MacLean's 2011 drama, noon, by museum admission.

Rescuefest

Second Street Brewery A fundraising event for Atalaya Search & Rescue; musical acts include Stephanie Hatfield & Bill Palmer, Todd and the Fox, and The Green Billies; also, commemorative pint glasses and apparel, silent auction, raffle, and giveaways, 11 a.m.-7 p.m., no charge.

Santa Fe Botanical Garden Harvest Dinners

Public fundraiser featuring gatherings at private residences; 6 p.m., $100 in advance online at santafebotanicalgarden.org.

Spanish Colonial Arts Society 10th Annual Gala

La Fonda, 100 E. San Francisco St. Silent and live art auctions and buffet dinner, 6-10 p.m., $175, 505-982-2226, eventbrite.com.

Theater Grottesco Annual Fall Bash Scheinbaum & Russek shows photographs by Manuel Álvarez Bravo through Saturday, Sept. 13, 505-988-5116.

Big Al Anderson

Gig Performance Space, 1808 Second St. Guitarist/songwriter, 7:30 p.m., $20 at the door, gigsantafe.com.

Lyle Lovett and His Large Band

The Downs of Santa Fe, 27475 W. Frontage Rd. Texas singer/songwriter, 7 p.m., $12-$76, 505-988-1234, ticketssantafe.org.

Steve Riley & Mamou Playboys

The Lensic Cajun band, 7 p.m., $15-$35, 505-988-1234, ticketssantafe.org.

Theater/Dance Cascarones

Teatro Paraguas, 3205 Calle Marie DNAWORKS and Teatro Paraguas present a play by Irma Mayorga, 505-424-1601, discussion with codirectors Adam McKinney and Daniel Banks follows, $15, discounts available, 505-424-1601, final weekend.

Lucha Libre Exotica

El Museo Cultural de Santa Fe, 555 Camino de la Familia Tag-team cross-dressing Mexican wrestlers Cassandro, Estrellita, and Diva Salvaje versus Niebla Roja, Magnus, and Magno, 8 p.m., $20, front-row seating $35, advance tickets available

PASATIEMPO I September 12-18, 2014

online at thecassandroproject.com; part of the After Hours Alliance Festival of Progressive Arts. (See story, Page 32)

Jackalope, 2820 Cerrillos Rd. Games, prizes, silent auction, and raffle, 5-8 p.m., $25 in advance, $30 at the door, admission includes dinner and drinks, theatergrottesco.org, 505-474-8400.

Nightlife

(See Page 57 for addresses)

Rescuefest at Second Street Brewery

Palace Restaurant & Saloon

Lightning Hall, Americana and blues, 2-5 p.m. on the back patio, no cover.

Pranzo Italian Grill

Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover.

Second Street Brewery at the Railyard

Hipster-pop band Busy & the Crazy 88s, 7 p.m.-close, no cover.

Shadeh

DJ Quico, 9 p.m.-4 a.m., call for cover.

Sweetwater Harvest Kitchen

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

Tiny‘s

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

Vanessie

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

Upper Crust Pizza

Local singer/songwriter Dana Smith, 6-9 p.m., no cover.

SUNDAY 9/14 Classical Music McFish 4

Santa Fe Woman's Club, 1616 Old Pecos Trail Chamber-music ensemble; with harpsichordist Kathleen McIntosh, violist Marlow Fisher, cellist Erika Kirkpatrick, and violinist Robin Lorentz, 3 p.m., $10 at the door, students $5.

Santa Fe Symphony

Skylight Stand-up sets by Mary Beth Lindsey, Max Walukas, Sarah Mowrey, and Black Mike, 8:30 p.m., $10 at the door.

Café Café

Books/Talks

Jazz pianist Bert Dalton and his quartet, 7:30-10:30 p.m., call for cover.

The Lensic The 31st season opener, titled Showcase of the Stars, features soloists violinist Mark Kaplan and cellist Clancy Newman, led by guest conductor Kevin Rhodes, music of Popper, Tchaikovsky, and Monti, 4 p.m., free lecture 3 p.m., $22-$76, discounts available, ticketssantafe.org, 505-988-1234. (See Listen Up, Page 26)

Cowgirl BBQ

In Concert

The Lulz Comedy Night

Dennis Lehane

Jean Cocteau Cinema The author reads from and signs copies of The Drop, 6 p.m.; interview and Q & A included, followed by a screening of the film of the same name based on Lehane's book, $10; $5 with paperback purchase; no charge with hardback purchase; no charge for the screening. (See story, Page 36)

Evolving Intentions in Public Art

Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338 A symposium with presentations on specific projects, followed by a discussion; participants include Alysha Shaw, Edie Tsong, Vince Kadlubek, and Christy Hengst, presentations 9 a.m.-1 p.m., roundtable discussion 3-5:30 p.m., $10 suggested donation.

Jazz/blues guitarist Ramon Bermudez, 6:30 p.m., no cover.

¡Chispa! at El Mesón

Folk duo Jon Hogan & Maria Moss, 2-5 p.m.; roots band D.K. & The Affordables, 8:30 p.m.-close; no cover.

El Farol

Los Esmitz, featuring Nacha Mendez, Mustafa Stefan Dill, Ross Hamlin, D. Santi, and Alex Pigeon, 9 p.m., call for cover.

La Posada de Santa Fe Resort and Spa

Guitarist Pat Malone‘s jazz trio, 8 p.m., call for cover.

Low ‘n‘ Slow Lowrider Bar at Hotel Chimayó de Santa Fe

Troubadour Gerry Carthy, 7:30 p.m.-close, no cover.

Mine Shaft Tavern

Power pop-punk band Hobart W. Fink, 3-7 p.m.; Desert Southwest Blues Band, 8 p.m., call for cover.

After Hours Alliance Festival of Progressive Arts performances

North and south stages at the Railyard Plaza Music begins at 1:30 p.m. and continues through 9 p.m.; musicians include Tone Deff and Magnificent Vibration, CassoVita, Müshi Trio, and Thieves & Gypsies, no charge.

Theater/Dance Cascarones

Teatro Paraguas, 3205 Calle Marie, 505-424-1601 DNAWORKS and Teatro Paraguas present a play by Irma Mayorga, special performance by Santa Fe Danceworks 4:15 p.m., curtain 5 p.m., $15, discounts available.

Books/Talks

Journey Santa Fe Presents

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 We Are People Here: Banking on New Mexico Project, with Xubi Wilson, 11 a.m.

Lisa Lenard-Cook

Garcia Street Books, 376 Garcia St., 505-986-0151 The author reads from and signs copies of Dissonance, 2 p.m.

Events FUZE-SW 2014: Food + Folklore Festival

Market Place, Museum Hill The food conference wraps up with a free all-day celebration featuring food trucks and entertainment, fuzesw.museumofnewmexico.org.

Nightlife

(See Page 57 for addresses)

Cowgirl BBQ

The Santa Fe Revue, all-star Americana, noon-3 p.m.; Adam Marsland, indie pop, 8 p.m.; no cover.

Duel Brewing

Acoustic-folk duo Spruce Street, 5-7 p.m., no cover.

El Farol

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

Evangelo‘s

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

Liquid Outpost

Inn and Spa at Loretto, 211 Old Santa Fe Trail, 505-983-6503 Paintings by Donna Goodwin, through September.

Theater/Dance National Theatre in HD: A Streetcar Named Desire

The Lensic The broadcast series continues; 7 p.m., $22, ticketssantafe.org, 505-988-1234.

Books/Talks Julie Powell

O'Shaughnessy Performance Space, Santa Fe University of Art & Design, 1600 St. Michael's Dr. The author reads from Julie & Julia: 365 Days, 524 Recipes, 1 Tiny Apartment Kitchen and Cleaving, 7 p.m.; a Q & A and signing follow. (See Subtexts, Page 18)

Miriam Sagan

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The poet reads from Swimming to Reykjavik, with a slide presentation by Isabel Winson-Sagan, 6 p.m.

Your Creative Passion & the IRS: What You Need to Know About the Hobby Loss Rule

501 Halona St., 505-988-9715 A Santa Fe Community Foundation presentation for artists, donors, and professional advisors, 5:30 p.m., no charge.

Events Contour Line Drawing and Other Sketching Techniques

Georgia O'Keeffe Museum Education Annex, 123 Grant Ave., 505-946-1000 A workshop led by Robert Carr, 6-8 p.m., $8, to register call 505-946-1039 or visit okeeffemuseum.org.

Nightlife

(See Page 57 for addresses)

¡Chispa! at El Mesón

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

Cowgirl BBQ

Country/Americana band Nathan Kalish & the Lastcallers, 8 p.m., no cover.

El Farol

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

Second Street Brewery at the Railyard

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

Tiny‘s

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

Vanessie

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

WEDNESDAY 9/17 Books/Talks Filmmaker as Entrepreneur

New Mexico Lawyers for the Arts, 460 St. Michael's Dr., Suite 703 A panel discussion held in collaboration with New Mexico Film Foundation, no charge, nmlawyersforthearts.org.

Give My Regards to Broadway: Grand Opera Embraces Great Musicals Eldorado Hotel and Spa, 309 W. San Francisco St. A discussion with Santa Fe Opera Guild lecturer Tom Franks and pianist David Geist, 5:30 p.m., $10, 505-629-1410, Ext 109.

Lannan Foundation: In Pursuit of Cultural Freedom

The Lensic The series continues with Alfredo Corchado, Dallas Morning News Mexico bureau chief, discussing immigration, drug violence and U.S./Mexico foreign policy, 7 p.m., followed by a talk with Melissa del Bosque, $6, discounts available, 505-988-1234, ticketssantafe.org. (See story, Page 20)

Nightlife

(See Page 57 for addresses)

¡Chispa! at El Mesón

Flamenco guitarist Chuscales, 7-9 p.m., no cover.

Cowgirl BBQ

Singer/songwriter Tiffany Christopher, 8 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Country singer Wiley Jim, 7 p.m., call for cover.

Lodge Lounge at The Lodge at Santa Fe

Troubadour Gerry Carthy, 7-9:30 p.m., call for cover.

Mine Shaft Tavern

Americana singer/guitarist Gene Corbin, on the deck 3-7 p.m.

Vanessie

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

MONDAY 9/15 Events Swing dance

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

Nightlife

(See Page 57 for addresses)

Cowgirl BBQ

Karaoke with Michele Leidig, 9 p.m., no cover.

El Farol

Mondays with Hilary Smith and Company, 8 p.m., call for cover.

Vanessie

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

TUESDAY 9/16 Gallery and Museum Openings Jean Cocteau Cinema Gallery

418 Montezuma Ave., 505-466-5528 Before Bataan: New Mexico's 200th Coast Artillery, Historic photographs from the Palace of the Governors Photo Archives collection, on view 2-8 p.m. daily through Oct. 12.

TAI Modern shows paintings by Monique van Genderen, 1601-B Paseo de Peralta.

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¡Música del Corazón: A Celebration of Nuevomexicano Music!

National Hispanic Cultural Center, 1701 Second St. S.W. Concert and hands-on activities held in honor of John Donald Robb; performers include Miguelito Romero and Ray Pérez and His Coro de San José, 2 p.m. Sunday, Sept. 14, no charge, but tickets required (tickets can be picked up at the box office).

UNM Art Museum lecture

Clinton Adams Gallery, Center for the Arts, 1 University of New Mexico, 505-277-4001 The Shadow in the Fire, artist Margaret Evangeline discusses her work, 5:30 p.m. Tuesday, Sept. 16, no charge.

Cerrillos Encaustic Art Institute fundraiser

18 County Rd. 55-A (General Goodwin Rd.), 505-424-6487 Silent and live auctions, raffle items, artist demonstrations, food, and cash bar, 2-6 p.m. Sunday, Sept. 14.

Española Bond House Museum and Misión Museum y Convento

706 Bond St., 505-747-8535 The Second Farm Show, group show, opening reception 5-7 p.m. Friday, Sept. 12, through October. Photo-eye Gallery shows work by photographer Tom Chambers through Saturday, Sept. 13, 541 S. Guadalupe St.

El Farol

Cowgirl BBQ

Midweek rock with the John Kurzweg Band, 8 p.m., no cover.

Americana/California-country trio Calico the Band, 8 p.m., no cover.

Junction

Duel Brewing

La Posada de Santa Fe Resort and Spa

El Farol

Karaoke night with Michelle, 10 p.m., no cover. Country singer Wiley Jim, 7 p.m., call for cover.

Tiny‘s

Electric jam session, 8:30-11:30 p.m., no cover.

Vanessie

Pianist Jess Godwin, 6:30-9:30 p.m., call for cover.

THURSDAY 9/18 Gallery and Museum Openings Santa Fe Community College Visual Arts Gallery

6401 Richards Ave., 505-428-1501 Precognition/Recognition: Examining the Reciprocal Gaze in Godfrey Reggio's film "Visitors," still photographs, reception 5-7 p.m., through Oct. 8; screening of the film follows at 8 p.m., no charge.

Books/Talks Gloria Abella Ballen

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses The Power of the Hebrew Alphabet, 6 p.m.

Whence Language? The Role of Mothers and Infants

New Mexico History Museum Auditorium, 113 Lincoln Ave., 505-476-5200 A lecture presented by the School for Advanced Research, with evolutionary anthropologist Dean Falk, 6:30 p.m., $10, sarweb.org.

Nightlife

(See Page 57 for addresses)

¡Chispa! at El Mesón

Jazz pianist John Rangel, 7-9 p.m., no cover.

PASATIEMPO I September 12-18, 2014

Jazz-funk trio Müshi, 7:30-10:30 p.m., no cover. Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.

La Boca

Chanteuse Nacha Mendez, 7-9 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Pat Malone Jazz Trio, 6:30-8:30 p.m., no cover.

Palace Restaurant and Saloon

Limelight karaoke, 10 p.m., no cover.

Pranzo Italian Grill

Geist Cabaret with David Geist, 6 p.m., call for cover.

Vanessie

Jess Godwin, 6:30-9:30 p.m., call for cover.

Zia Diner

Trio Bijou, Gemma DeRagon on violin and vocals, Andy Gabrys on guitar, and Andy Zadrozny on bass, 6:30-8:30 p.m., no cover.

OUT OF TOWN Albuquerque ¡Cine Magnifico! Albuquerque Latino Film Festival

National Hispanic Cultural Center, 1701 Second St. S.W. Documentaries, animation, feature films, and shorts; Friday-Sunday, Sept. 12-14, $10 per film; discounts available; four-film passes $30; festival passes $50; tickets available online at nhccnm.org or at the box office, 505-724-4771.

Chatter Sunday

The Kosmos, 1715 Fifth St. N.W. Mezzo-soprano Denise Wernly, music of Strauss and Schubert, 10:30 a.m. Sunday, Sept. 14, poetry reading by Margaret Randall follows, $15 at the door only, discounts available, chatterabq.org.

Los Alamos Bradbury Science Museum

Los Alamos Historical Museum

1050 Bathtub Row, 505-662-4493 Tradition and Change in Córdova, New Mexico: The 1939 Photographs of Berlyn Brixner & the López Family of Wood Carvers, opening reception 5-7 p.m. Friday, Sept. 12.

Los Alamos ScienceFest

Various locations Friday and Saturday, Sept. 12-13; festival highlights include an appearance by former shuttle astronaut John Phillips; photography exhibits, drone demonstrations, model rocket launches, and live music with Ryan Finn Big Band, roots-rock band D.K. and the Affordables, and bluegrass band the Squash Blossom Boys, most activities are free, losalamossciencefest.com, 505-661-4844.

Tower of Magic

Los Alamos Little Theatre, 1670 Nectar St., 505-662-5493 A comedy by local playwright Tess Light, 7:30 p.m. Fridays and Saturdays, Sept. 12-20, 2 p.m. Sunday, Sept. 14, $14 at the door and at C.B. Fox, 1735 Central Ave., discounts available, lalt.org.

Taos KTAOS Solar Center concert

9 S.R. 150, in El Prado Vanilla Rawk, 1980s rock, 8:30 p.m. Friday, Sept. 12, $10, advance tickets available online at holdmyticket.com, 21+.

Taos Chamber Music Group

Harwood Museum of Art, 238 Ledoux St., 575-758-9826 The 22nd season opens with Rhapsodic Reverie, 5 p.m. concerts Saturday and Sunday, Sept. 13-14;

music of Beethoven, and Schumann; performers include flutist Nancy Laupheimer, clarinetist Keith Lemmons, and pianist Robert Tweten; $22 in advance; $25 at the door; ages 15 and under $12; taoschambermusicgroup.org.

PEOPLE WHO NEED PEOPLE Artists Call for artists

The Friendship Club seeks artists in recovery from substance abuse and/or living with a mental illness to participate in an exhibit held at its facility on Sunday, Sept. 21; contact Larry Lee at The Life Link, 505-438-8488, Ext. 13, llee@thelifelink.org.

Santa Fe Photographic Workshops 25th Anniversary Photography Contest

Photographers age 18 and over can enter works on the theme of water in one or more categories: landscape, portrait, documentary, abstract; deadline Wednesday, Sept. 17, guidelines and fee information are available online at santafeworkshops.com.

Community Awesome Foundation Santa Fe grant

A $1,000 microgrant will be awarded to an individual or a group with a plan to create local projects in the areas of science, technology, art, education, entertainment, or social good; applications due by Wednesday, Oct. 1; apply online at awesomefoundation.org.

Off the Grid Santa Fe

Call for sponsors, volunteers, and vendors to participate in an inaugural evening of live music and other entertainment, with food trucks, 4 p.m. to 7:30 p.m. Saturday, Sept. 19, in the parking lot of Santa Fe Place, 4250 Cerrillos Rd.; contact Dominic Silva, dthomas505@hotmail.com or 505-424-2452.

Santa Fe Botanical Garden

Help out by working in the admissions tent at the Museum Hill garden; free training; 505-471-9103, info@santafebotanicalgarden.org.

Filmmakers/Performers/Playwrights Santa Fe Playhouse playwright‘s forum

142 E. DeVargas St., 505-988-4262 Accepting full-length works by playwrights for the 2014-2015 season; plays must be unpublished and consist of eight or fewer characters; four plays will be selected for staged readings Oct. 23-26, one will be chosen for a March 2015 production; submit a short bio and play synopsis no later than Monday, Sept. 15, to Cristina Duarte at the playhouse.

UNDER 21

Warehouse 21 open house

1614 Paseo de Peralta, 505-989-4423 Part off the After Hours Alliance Festival of Progressive Arts; outdoors events including live music, visual arts, and pop-up performances, 1-10 p.m., no charge.

PASA KIDS

Ring World

Santa Fe Community College Planetarium, 6401 Richards Ave. A program about the Cassini-Huygens mission to Saturn and its moon, 7-8 p.m. Friday, Sept. 12, $5 at the door, discounts available, not suitable for children under 5, contact Juan Alvarez for more information, 505-428-1744.

Paper Puppets

Bee Hive Kids Books, 328 Montezuma Ave., 505-780-8051 A crafts workshop, 11 a.m. Saturday, Sept. 13, call for more information. ◀

Foxygen

Skylight Songwriting duo of Sam France and Jonathan Rado, with Dub Thompson, 7:30 p.m. Thursday, Sept. 25, $18, 505-988-1234, ticketssantafe.org.

Anne Phillips

MUSIC

10th Annual ShortGrass Music Festival

Kiva Cimarroncita Ranch Retreat at Ute Park, Colfax Tavern, and United Methodist Church of Cimarron Jarana Beat, 7 p.m. Friday, Sept. 19, $10; Randy McAllister, Hwy 38 Houndogs open, 7 p.m. Saturday, Sept. 20, $20, 21+; violist Matthew Lipman and pianist Yi-Fang Huang, 4 p.m. Sunday, Sept. 21, $10; 575-376-2417, shortgrassfestival.com.

¡Globalquerque!

National Hispanic Cultural Center, 1701 Second St. S.W. The 10th annual celebration of world music and culture boasts an international lineup headed by Afro-Cuban All-Stars, Beto Jamaica Rey Vallento (Colombia), Calypso Rose and Kobo Town (Trinidad and Tobago), and DVA (Czech Republic), Friday and Saturday, Sept. 19-20, $19-$69, tickets available in advance online at globalquerque.org or at the box office.

Santa Fe Music Collective jazz concerts

Museum Hill Café, 710 Camino Lejo Friday, Sept. 19, flugelhornist Dmitri Matheny; Thursday, Oct. 2, guitarist Joshua Breakstone; Friday, Oct. 17, flutist Ali Ryerson; all performances begin at 7 p.m., $25, 505-983-6820.

Santa Fe Pro Musica

The Lensic The 33rd season opens with pianist Melissa Marse joining the orchestra in a performance of Beethoven‘s Symphony No. 5 and Piano Concerto No. 3; 4 p.m. Saturday and 3 p.m. Sunday, Sept. 20-21, $10-$65, 505-988-1234, ticketssantafe.org; dinner with the pianist follows (contact SFPM box office to reserve a seat), 505-988-4640. (See Listen Up, Page 26)

Serenata of Santa Fe

First Presbyterian Church, 208 Grant Ave. Other Worlds opens the chamber music ensemble's 2014-2015 season, music of Osvaldo Golijov, Kinan Azmeh, and David Krakauer, 7:30 p.m. Saturday, Sept. 20, $30 in advance, ticketssantafe.org, 505-988-1234, student and child discounts available at the door, visit serenataofsantafe.org season schedule. (See Listen Up, Page 26)

The Jewel Box Cabaret

Armory for the Arts, 1050 Old Pecos Trail Gender-bending performances in support of the Street Homeless Animal Project, 8 p.m. Saturday, Sept. 20, $25, 505-988-1234, ticktetssantafe.org.

Hank 3

Santa Fe Sol Stage & Grill Country singer, 6 p.m. Sunday, Sept. 21, $20 in advance at holdmyticket.com.

Buckwheat Zydeco

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Stanley "Buckwheat" Dural Jr. performs in support of KSFR Radio, 7:30 p.m. Wednesday, Sept. 24, $25 in advance at brownpapertickets.com, $30 at the door.

The Met Live in HD

The Lensic Verdi's Macbeth, with soprano Anna Netrebko, 11 a.m. Saturday, Oct. 11, $22-$28, 505-988-1234, ticketssantafe.org.

Royal Ballet of Cambodia

Vanessie The jazz vocalist performs in Gonna Lay My Heart on the Line, 7 p.m. Friday, Sept. 26, a singalong of the Great American Songbook follows, $20, 505-438-8186.

The Lensic 7 p.m. Tuesday, Oct. 28, $40, discounts available, 505-988-1234, ticketssantafe.org.

Santa Fe Men's Camerata

Santa Fe Renaissance Fair

United Church of Santa Fe, 1804 Arroyo Chamiso Vive L' Amour!, choral concert, 3 p.m. Sunday, Sept. 28, $20 in advance and at the door, students under 18 no charge, 225-571-6352.

St. Lawrence String Quartet

HAPPENINGS

El Rancho de las Golondrinas, 334 Los Pinos Rd. 505-471-2261 Juggling/stilt-walking/magic troupe Clan Tynker performs amongst medieval-combat re-enactments; also, kids‘ games and food vendors, 10 a.m.-6 p.m. Saturday and Sunday, Sept. 20-21, $10, discounts available.

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Beethoven and Haydn; performed by violinists Mark Fewer and Geoff Nuttall, violist Lesley Robertson, and cellist Christopher Costanza, 3 p.m. Sunday, Oct. 5, $10-$65, 505-988-1234, ticketssantafe.org; dinner with the quartet 5:30 p.m., contact the Santa Fe Pro Musica box office to reserve seats, 505-988-4640, Ext. 1000.

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta A benefit in support of Court Appointed Special Advocates, First Judicial District; with Ivon Ulibarri & Café Mocha, 7:30 p.m. Saturday, Sept. 20, $15 at the door or online at casafirst.org, 505-820-1500.

Santa Fe Symphony

24th Annual Santa Fe Wine & Chile Fiesta

The Lensic Music of Scott Joplin; performed in support of The Friendship Club and Children First, 3 p.m. Sunday, Oct. 5, $10-$50, 505-988-1234, ticketssantafe.org.

Zakir Hussain

The Lensic Classical music of India, 7 p.m. Tuesday, Oct. 7, $20-$50, 505-988-1234, ticketssantafe.org.

Berlin Philharmonic Wind Quintet

The Lensic Music of Hindemith, Mozart, and Thuille, 4 p.m. Sunday, Oct. 12, $13.50-$100, 505-988-1234, ticketssantafe.org.

Atrium String Quartet

Great Hall, St. John's College, 1160 Camino de Cruz Blanca Russian ensemble, music of Haydn, Mendelssohn, and Shostakovich, 7:30 p.m. Friday, Oct. 24, $45, students $22.50, 505-988-1234, ticketssantafe.org.

Red-Hot Latin Dance

New to the event is the Gran Fondo bike ride to four gourmet food stations in a 45or optional 75-mile loop hosted by chefs Mark Kiffin, Kevin Nashan, Michelle Bernstein, and Matthew Accarrino; other events include tastings, luncheons, and wine seminars, Wednesday-Sunday, Sept. 24-28, tickets available online at santafewineandchile.org.

Piñon Awards and Ceremony

La Fonda An annual event recognizing contributions of local nonprofit organizations; this year's award winners are Santa Fe Public Schools Adelante program, The Food Depot, Creative Santa Fe, The Nature Conservancy, and Ruth M. Ortega and the Brindle Foundation; 6 p.m. Tuesday, Oct. 7, $35 includes dinner, 505-988-9715, santafecf.org.

Lannan Foundation: In Pursuit of Cultural Freedom

The Lensic The series continues with author Max Blumenthal, discussing his book Goliath: Life and Loathing in Greater Israel, 7 p.m. Friday, Oct. 10, a talk with Amy Goodman follows, $6, discounts available, ticketssantafe.org, 505-988-1234.

SITE Santa Fe Innovative Thinker lecture

Armory for the Arts, 1050 Old Pecos Trail Shared Authority in the Art Museum: Precedents, Process and Propositions, with Kim Kanatani, deputy director of the Solomon R. Guggenheim Foundation, 6 p.m. Friday, Oct. 10, $10, discounts available, 505-989-1199.

Mayor's Ball 2014

Santa Fe Community Convention Center, 201 W. Marcy St. Silent and live art auctions of a piece by Ramón José López, Spanish tapas dinner, and live entertainment, 6 p.m. Saturday, Oct. 11, $150, contact Ron Ruybal for tickets, 505-983-8360, ron.ruybal@bbbs.nnm.org, proceeds benefit Big Brothers Big Sisters of Northern New Mexico.

Leading by Being

The Lensic A conversation with Gloria Steinem, Alice Walker, Chung Hyun Kyung, and Aaron Stern, 7 p.m. Saturday, Oct. 11, $35 and $100, 505-988-1234, ticketssantafe.org.

The Evolution of Medicine to Integrative Medicine

The Lensic UNM Center for Life presents a lecture by Andrew Weil; 6:15 p.m. Monday, Oct. 13; $20, ticketssantafe.org, 505-988-1234.

Santa Fe Independent Film Festival

Center for Contemporary Arts, Jean Cocteau Cinema, the Lensic, and The Screen The sixth annual festival begins on Wednesday, Oct. 15 and closes on Sunday, Oct. 19, early-bird passes $200, 505-988-1234, ticketssantafe.org.

Tinariwen

Skylight Tuareg-Berber musicians, 7:30 p.m. Monday, Nov. 3, $30 and $47, holdmyticket.com.

THEATER/DANCE

A Place to Stand

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Theaterwork's 19th season opens Thursday, Sept. 25, with numerous events held in conjunction with the premiere of the film based on the life of local poet Jimmy Santiago Baca A Place to Stand; including poetry readings, performances by Wise Fool New Mexico and Bel Canto, a public conversation, and an exhibit, call 505-471-1799 for reservations, visit theaterwork.org for details.

Outside Mullingar

The Lensic Fusion Theatre Company presents a play by John Patrick Shanley, 7:30 p.m. Saturday, Sept. 27, $20-$40, 505-988-1234, ticketssantafe.org.

National Acrobats of China

The Lensic 7 p.m. Wednesday, Oct. 1, $15-$45, 505-988-1234, ticketssantafe.org.

¡Globerquerque! headliners the Afro-Cuban All-Stars perform September 19 at the National Hispanic Cultural Center in Albuquerque.

PASATIEMPOMAGAZINE.COM

Oct. 12 • Water Over Mountain, Channing Huser‘s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; open daily through Oct. 7.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Syncretism, photographs by Delilah Montoya; Cameraless, group show of photograms; The Photo Lab, mixed-media photographs from the museum collection; Alcove Shows 1917-1927, works from the museum collection; through Dec. 7 • Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Oct. 12 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum‘s collection, through 2015; nmartmuseum.org; open daily through Oct. 7.

Pablita Velarde Museum of Indian Women in the Arts

213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4, 2015. Closed Mondays; pvmiwa.org. Peyton Wright Gallery shows paintings by Herbert Bayer, 237 E. Palace Ave.

AT THE GALLERIES

MUSEUMS & ART SPACES

of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors including Houser‘s sons Bob Haozous and Philip Mangas Haozous, plus Doug Hyde, Estella Loretto, and Robert Shorty; through May 2015 • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum‘s collection of jewelry, long term • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection; open daily; indianartsandculture.org.

Santa Fe

Museum of International Folk Art

El Zaguan

545 Canyon Rd. Historic photographs of Fiesta scenes from the School for Advanced Research collection; oil painting by Rush Cole, through September.

Peyton Wright Gallery

237 E. Palace Ave., 505-989-9888 Herbert Bayer: Bauhaus Master, paintings, works on paper, and sculpture, through Sept. 29.

Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 New Perspectives, installation by sculptor Chuck Ginnever (Muñoz Waxman Gallery); Messages From the Wounded Healers, paintings by Sam Scott (Spector Ripps Project Space); through Nov. 2. Open Thursdays-Sundays; ccasantafe.org.

Georgia O‘Keeffe Museum

217 Johnson St., 505-946-1000 Georgia O‘Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Wednesday, Sept. 17; okeeffemuseum.org; Open daily.

Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 Rattlebone, paintings and prints by Ric Gendron; The Desert Never Left "The City," work by painter Mario Martinez; Saligaaw (it is loud-voiced), mixed media by Da-ka-xeen Mehner; Breach: Log 14, video installation by Courtney M. Leonard; exhibits run through December • looping screenings of the documentary Bert & Wei Wei: TIME 2014 by Daniel Hyde and Blackhorse Lowe through Oct. 16; iaia.edu/museum; closed Tuesdays.

Museum of Indian Arts & Culture

710 Camino Lejo, Museum Hill, 505-476-1250 Footprints: The Inspiration and Influence

PASATIEMPO I September 12-18, 2014

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, exhibit on immigration • Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • Brasil and Arte popular, items from the museum's collection, through Jan. 4 • Multiple Visions: A Common Bond, international collection of toys and folk art. Open daily; internationalfolkart.org.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation; spanishcolonial.org; closed Mondays.

New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29, 2015 • Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through

Poeh Cultural Center and Museum

78 Cities of Gold Rd., 505-455-3334 The P‘osuwäegeh Ówingeh Story: Scarcity & Abundance, contemporary pottery, sculpture, and jewelry, through Nov. 14 • The Kee …, 2-D and 3-D video installation by Ehren Kee Natay, through Nov. 14 • Nah Poeh Meng, 1,600-squarefoot installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; closed Saturdays and Sundays. Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; roxanneswentzell.net; closed Sundays.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary works, through Jan. 11. Open Thursdays-Sundays; sitesantafe.org.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits include contemporary and historic Native American art. Open daily; wheelwright.org.

for the following shows David Maisel/Black Maps: American Landscape and the Apocalyptic Sublime, photographs by Maisel; Beautiful Disintegrating Obstinate Horror Drawing and Other Recent Acquisitions and Selections From the UNM Art Museum's Permanent Collection; The Gift, woodcut prints by John Tatschl (1906-1982). Open TuesdaySaturday; unmartmuseum.org.

Española Bond House Museum and Misión Museum y Convento

706 Bond St., 505-747-8535 The Second Farm Show, group show, opening reception 5-7 p.m. Friday, Sept. 12, through October. Historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; plazadeespanola.com.

La Hacienda de los Martinez

708 Hacienda Way, 575-758-1000 One of the few Northern New Mexico-style, Spanish colonial “great houses” remaining in the American Southwest. Built in 1804 by Severino Martinez; taoshistoricmuseums.org; open daily.

Los Alamos Bradbury Science Museum

1350 Central Ave., 505-667-4444 Environmental Research and Monitoring, an interactive exhibit covering research projects on how to preserve archaeological sites, local wildlife, and fragile ecosystems; opening reception 4-7 p.m. Wednesday, Sept. 17. Core exhibits on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum.

Los Alamos Historical Museum

1050 Bathtub Row, 505-662-4493 Tradition and Change in Córdova, New Mexico: The 1939 Photographs of Berlyn Brixner & the López Family of Wood Carvers, opening reception 5-7 p.m. Friday, Sept. 12. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.

Pajarito Environmental Education Center

3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians; also, butterfly and xeric gardens. Closed Sundays and Mondays; pajaritoeec.org.

Pecos Pecos National Historic Park

Albuquerque

NM 63, 505-757-7241 Exhibits portraying the history of the Pecos Valley; including ruins, traces of the Santa Fe Trail, and artifacts from the Civil War Battle of Glorieta Pass. Open daily, nps.gov/pecos.

Albuquerque Museum of Art & History

Taos

2000 Mountain Rd. N.W., 505-243-7255 Everybody‘s Neighbor: Vivian Vance, family memorabilia and the museum‘s photo archives of the former Albuquerque resident, through January • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/cultural services/albuquerque-museum.

Indian Pueblo Cultural Center

2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos. Indianpueblo.org.

UNM Art Museum

1 University of New Mexico, 505-277-4001 Friday, Sept. 12 opening reception 6-8 p.m.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, and Albert Lujan, paintings, opening Saturday, Sept. 13, through January • Fred Harvey and the Making of the American West, objects drawn from the Harvey family, through January. Historical collections of Native American jewelry and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Open daily through October; millicentrogers.org.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Intimate and International: The Art of Nicolai Fechin, paintings and drawings, through Sept. 21. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Closed Mondays; taosartmuseum.org.

The 200th Coast Artillery during Governor’s Day ceremonies at Camp Luna, near Las Vegas, New Mexico, August 1940 Jean Cocteau Cinema Gallery, 418 Montezuma Ave., 505-466-5528 Before Bataan: New Mexico’s 200th Coast Artillery is an exhibition of rare photographs by unidentified photographers that show soldiers with the 200th Coast Artillery training in New Mexico before their deployment to the Philippines. Many lost their lives in the 1942 Bataan Death March, a forced transfer of Filipino and American prisoners of war under the Japanese army during World War II. The show opens Tuesday, Sept. 16. There is no reception. (Photo courtesy Palace of the Governors Photo Archives, New Mexico Tourism Bureau, HP.2007.20.336.)

Roger Williams: Alamo 2014, oil on canvas Joe Wade Fine Art, 102 E. Water St. 505-988-2727 The impressionist paintings of Roger Williams capture the beauty of the Southwest’s idyllic landscapes and traditional scenes of life in Native American pueblos and old Hispanic villages. Moments in Time, an exhibit of his work, opens with a 5 p.m. reception on Friday, Sept. 12.

Patricia Pearce: Accordion Book 1 2014, mixed media Red Dot Gallery, 826 Canyon Road, 505-820-7338 Red Dot’s Faculty Art Exhibition is a selection of works from faculty members of the Santa Fe University of Art and Design and Santa Fe Community College. The show includes a variety of media such as book art, ceramics, sculpture, and photography by artists Diane Armitage, Noel Aronov, Clark Baughan, Jack Slentz, Will Wilson, and more. The reception is Friday, Sept. 12, at 4:30 p.m. The gallery is open from 11 a.m. to 5 p.m. Fridays through Sundays only. Margaret Denney: There Goes the Neighborhood 1950-2050 (detail) 2014, mixed media

Wheelhouse Art Gallery, 418 Montezuma Ave., 505-919-9553 Here and Now, Now and Then, an exhibition of works by Margaret Denney, continues at Wheelhouse Art Gallery. Denny’s art is a commentary on consumer culture, mass production, the growing class divide, race, and gender in a series of mixed-media installations. The show is on view through Sept. 23.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N Irving Greines: Untitled 2014, archival pigment ink print Verve Gallery of Photography 219 E. Marcy St., 505-982-5009 The works of photographers Irving Greines and Ysabel LeMay portray the beauty of natural and manmade environments using distinctly different techniques. Greines’ Portraits, a subset of his series Urban Wilderness — Chaos Transformed, capture images of urban decay that celebrate the beauty of the inner city. LeMay’s photographic montages, on view in the exhibit Gracia, are equally celebratory images of nature and light. The shows open concurrently at Verve on Friday, Sept. 12. The reception is Sept. 19 at 5 p.m. A free gallery talk with the photographers takes place at the gallery on Saturday, Sept. 20, at 2 p.m. PASATIEMPOMAGAZINE.COM

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