San Antonio Current – October 3, 2018

Up Close

and Kinda

Personal Some of Juliån Castro’s forthcoming memoir might surprise you

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CURRENT | October 3-9, 2018 | sacurrent.com

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11 Feature

Up Close and Kinda Personal

Julián Castro’s memoir, An Unlikely Journey, is out October 16. Parts of it might surprise you.

50 Etc

Savage Love, Crossword Puzzle, Astrology, This Modern World

BY G R E G J E F F E R SO N

07 News

Penny Pinching

VIA gets half the financial support of Texas’ other big-city metros — and that won’t cut it much longer

Holding Down the Forts

A federal program that protects SA’s missions and other parks is dying because Congress won’t act

14 Calendar

Our top picks for the week

22 Arts

Enduring Diva

The San Antonio community celebrates local flamenco legend Teresa Champion

Stations of the Border Cross

Self-discovery and smoldering epiphanies in Octavio Solis’ memoir Retablos

31 Screens On Pitch

A Star Is Born follows a familiar template but the music and romance hit some emotional high notes

Ghost Writer

Colette provides an empowering and timely message but lacks support for its title character

33 Food

The Big Spoon

Luby’s is worth saving, but can we?

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There’s a lot to love about Singhs’ tiny menu

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43 Music

Demitasse to Release New Album Powercouple

Music Top Picks

More than a few San Antonians know the hardscrabble story of former Mayor and HUD Sect.

Julián Castro. While his memoir, An Unlikely Journey, provides a few new details, it probably won’t help you answer the big question – should Castro be the next president of the United States?

Illustration by: Jeremiah Teutsch Art direction by: Carlos Aguilar sacurrent.com | October 3-9, 2018 | CURRENT

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news

Penny Pinching

VIA gets half the financial support of Texas’ other bigcity metros — and that won’t cut it much longer

BY SANFORD NOWLIN

T

hings are really moving at VIA. San Antonio’s metropolitan transit authority plans to create highspeed transit corridors to relieve congestion and speed up rides. It’s already purchased lower-emitting buses and slashed the waits on many routes.

On top of that, the nonprofit ConnectSA, created this year by Mayor Ron Nirenberg and Bexar County Judge Nelson Wolff, is mulling ways to create a modern, multi-modal transportation system in which VIA would be a key player.

But all of that may stall if city leaders can’t boost funding for VIA, which lags that of Texas’ other big cities. And not just by a little.

“I think you’re going to see a lot of energized conversation around transportation after November,” said Councilman Rey Saldana, referring to the midterm elections, which have city leaders fending off three punitive ballot measures from the fire union.

“When you lay out all the cards, I think people will agree that we’ve been ignoring VIA for too long, ignoring the hardworking blue-collar people who rely on it.”

While city and VIA officials say there’s no set route for boosting the agency’s funding, that’s bound to be a key part of the plan ConnectSA unveils next year. Nirenberg has said it could come before voters as soon as May or November in 2019.

“All potential funding sources are on the table for review,” Nirenberg told the Current.

Adding It All Up Getting to the root of VIA’s current funding limitations requires a little math. Don’t worry, we’ll make this as painless as possible.

Most of VIA’s funding comes from a halfcent sales tax. That stands in sharp contrast to the full cent of sales tax that funds public transportation in Texas’ three other biggest cities. As a result, VIA’s 2016 calendar-year budget of $170.7 million was anemic compared to Dallas’ DART, which got $546.22 million and Houston’s METRO, which received $514.36 million. Even Austin’s smaller Capital Metro pulled in $222.35 million.

Over time, those discrepancies add up.

Over 20 years, the cumulative effect is that DART has received $5 billion more than VIA. Imagine how much worse that will get if San Antonio gains a million new residents

by 2040. Part of ConnectSA’s charge for revamping public transit is to keep that new growth from turning the Alamo City into Gridlock Hell.

So, why not just up sales tax collections by a half penny and throw it VIA’s way?

The solution’s not that simple. Under state law, municipalities can only impose up to 2 cents of sales tax. At present, San Antonio is at that limit.

Selling the Shuffle As a result, ConnectSA will need to consider some non-traditional funding ideas and weigh how to reshuffle the money already collected through local sales taxes, said Jeffrey Arndt, VIA’s president and CEO. “I have every confidence in ConnectSA and the emphasis the mayor and judge have on putting together a comprehensive transportation plan,” he said.

While state and local funds could be part of that mix, those often rely on local matches, Arndt said, so there’s not much way for San Antonio to avoid footing the bill.

One option is to shake up the usage of Advanced Transportation District dollars, which are derived from local sales tax. Currently,

ATD funds are split between VIA, the city of San Antonio and Bexar County, but the city and county could boost the metro’s funding by cutting theirs.

Another might be a fee assessed to utility bills, such as the Transportation User’s Fee which the City of Austin uses to pay for street maintenance and repair.

But even those may not be enough.

Other potential sources include the 1/8 cent of sales tax currently funding Pre-K for SA, and another 1/8 cent that lets the city buy land to limit development over the Edwards Aquifer. Theoretically, both programs could be paid for other ways, freeing up more sales tax for VIA. Of course, either of those solutions would require serious, perhaps contentious, discussions with program supporters – and, in Pre-K 4 SA’s case, convincing voters that more VIA funding won’t diminish a popular program.

Meredith McGuire, a committee co-chair for the local Sierra Club chapter, said she welcomes efforts by VIA to modernize its system and curtail emissions, but not at the expense of protecting the aquifer.

“In many respects, we need money for both,” she said.

And that’s the challenge as San Antonio girds for more growth — it doesn’t come cheap.

Find more newsmore coverage Find news every day at sacurrent.com

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CURRENT | October 3-9, 2018 | sacurrent.com

news program. But the indifference of the Senate’s and the House’s Republican leaders is essentially allowing the program to die on the vine.

“There really is no reason not to bring this up and get it voted on, especially since the Senate was in two and a half weeks in the month of August,” Montana’s Democratic Senator Jon Tester said during a recent press call on the LWCF. “We had plenty of time to do it. It’s got to be a priority of the majority leader in the United States Senate and the Speaker of the House.”

That ambivalence — or perhaps outright hostility — is shared by the White House.

In its proposed fiscal 2019 budget, the Trump administration provided no funding for federal agencies such as the National Park Service and Bureau of Land Management to purchase lands for conservation. The budget even calls for rescinding $42 million of already appropriated but unspent LWCF money.

“Allowing this vital program to expire will not only put conservation on the line but will also undermine the significant economic contributions of the growing outdoor recreation economy,” U.S. Rep. Jared Huffman, D-Calif., said in recent press statement.

Holding Down the Forts

A federal program that protects SA’s missions and other parks is dying because Congress won’t act SANFORD NOWLIN

A

53-year-old federal program that’s poured millions of dollars into protecting cherished South Texas landmarks including the San Antonio Missions National Historic Park and Padre Islands National Seashore is in danger of disappearing.

Congress had until Sunday to reauthorize the Land and Water Conservation Fund, and as of press time had failed to do so. Although the LWCF has long benefitted from support on both sides of the aisle, environmental groups worry it may have plummeted into the partisan divide.

“The threat is significant,” said Chloe Lieberknecht, director of policy, cities and climate for the Nature

Conservancy’s Texas chapter. “We’ve been able to access that money to really good effect, but the danger is that we won’t have these funds available to our parklands in the future.”

Texas alone has received $577 million in LWCF funds, placing future projects in the state in jeopardy. In addition to the Missions and Padre, money has funded protections and improvements at the Big Thicket National Preserve, the Lower Rio Grande national wildlife refuges and the Balcones Canyonlands.

Since its creation, LWCF has helped pay for 40,000 projects affecting communities in every state. Those include anything from easements allowing access to public lands to

purchases that stave off encroaching development. It’s also helped cities create outdoor recreational spaces such as community parks and pools.

LWCF doesn’t draw on taxpayer dollars. Instead, it’s funded by collecting a small portion of revenues from offshore oil and gas royalty payments.

Congress has discretion to appropriate up to $900 million a year for the fund but has done that only twice.

Without the reauthorization, the oil and gas drilling revenues that funded it will be diverted into the Treasury’s general fund.

Partisan Times The LWCF’s stymied reauthorization isn’t from lack of support. For example, both of Montana’s senators — one Republican and one Democrat — last week separately spoke out in favor of reauthorizing the program.

The op-ed pages of papers in Mountain states have been full of pieces by lawmakers urging support for the

Not Just Hugging Trees It might be tempting to write off the LWCF’s possible disappearance as another tussle between environmentalists and fiscal conservatives, but advocates point out that investment in park lands has an economic benefit.

Last week, more than 280 outdoor-associated businesses joined the Conservation Alliance and Outdoor Industry Association in firing off a letter to Congress asking it to permanently reauthorize the fund.

Outdoor recreation activities contribute $52.6 billion annually to Texas’ economy, according to the Outdoor Industry Association. What’s more, it supports 411,000 jobs across the state. The U.S. Census estimates that hunting, fishing and wildlife-watching contribute $9.2 billion to the state’s economy.

“Outdoor recreation in general is a big driver for Texas,” Nature Conservancy’s Lieberknecht said. “The program has a real impact on the economy, on wages and the taxes we’re collecting.” sacurrent.com | October 3-9, 2018 | CURRENT

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news

Up Close and Kinda Personal

Julián Castro’s memoir, An Unlikely Journey, is out October 16. Parts of it might surprise you.

BY GREG JEFFERSON

hellraising leader of the Committee for Barrio Betterment who had the guts to challenge the Good Government League as part of a Chicano slate for city council in 1971?

Yup. Her activism, including her organizing muscle, is key to understanding her sons’ politics and the acumen that made them household names here.

She raised the twins as a single mother.

I know.

Driven by Rosie to succeed academically, they graduated from Jefferson High School a year early and earned spots at Stanford and then Harvard Law. Uh huh.

Castro decided to run in District 7 when he was still in law school.

I KNOW. So I’ll admit to being a little wary when I picked up an advance copy of Castro’s memoir, An Unlikely Journey, which is out October 16. Castro has always been a cautious and calculating politician, sensitive to how he’s perceived. And more than anything else, this slender book – it’s all of 225 pages, maybe because he’s all of 44 years old – is his vehicle for defining himself and his story for a national audience ahead of the 2020 presidential election. In other words, I expected no new revelations about growing up on the West Side or his climb in San Antonio or national politics.

I was wrong… ish.

Coloring Inside the Lines The familiar outline of Castro’s life is there as well as the altar-boy-cum-meritocrat notes he likes to strike, often with a sledgehammer. But he adds texture to the story many San Antonians are already familiar with.

He writes about his Mamo, for example, as a woman stunted in some ways because she was pulled from school in the third grade – though she taught herself to read and write in Spanish and English – and lived in a household so strict she couldn’t date until she was 32. Finally allowed out, she began seeing an 18-year-old and became pregnant in almost no time.

The boy took off, and she eventually delivered Rosie. “[She] was a constant in our lives, always making us delicious meals and telling us Mexican fairy tales about misbehaving kids being eaten. She also drank 40-ounce beers, escorted my brother and me 13 6

J

ournalists from national and international news outlets started crowding into City Hall around 2011, late in Julián Castro’s first term as mayor and the start of his second. They wanted to interview this diminutive, low-key overachiever because he was one of the fastest-rising stars in the Democratic Party, the young pol upon whom President Barack Obama smiled.

Off to the side were those of us who’d watched his methodical, grassroots campaign for District 7 council seat in 2001, his leadership in fighting the PGA Village, his bitter loss to Phil Hardberger in 2005 and his political resurrection four years later. By 2011, we 10

CURRENT | October 3-9, 2018 | sacurrent.com

Jeremiah Teutsch

knew his and twin brother Joaquin’s life story so well it might as well have been tattooed on our forearms.

Still, we measured the visiting reporters’ work against what we already knew.

Did you know Mamo, Castro’s grandmother, crossed the border at Eagle Pass with her sister in 1922? And that Mamo, an orphan, was denied a formal education and grew up to clean houses across San Antonio?

Yes, I’d first heard that a couple of elections ago.

Powerful stuff. That’s how the family stories of many San Antonians start.

Did you know his mother, Rosie Castro, was a

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to see Friday the 13th when we were 10, had a child out of wedlock with a man almost half her age, suffered from depression and diabetes, made the best fideo I ever ate in my life … and once tried to kill herself.”

Castro’s mother also takes on more human dimensions than we’ve seen before.

Smart and strong-willed, she strained against her Catholic school education and the suffocating discipline of her mother’s family, which clouded the adult Rosie’s relationship with her mom. She sometimes had to tag along – they traveled everywhere by bus – when Mamo cleaned houses on the North Side, witnessing her bad treatment by some employers.

Others were condescending. At one job, Rosie was sent out back to remove ticks from the family cocker spaniel; she responded by throwing rocks at cars parked on the street.

Here’s what Castro wrote about the incident: “As a young girl, Mom’s frustration at the difference between her world and the one inhabited by the employers was understandable. The rock throwing, though, was something different. The people who owned the house Mamo was cleaning, and those who owned the cars, likely were not bad people, but to my mom, as a little girl, the contrast couldn’t have been more stark. I hope she had really bad aim that day, but something tells me she was pretty focused.”

The passage says as much about the son as it does the mother. Castro’s evenhandedness would’ve been hard to justify if Latinos hadn’t wielded at least a little more political and economic power in the San Antonio he and Joaquin grew up in than in their mother’s day. That they were better off stems partly from the work of Rosie and her generation of activists. It’s also the observation of a seasoned politician who’s had to campaign for the housecleaner’s vote and the employer’s vote, and who’s had to make compromises to win them both.

An Unlikely Journey fills in some of the gaps in what we know about Rosie’s relentless organizing and her struggle to earn her master’s degree and keep her

Public Image Ltd. The instinct that brought the news herd to San Antonio early in Castro’s run as mayor – that this guy would soon break into the national spotlight – was right on. Obama literally gave him a national stage when he blessed Castro with the keynote speaker’s slot at the 2012 Democratic National Convention. Nearly two years later, Obama appointed him to head up the Department of Housing and Urban Development, giving him the Washington experience he would need if called on to serve as, say, the Democrats’ vice presidential candidate.

(Hillary Clinton put Castro on the list in 2016 but didn’t call on him.)

Now he’s traveling regularly to early presidential-primary states and dropping not-so-subtle hints about running for president in 2020. It’s in that light that An Unlikely Journey will, and should be, read – as an early campaign document – though when he started writing the book, Castro probably didn’t see himself in the near future as anything grander than Clinton’s 2016 running mate.

Wikimedia Commons The second half of the book takes readers through family above the poverty line; her relationship with his years at Stanford and Harvard Law and his fast Jesse Guzman, a public-school teacher and married climb in local and national politics. Disappointingfather of five with whom she conceived the twins; and ly, this stretch skimps on new details and insights. her determination to give her sons the free-wheeling Castro is more interested in establishing his personal intellectual environment, with lots of questioning and narrative with voters than shedding light on how he arguments, that she would have loved as a kid. She was wielded power and moved public opinion to accoma nurturing mother, and also fallible. plish what he did in San Antonio and to Castro didn’t gloss over her bouts of position himself for national politics. heavy drinking, which ended after GuzWith less to hold readers’ interest, man moved out and the family moved one begins to pay more attention to to a new neighborhood, or the fact that Castro’s habit of writing about his life as she was a smoker. though it’s played out in a series of neat The Castros – including Mamo, who lessons. Every couple of pages, he stops lived with Rosie and the boys – reflected the action to spell out what he learned the challenges that a lot of working-class from whatever action he’s just described. families face, from the pressure to pay There’s a moral to just about every story. the bills and put food on the table to The book also offers up a couple of having no choice but to rely on buses unintended ironies, including Castro’s to get around town. Excessive drinking embrace of the nonpartisanship of and smoking are pretty common ways city elections when he first ran for the to cope.

District 7 council seat in 2001. “When I But Julián and Joaquin, a congressshowed up at someone’s doorstep, that man, neither drink nor smoke. They voter could consider my candidacy like structure and aren’t prone to without the bias that party affiliation An Unlikely Journey edgy identity politics or class warfare. brings,” wrote the politician who did They meticulously cultivate reporters more than any other San Antonio Julián Castro and editors to influence how they’re mayor to plunge the office into party 225 pages covered in the media; they want to be politics. Remember, for example, that $28 seen as immaculately clean – in their DNC speech and how it went over ethics and their motivations – as one of with local Republicans?

Little, Brown and Co. Julián’s white dress shirts. While it may But despite its shortcomings, An Unseem paradoxical, their M.O. largely likely Journey is worth reading for what comes down to their mother and her it says about Castro’s and his brother’s laser-focus on their education and the discipline they early development and, more importantly for local would need to thrive in SAISD and two of the country’s readers, San Antonio’s transition to a more politically most elite schools. open and diverse city.

Ever wonder where Pre-K for SA, the city’s sales Will many readers outside of Texas take notice? tax-funded program for preschoolers and Castro’s We’ll see in a couple of weeks, but my guess is that if biggest achievement as mayor, came from? Look no Castro is the Democrats’ presidential nominee in 2020, further than Rosie. it won’t be on the strength of An Unlikely Journey. sacurrent.com | October 3-9, 2018 | CURRENT

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THU | 10/4 - TUE | 10/9

THU | 10/4 - FRI | 10/5 ART

FALL EXHIBITIONS AT BLUE STAR CONTEMPORARY

ART

‘POP AMÉRICA, 1965-1975’

Marisol Escobar

Whether your knowledge of Pop art stalls somewhere between Roy Lichtenstein’s comic-strip-inspired parodies and Andy Warhol’s Campbell’s Soup Cans or encompasses territory populated by the flags of Jasper Johns, the supersized sculptures of Claes Oldenburg and the text-reliant work of Robert Indiana, chances are it doesn’t extend beyond the boundaries of the United States — save for maybe British icon Sir David Hockney, who has been a presence in California since 1964. Billed as “the first exhibition with a hemispheric vision of Pop art,” the McNay’s “Pop América, 1965-1975” sets out to challenge those limitations by proving that the movement swept through Mexico, Puerto Rico, Brazil, Chile, Peru, Colombia, Cuba and Argentina. A collaboration between the McNay and Duke University’s Nasher Museum of Art, the exhibition combines roughly 100 artworks — created by both icons of the genre and “consistently overlooked” Latin-American artists such as Jorge de la Vega, Hugo Rivera-Scott, Judith Baca, Elena Serrano, Luis Cruz Azaceta and Marisol Escobar — in a showcase addressing “social protest, justice movements and debates about freedom.” Curated by Duke University’s Esther Gabara and made possible by the first-ever Sotheby’s Prize, which supports projects that explore underrepresented aspects of art history, “Pop América” is set to travel to the Nasher as well as Northwestern University’s Block Museum after it departs the McNay in January 2019. $10-$20, 10am9pm Thu, 10am-6pm Fri, 10am-5pm Sat, noon-5pm Sun (through Jan. 13), McNay Art Museum, 6000 N. New Braunfels Ave., (210) 824-5368, mcnayart.org. — Bryan Rindfuss

14 CURRENT | October 3-9, 2018 | sacurrent.com

Butterflies, braceros, and Berlin are but three of the factors that creatively coalesce in a quartet of fall exhibitions at Blue Star Contemporary (BSC). Organized by San Antonio-born curator Risa Puleo and first presented at Omaha’s Bemis Center for Contemporary Art, the sprawling group show “Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly” brings together a diverse assortment of works (from found-object assemblages to repurposed quilts) created by 38 individuals, including locally familiar names such as Margarita Cabrera, Jose Villalobos, Sarah Castillo, Joe Harjo and Mark Menjivar. Split between BSC and the Southwest School of Art, “Monarchs” takes a metaphorical approach to its namesake butterfly, referencing its migratory path alongside divisive contemporary issues like the looming threats of a U.S.-Mexico border wall and the Dakota Access Pipeline. Both alums of BSC’s Berlin Residency at Künstlerhaus Bethanian, Texas artists Jesse Amado and Adriana Corral are no strangers to the San Antonio art world and have another resume notch in common via Artpace’s International Artist-in-Residence program. With “Gesamtkunstwerk” (a German term for “a work of art that synthesizes many different modes, things, ideas, images and styles”), San Antonio-based Amado opens a window into his Berlin experiences in the form of a symbolic tableau inspired by Dutch Renaissance paintings. Known for arresting, research-based installations exploring

William Cordova

heavy subject matter (including human rights violations, border violence and “erased historical narratives”), Houston-based Corral created “Unearthed: Desenterrado” as part of the far-reaching collaboration “For Freedoms: 50 State Initiative.” Now installed on BSC’s roof, the conceptual billboard depicts a white flag embroidered with a Mexican gold eagle and an American bald eagle “with claws engaged” — a direct reference to the troubling role the border town of Socorro, Texas, and its Rio Vista Farm played in the Bracero Program that brought millions of Mexican workers into the U.S. between 1942 and 1964. Guest-curated by former San Antonio resident David Rubin, “Color of Confusion” combines three “community-oriented, socially engaged” videos (Alamo, Skintone and Color) that French artist Sylvie Blocher created with a focus on “themes relevant to the people of San Antonio.” In addition to opening receptions on First Thursday and Friday, BSC’s fall offerings pack in a number of public programs, including a “Community Engagement: The Intersection of Art and Activism” panel discussion between Blocher, Rubin, Dr. Ellen Riojas Clark and Rolando Briseño (1-3pm Sat, Oct. 6), a “For Freedoms: 50 State Initiative” Town Hall discussion with Corral and guests (1-3pm Sat, Oct. 20) and a Monarchs Program led by members of the American Indians in Texas at the Spanish Colonial Missions (6-8pm Wed, Nov. 28). Free, opening receptions 7-10pm Thu-Fri, on view 10am8pm Thu-Fri, 10am-6pm Sat-Sun through Jan. 6, 2019, Blue Star Contemporary, 116 Blue Star, (210) 227-6960, bluestarcontemporary.org. — BR

calendar

THU | 10/4 ART

‘GREATER THAN 40’

Like every other facet of our society, the art world has historically paid a disproportionate amount of attention to men and, secondarily, to younger women.

Brought to you by Negative Space, the new curatorial venture from Sarah Fisch and Ann Enzminger, Brick will host a one-day pop-up exhibit that shines the spotlight solely on women artists beyond the age of 40. Conceived as a defiant retort to “the ubiquitous ‘40 Artists Under 40’ lists,” the pop-up, Negative Space’s first, challenges the assumption that to make something new and wonderful you have to be young.

In the press release, Fisch said, “I could sit around and complain about not seeing enough representation of us, or I could put my energy towards asking female artists I knew if they’d be interested in showing together.” While 20 artists, all absolutely worth checking out, are participating in this show, we are especially looking forward to seeing what’s new from Anel Flores, Paula Owen, Anne Wallace, Kimberly Aubuchon, Danielle Cunningham, Marcy McChesney, Cathy Cunningham-Little and Margaret Craig. Free, 7-11pm, Brick at Blue Star, 108 Blue Star, (210) 262-8653, brickatbluestar.com. — James Courtney

9.75"

Marcy McChesney

Events JONATHAN & DREW SCOTT Photo Op / Book Signing

Sunday, October 7th, 11am 18030 Highway 281 North, San Antonio (210) 490-0411 This debut picture book from the Property Brothers follows young Drew and Jonathan as they build their biggest project yet—and learn that DIY isn’t always easy.

Get more info and get to know your favorite writers at BN.COM/events. All events subject to change, so please contact the store to confirm.

sacurrent.com | October 3-9, 2018 | CURRENT BN JOB: 18M487

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CLOSE DATE: 9/27/18

RUN DATE: 10/3/18

SIZE: 9.75” X 5.26”

TODAY’S DATE: 9/26/18

CHARACTER COUNT: 160

TOTAL NUMBER OF AUTHORS: 1

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Sign up for ExcluSivE prESalES & announcEmEntS! tExt maJESticE-

OCTOBER 25 MAJESTIC THEATRE

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FRI | 10/5 ART

‘UNDER PRESSURE’ & ‘LABOR OF LOVE’

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‘YOU’RE DOING AMAZING, SWEET TEA’

Like that feeling you get on an 8:45pm trip to Bill Miller that nets you some unexpected (and glorious) extra goodies, this new exhibit serves up the kind of joy that only San Antonians can fully appreciate. This whimsical exhibit, at least in part inspired by homesick visions/daydreams of San Antonio charm, collects all new work by LA-based, SAborn artists Ambar Navarro and Brittney Scott. Photographs, miniature artifacts, acrylic paintings, and much Brittney Scott more all coalesce around (largely) fond memories of the artists’ shared hometown. The press release lays out the vibe well: “A palette of warm primaries and playful neutrals is kissed with ultra-specifics like armadillos, BBQ and Lubyʼs Cafeteria.” If, like us, you find yourself only falling deeper and deeper in love with all things San Antonio with the passage of time, then this is an exhibit you’ll want to make time to see. Free, 6-10pm Thu-Fri, FL!GHT Gallery, 112R Blue Star, (210) 872-2586, facebook.com/flightsa. — JC

COMEDY

PAULY SHORE

Hey, bu-ddy. Best known for his lowbrow comedies in the 1990s like Encino Man, Son in Law and Bio-Dome, actor and comedian Pauly Shore has been focused more on his standup career in recent years. It makes perfect sense since his mother Mitzi Shore, who passed away this past April at the age of 87, was the owner and co-founder of Los Angeles’ legendary Comedy Store, a comedy club that fostered upand-coming stand-ups of the era, including Robin Williams, Richard Pryor and Jim Carrey. Shore, who created the alter ego known as “The Weasel,” was mentored in his early years by late stand-up Sam Kinison. Along with some early success in Hollywood, he landed a gig as an MTV VJ and hosted his own show Totally Pauly. Earlier this year, Shore made a cameo as himself in the first season of the Freeform (formerly ABC Family) comedy series Alone Together. Now 50, Shore, who hosts his own podcast Pauly Shore’s Random Rants, admits he’s not “wheezin’ the juice anymore,” he’s “wheezin’ the prune juice!” $22.50, 8pm & 10:15pm Fri-Sat, 8pm Sun, Laugh Out Loud Comedy Club, 618 NW Loop 410, (210) 5418805, lolsanantonio.com. – Kiko Martinez

October at Southtown favorite Presa House sees the blending of works by San Antonio’s own Joe De La Cruz and Corpus Christi-based Ashley Thomas — two like-minded artists who were admittedly “unfamiliar with each other’s work” but smartly paired by the homey gallery based on “undeniable similarities in style, content and execution.” A steadfast presence on the local gallery scene who’s also shown at the McNay Art Museum and worked as an independent art handler since 2012, De La Cruz Joe De La Cruz spins melancholy magic with his stark and nearly photo-realistic graphite renderings that celebrate everyday objects ranging from 1990s-era band T-shirts to vinyl LPs and veladoras. His new body of work “Under Pressure” comprises drawings designed to serve as “nostalgic eulogies of practical relics, and iconic indicators of identity and culture just before the inception of the digital age.” Similarly inspired by her South Texas upbringing in the ’80s and ’90s as well as the poetics of “overlooked and often under-appreciated details,” Thomas — who has exhibited in art meccas ranging from Brooklyn to Marfa — also employs graphite to celebrate and reframe seemingly mundane subjects. Nodding to the visual hallmarks of artistic and domestic work along with Presa House’s past life as a residence, her “Labor of Love” combines drawings of unsung staples, household wares and tools of the trade. Free, opening reception 6-11pm Fri, on view by appointment through Oct. 27, Presa House Gallery, 725 S. Presa St., (210) 913-5842, presahouse.com. — BR

FRI | 10/5 - SUN | 10/7

Courtesy of Pauly Shore

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Nathan Felix

Interrupt” takes shape in a “playful, dark, engaging and alarming” series of “humanoid sculptures” and “participatory objects” rendered in PVC, wood, acoustic foam and parachute cords.

Free, opening reception 6-10pm Sat, on view 3-7pm Thu-Sat through Nov. 24, Sala Diaz, 517 Stieren St., (972) 900-0047, saladiazart.org. — BR Jimmy James Canales

SAT | 10/6 ART

‘RECEIVING INTERRUPT’

You can safely expect the unexpected from local artist Jimmy James Canales, who often creates works that blur boundaries between performance, sculpture, costumery and bodily rituals. As we reminded readers last October, Canales once had his knuckles tattooed in front of an audience at the McNay; moved into UTSA’s Satellite Space for a period of three weeks; turned Artpace’s Main Avenue windows into a stage for a series of exploits, experiments and performances; and left memorable impressions with public appearances as would-be urban legends covered in foliage (Monte Man) and raccoon tails (Mapache Man). Last October, Canales hit a high note with “Para Chrome,” a Presa House pop-up exhibition that transformed FL!GHT Gallery into a sleek, sci-fi-inspired showroom for an intriguing array of “armor, exoskeletons and customized packs” that could be worn by the artist himself. To complement that show, Canales worked with married filmmaking duo Mark and Angela Walley on two shorts — one of which features Canales wearing a chrome harness, gazing into a tiny bicycle mirror and combing his hair and mustache while Roberta Flack’s “The First Time Ever I Saw Your Face” plays in the background. Although many of his absurdist endeavors fall into the “gotta see it to get it” category, they’re also refreshingly humorous and devoid of pretension. Promising something of an extension of the wearable curiosities introduced in “Para Chrome,” Canales’ new Sala Diaz exhibition “Receiving 18

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SAT | 10/6 SPECIAL EVENT

‘YACHTING WITH THE KENNEDYS’

Renegade composer Nathan Felix is known for programming multi-faceted musical/visual performances in unconventional spaces. With his huge DIY choir From Those Who Follow the Echoes in tow, Felix has consistently put on shows that challenge and delight. Anyone remember that opera on the VIA bus last October? This weekend, Felix, a transplant from ATX whose guerilla approach to classical music is earning him opportunities all over the place at this point, will take over the San Antonio Museum of Art for a few hours to create an interactive, immersive and customizable experience. Felix told the Current last week the idea for the performance/installation/scavenger hunt, titled “Yachting with the Kennedys,” grew out of his “obsession with creating performances where each attendee gets a different experience whether that be visually or musically.”

The setup for this inventive event is like this: attendees will be given a map and a test tube (which activates the scavenger hunt aspect), then they’ll engage performers and actors throughout the museum searching for clues. There’s also the option to just roam freely, unconstrained by the structure of the scavenger hunt. In any case, attendees will be treated to music and other performances, all quite different from one another, throughout the galleries.

The whole event will culminate with a grand finale — the performance of a new piece by Felix, written for a special six-sided keyboard, that features all of the performers. Of the whole affair, Felix said that he is excited to provide

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San Antonio, TX Freeman Coliseum Courtesy of Marcia Nasatir

more “agency to explore based on their senses in the moment” than previous shows have. If you like costumes, drama, art, eclectic music, mystery and intrigue at all, then you’re probably gonna line up for “Yachting with the Kennedys” just as fast as us. $12-$20, 3-5pm, San Antonio Museum of Art, 200 W. Jones Ave., (210) 978-8100, samuseum.org. — JC

SUN | 10/7 FILM

A CLASSY BROAD

Cinematic legend and San Antonio native Marcia Nasatir will be back in her hometown for a week of events, including two special screenings. Nasatir, who is now 92 years old, became the first female vice president of a major Hollywood studio (United Artists) in 1974. In that role, she green-lighted the Academy Award-winning films One Flew Over the Cuckoo’s Nest (1975), Rocky (1976) and Apocalypse Now (1979). In 1983, she produced the dramedy The Big Chill. On October 4, the Santikos Bijou (5pm at 4522 Fredericksburg Road) will host a free screening of The Big Chill followed by a Q&A with Nasatir.

Then on October 7, Nasatir will join local movie fans at Alamo Beer for a special free screening of the documentary A Classy Broad as part of the San Antonio Film Festival’s Broads & Brews film series. Written and directed by Anne Goursaud, A Classy Broad tells the story of how a young Jewish girl from San Antonio made her way to Hollywood to work with some of the biggest stars in the industry, including Meryl Streep, Jack Nicholson and Marlon Brando. For the Current’s interview with Nasatir, visit sacurrent.com. Free, 5pm, Alamo Beer, 202 Lamar St., (210) 8725589, facebook.com/alamobeerco. — KM

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BY MARCO AQUINO

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Teresa Champion photographed

by Al Rendon at La Villita’s Equinox gallery in 2017.

Al Rendon

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n a captivating scene from the 1960 John Wayne film The Alamo, flamenco dancer Teresa Champion dances atop a small table in a cantina. Surrounded by an overzealous crowd, Champion unleashes a fury of footwork as her husband, Willie “El Curro” Champion, plays the guitar. The film, which was shot 130 miles south of San Antonio in the small town of Brackettville, was Wayne’s directorial debut and the most expensive film ever made at the time. For the Champions, it marked the beginning of a career stretching well into the 21st century and made them two of the most influential flamenco performers in San Antonio.

In celebration of her 80th birthday, the ninth annual We Flamenco Fest will kick off its festivities with a tribute to Teresa Champion on October 4 at the Little Carver Civic Center. Then, on October 20, the Champion family will perform as part of this year’s Una Noche en la Gloria at the Guadalupe Theater.

I first became acquainted with flamenco in the early 2000s at Carmens de la Calle when it was located on Mistletoe off the St. Mary’s Strip. Back then, dancer Jackie “La Morena” Rodriguez and guitarist Alejandro Herrera would fill the small cafe to capacity with their explosive flamenco performances. La Morena would wow the audience by dancing on a small wooden platform while Herrera matched her abilities on guitar. The crowds would go wild. It was a scene not unlike the one in The Alamo. Of course, I had yet to see the film, but I knew then that I wanted to learn about the roots of flamenco in this city and how it all began.

Certainly, the San Antonio dance community has been shaped by many important figures throughout the past century. Beginning in the 1930s, Berta Almaguer would help bring Spanish dance and folklórico to the city’s Parks and Recreation Department. Nelda Drury taught at San Antonio College and founded the annual Folk Dance Festival. And, of course, Carmen “La Chiqui” Linares has played a key role within the local flamenco community

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Champion performing with Ballet Folklórico de San Antonio at the Texas Folklife Festival in 1972.

(Linares will be honored on Saturday during We Flamenco Fest at the Carver’s Jo Long Theatre). But it was always Champion who, at least for me, remained an elusive, almost larger-than-life figure. Aside from a few chance encounters at local flamenco shows, I never had a conversation with Champion, until recently, when we met at her studio located near South Flores Street on the city’s South Side. There, the walls of her studio are filled with memorabilia and awards representing several decades of her career in flamenco.

Outside, a large mural depicting Champion’s face covers one of the walls.

UT San Antonio Libraries Special Collections

An Early Start An old art form with origins in the mountainous region of Andalusia in southern Spain, the art of flamenco incorporates Indian, Moorish and Jewish traditions. In its purest forms, it is accompanied by guitar (toque) and singing (cante). In the 20th and 21st century, flamenco became a global phenomenon.

“In 1954, I was the first lady to bring flamenco to San Antonio,” Champion told the Current.

As a child, she went to Mexico City to learn how to dance folklórico in hopes of becoming a folklórico teacher. But after being there only one month, she heard the flamenco guitar and told her mother she wanted to learn flamenco instead. She returned to San Antonio and began performing at various nightclubs throughout the city.

“I was a professional dancer at 12 years old but I didn’t have a guitarist,” Champion said.

“My mother was very smart. She was going to make sure that nothing was going to stop my career or take me away from her.”

One night at the Cuban Dinner Club, where Champion would become a regular dancer, her mother noticed El Curro, then a teenager, playing guitar for a Mexican trio called Los Crystales. She decided to ask if he would play for Teresa and bought him a record by the famous flamenco guitarist Sabicas.

“Mira, Mr. Willie,” Champion’s mother told the guitarist. “Le voy a dar este disco. Apréndelo ... learn it, please … so you can play for my daughter. We spent a lot of money on flamenco but she cannot use it because we don’t have a guitarist.”

For months after, and to no avail, Champion’s mother would ask El Curro if he learned

UT San Antonio Libraries Special Collections

to play anything off the record. One day, he finally said, “Yes, I learned one song.” She immediately called the owner of the Cuban Dinner Club and set up a gig for the two young musicians.

“I danced and we had a standing ovation,” Champion said. El Curro would continue to learn the flamenco guitar.

At the age of 16, Champion and El Curro, who was six years older, became a couple. The two were married for 57 years until El Curro passed away in 2012.

“We were in show business 100 percent,” Champion said. “All he did was play the guitar and all I did was teach and dance.

Some dancers right now — they are nurses, secretaries, teachers. We were solely show business. We bought our home with the art.

We bought our cars and supported our kids through the art.”

In 1959, when El Curro was selected to perform in The Alamo, he insisted that Champion visit the set with him. Champion, who did not audition for any of the dancer roles, says she was selected when the director first laid eyes on her. “When John Wayne saw me, he came straight to me,” she said. “I thought he was going to throw me out because I had no business there … He came very close to me and said ‘What do you do?’ I said ‘I’m a dancer and I’m here with my husband the guitarist.

I’m here because I wanted to see you.”

As Champion claims, Wayne turned to the casting director and insisted that she play the role of the flamenco dancer on the table.

“I don’t know what it was,” Champion said.

“Maybe he liked my face … I don’t know … maybe it was just my time.”

When the day of filming came, Champion realized she had a problem.

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Champion representing Los Flamencos de San Antonio at the Texas Folklife Festival in 1976.

6 23 “I told my husband Curro, ‘I’m afraid of heights, I don’t think I can dance,” she said. “He turned around and said, ‘Teresa, do you want to live in the Cassiano Courts all your life or do you want a house?’ I said ‘I want a house.’ John Wayne picked me up by the waist and put me on the table. I made sure that it was one take because I was scared!”

In the decades that followed, the Champions would tour the world with the famous flamenco dancer Jose Greco and would become mainstays on the River Walk, performing at the Alamo Kiwanis Club’s Fiesta Noche del Rio at the Arneson River Theatre. Champion also taught flamenco classes with Ballet Folklórico de San Antonio for 12 years before establishing her own studio. El Curro played guitar at Las Canarias restaurant inside La Mansión del Rio for nearly 40 years.

“He taught a lot of boys [how to play guitar],” Champion said. “A lot of them left to play somewhere else … Alejandro Herrera took classes with him. Steve Arispe … At Carmens de la Calle, I start to cry because there are too many memories.”

When El Curro fell ill in 2012, the family called upon guitarist Christopher Arispe (who also considers Curro a mentor) to fill in at Las Canarias. “We asked if he could play for two weeks,” Champion said. “He’s still there today. He’s been there six years, two months.”

“In the beginning, it was hard,” Arispe told the Current during a phone interview. “It was a tough situation. I was there because I was taking the place of Curro, who had been there for so long. A lot of people that frequented the restaurant when he was there would come and say to me, ‘You don’t play like Curro.’ It took a little bit of patience on my part to understand that they had lost a beloved person who crossed their life.”

Although he doesn’t feel the pressure to play like El Curro as much today, Arispe says many visitors to the restaurant still share their memories of the Champions. He understands the impact the couple has had on the community. “When you think of flamenco in 24

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San Antonio and South Texas, the first people you think of are the Champions,” he said. “Teresa and Curro are, I believe, the first ones to establish that here. She passed on what she learned in Mexico to just about every dancer who’s ever performed in San Antonio to countless other people.”

Among the many dancers who took classes with Champion is Jessica Ahr, who now dances with several flamenco troupes around the city. “She has inspired so many people because of the amount of time she has been here,” Ahr said. “There are countless numbers of people who have seen what she does, at some point in their life, and were inspired to do it themselves or put their kids into it, or grandkids, or simply want to be a part of it somehow.”

Aside from the generations of dancers who have studied under the Champions, the couple has passed on their love of the arts to their own children and grandchildren, several of whom have established their own careers in the world of flamenco. “She passed it down to her family,” Ahr continued. “It had a direct effect on her family. It supports them, it shapes them, it’s what they do. Her daughters do it for a living, her granddaughter has her master’s degree in dance because she has been inspired to go that way.”

Global Influences

Al Rendon

“Teresa is a pioneer in the flamenco art … both of my parents were,” said Rosalinda “Chayito” Champion, a renowned flamenco vocalist in her own right.

“She brought flamenco to San Antonio back in the 1950s. The dancers that you see now, because she’s in her third generation of teaching, all started with her.

She was instrumental in inspiring young dancers to do flamenco and pursue it as a career.”

In November, Chayito is off to Germany along with Austin resident Oliver Rajamani to perform in the production Flamenco India. Of course, it will not be the first time the Champion influence has reached a global audience.

“When her students leave and go to Spain, they are told, ‘We pretty much know you come from Teresa because of your posture, your arm work and skirt work,’” Chayito said. “There is a style there that other teachers pick up on when her students go there.”

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CultureTrack-9.75x10.6875-white-Ad-PRINT.pdf

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1:08 PM

What’s the profile of the new cultural consumer? Why is it they engage with culture in the first place? And what keeps them away?

Join the San Antonio Museum of Art and the New York-based strategic marketing firm La Placa Cohen for a presentation of “Culture Track,” the largest national tracking study of U.S. cultural consumers. A panel discussion and Q&A with local cultural leaders and a happy hour will follow.

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3:45–4:30 p.m. Panel Discussion with local arts leaders moderated

by Marc Duvoisin, Editor-in-Chief, San Antonio Express-News and Katie Luber, the Kelso Director, San Antonio Museum of Art 4:30–5:00 p.m. Q & A 5:00–7:00 p.m. Happy hour (cash bar) WHERE: San Antonio Museum of Art HOW MUCH: $10 RSVP: samuseum.org/calendar

| 200 West Jones Avenue | samuseum.org

sacurrent.com | October 3-9, 2018 | CURRENT

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SAN ANTONIO AIDS FOUNDATION’S 27TH ANNUAL

arts

for

2018 SATURDAY, OCTOBER 6 - 7:30 AM WHEATLEY HEIGHTS SPORTS COMPLEX

5K & 2-MILE WALK 5K: $35 | 2-Mile Walk: $30

SNOOZE CREW

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REGISTER ONLINE TODAY! WWW.SANANTONIOAIDS.ORG/RWA OR CALL (210) 225-4715

Al Rendon

@sanantonioaids 26

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6 24 Among Champion’s students who have become international flamenco stars are Priscilla “La Prisci” Treviño and Timo Lozano.

Tragically, both succumbed to various illnesses in the past decade and have since passed. Treviño was known for establishing a studio in Granada (a rare feat for a non-Spaniard) and also produced several well-known dancers. Lozano was known as “The King of Bulerías.” His workshops in Spain became so popular it was not uncommon to see lines of students wrapped around the buildings.

“Priscilla Treviño and Timo Lozano were my best students ever,” Champion said. “They made it in the world,

in Europe, in New York … everywhere they went. They never forgot me. They would call me … they would write me every Mother’s Day … Pero... se los llevó la Muerte…”

“A lot of dancers make it a career and never come back to San Antonio,” Chayito said. “They stay in Spain or elsewhere and they don’t come back. She always stresses, ‘I know you’re leaving.

You’re going to Spain to study, but come back. Don’t keep it from us because we can’t go there. When you’re out there, don’t forget who you are and where you come from, and come back and share what you’ve learned so that we can keep going here in San Antonio.’”

On Thursday, the flamenco commu-

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CHECK OUT FRESH DAILY CONTENT AT

• SACURRENT.COM •

UT San Antonio Libraries Special Collections

nity will gather to honor the life and work of Teresa Champion as part of this year’s We Flamenco Fest. Champion as well as three generations of students will perform at the event. Paula Sullivan, who owns Carmens de la Calle and has organized the festival since 2016, says she hopes the five-day event will help bring the dance community together. “Here is someone who has lived 80 years and has contributed to flamenco and other dance forms practically all her life,” she said. “I think we should celebrate her story.”

Check out fresh daily content at sacurrent.com

A Tribute to Teresa Champion $20-$55, 7pm Thu, Oct. 4, Little Carver Civic Center, 226 N. Hackberry St., (210) 207-2234, thecarver.org.

Other highlights of We Flamenco Fest include Años de Inspiracion: A Tribute to Carmen Linares and Sonya Casillas ($20$45, 8pm Sat, Oct. 6, Jo Long Theatre, 226 N. Hackberry) and the “En la Calle” outdoor festival (free, 5-10:30pm Sat, Oct. 12, Travis Park, 301 E. Travis St.). Visit facebook.com/weflamencofest for the complete schedule.

UT San Antonio Libraries Special Collections

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Courtesy of Octavio Solis

Stations of the Border Cross Self-discovery and smoldering epiphanies in Octavio Solis’ memoir Retablos

BY ROBERTO ONTIVEROS

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n his literary debut Retablos: Stories From a Life Lived Along the Border, El Paso native Octavio Solis invites his audience to consider the ephemera of one’s adolescence as the essence of identity.

The playwright-turned-memoirist accomplishes this by employing a folk Catholic tool for self-reflection: the retablo, the framed art behind an altar or, as he tells readers, “a devotional painting, usually laid on a small, thin plate 28

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of cheap, repurposed metal, in which a dire event is depicted — an accident, a crime, an illness, a calamity, some terrible rift in a person’s life, which they survive thanks to the intercession of the Divine.”

Retablos offers a world wherein brown kids risk deportation when clowning around near the Rio Grande and aspirations of assimilation are shaped by the whipped-cream fantasies of a Herb Alpert album cover.

Solis sets all the secular stresses of border life on saintly display: the indignities masked in the dignity of work, the supermarket panic of spilled soda running down the leg of a bleeding woman trying to return Coke bottles for credit, petty candy-store theft and dirty disco clothes drying out for another sweaty night on the dance floor.

In Retablos, undocumented immigrants weep in the sanctuary of a kitchen while legal Latinos covertly canoodle in the cotton fields.

The most affecting character in Retablos, a book which features a pregnant streetwalker on Christmas Eve, is a recurring wraith called Demon, a Chicano changeling who haunts this morphic memoir as a symbol of refuse, refusal, and in the end, righteousness. Like a welfare state revision of a Brothers Grimm fairy tale, Demon explains that “his mother didn’t want him and it was his aunt that raised him from a baby, but she didn’t take care of him like she was supposed to. He had some checks coming every month from technology: “At once visual and literary, they record the crisis, the divine methe government and tía kept all the diation and the offering of thanks in money. Now she’s gone too and all he a single frame, thus forming a kind of has is her grave to visit.” flash-fiction account of an electrifying, The stories in Retablos are invigorating in their unapologetic economy and life-altering event.

Solis makes it clear that he is meant intoxicating in the poetry of their morto learn from the retablos he has set al excesses. For the tales explore the up, to understand the mysteries of taboo of shame, the ultimate owning the mundane as both motivation to up — to crime, to lust, to envy, to innorise and incentive to make peace with cence turned evil, to classic Cain and Abel animosity, to disgust at poverty, to where he stands.

On his understanding of the boranger over the limits of language and der, Solis writes: “One thing I have the fate of family and the meretricious learned from writing these retablos: pride of avoiding one’s past to better the shit on the border never changes. fake a future.

There will always be those who want In a recurring section centered on a to come across, and those who want nameless runner, a local crazy who is to keep them where they are. The push dashing his life away and providing cuand pull, the friction rious self-discovery for between the tectonic our author, Solis writes: plates that are Mexico “Without turning his Retablos: Stories and the U.S. will always head, I feel his eyes blur From a Life Lived create mountains of in my direction for an Along the Border stress, dislocation and instant. This is my city,

by Octavio Solis upheaval among the they seem to say. I run City Lights people who live there. and run but here I am.

Maybe this is political, Where are you? What $15.95 after all, but I think it’s are you running from?

176 pages really a condition of Who left you behind?” our culture: it’s how we In sobering revelation live now, it is our parSolis understands the ticular mythology, replete with gods double-edged nature of self-regarding. and monsters, heroes and fallen angels, “It is then I see that pride and shame are troubadours and exiles.” the same sin. One diminishes my family There has never been a border book and the life they gave me, the other like Retablos, a collection of smolderdiminishes me.” ing epiphanies suffering the baptizing The author describes the religious waters of recall. art of retablos as a kind of instructive

31 days 12 institutions 1 Museum Month

A Tricentennial Event

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Experience:Reciprocal general admission for two

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Participating institutions: Artpace Blue Star Contemporary Briscoe Western Art Museum DoSeum McNay Art Museum San Antonio Art League & Museum San Antonio Missions National Historical Park San Antonio Museum of Art Southwest School of Art UTSA Institute of Texan Cultures Villa Finale Museum & Gardens The Witte Museum

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(in $35 TICK clu VIP de | $ ETS s tw 25 o d Gen rin er k t al ick ets )

This event is October 13, 2018 from 6-9 p.m. for adults ages 21+ only FOR TICKETS or MORE INFORMATION:

Visit MagikTheatre.org/remixmagik Call 210.227.2751 or stop by the box office Schoolhouse Rock Live! runs October 5 - November 2, 2018 30

CURRENT | October 3-9. 2018 | sacurrent.com

A Star Is Born follows a familiar template but the music and romance hit some emotional high notes

BY KIKO MARTINEZ

T

hree-time Academy Award-nominated actor Bradley Cooper (American Sniper) makes a mostly convincing, albeit imperfect, directorial debut with A Star Is Born, the third reimagining of the film since the original version hit the silver screen more than 80 years ago.

In this newest reiteration, sixtime Grammy-award-winning singer Lady Gaga steps into the spotlight where actresses Janet Gaynor (1937 version), Judy Garland (1954 version) and Barbara Streisand (1976 version) once stood. Gaga plays Ally, an aspiring musician swept off her feet by alcoholic rock star Jackson Maine (Cooper), who is instantaneously captivated by Ally’s talent when he sees her perform “La Vie en Rose” at a drag bar.

Witnessing Ally and Jackson courting each other during the

first act of the film is when A Star Is Born is at its most charming and romantic. It never reaches the level of something like 2007’s Oscar-winning Irish drama Once, but Cooper and Gaga sell their relationship as a genuine love connection, despite its seemingly quick development.

Movie magic occurs when Jackson invites Ally onto the stage during one of his concerts to perform a duet with him. It’s unrealistic to think an original song could actually come together like that without a bit of rehearsal, but by the time Ally bravely takes the mic to sing the second verse of “Shallow” (a song co-written

by Gaga, which will undoubtedly land an Oscar nod for Best Song), there’s no real reason to argue logic. The single is that good.

As soon as their relationship is established, however, the script starts losing momentum and

Bleecker Street Media

Ghost Writer Colette provides an empowering and timely message, but lacks support for its title character

BY KIKO MARTINEZ

W

hile mainstream audiences might associate two-time Academy Award nominee Keira Knightley (The Imitation Game) with her role in the Pirates of the Caribbean franchise, just as many moviegoers probably consider her more recognizable from the handful of costume dramas she’s starred in during her career.

screens

On Pitch

Warner Bros

seems to find comfort in falling into familiar territory. Again, A Star Is Born has a long history of remakes, so it shouldn’t be a surprise that screenwriters Eric Roth (The Insider), Will Fetters (The Best of Me) and Cooper, who is also credited as a writer, follow a conventional template. The dimming of one star and the rise of another is a formula that has worked well in the past, but Cooper is only somewhat successful in transforming it into a story that truly feels fresh.

During a scene in the final act, Jackson’s older brother Bobby (Sam Elliott) explains to Ally

From the emotionally resonant 2005 adaptation of Pride and Prejudice to the under-appreciated uniqueness of 2012’s Anna Karenina, Knightley is synonymous with characters who don modest muslin gowns and colorful Victorian-era silk dresses. It’s unfortunate, then, that her latest foray into the late 19th century isn’t as effective as her prior period pieces.

In Colette, Knightley stars as Sidonie-Gabrielle Colette, one of the most important voices in women’s literature ever to come out of France (notable works include Chéri and Gigi). The film introduces audiences to Colette as a young country girl who is whisked away to Paris by Willy (Dominic West), a charming and well-liked writer and struggling publishing house owner.

Living above their means in Paris, Willy, who manages a team of ghostwriters who churn out literature to sell to Belle Époque socialites, persuades Colette to write a coming-of-age novel about her teenage years and allow him to publish it under his name. When the book, Claudine at School, becomes a hit, Willy demands she continue writing (there are four novels in the Claudine series). This all occurs while her relationship with Willy deteriorates because of his refusal to credit her as the real author and the problems caused by their open marriage — which Colette uses as inspiration for her writing.

what Jackson’s musical philosophy is by describing music as “12 notes between any octave — 12 notes and the octave repeats” and adding that it’s up to the artist to say something significant enough inside those parameters to move listeners emotionally. In A Star Is Born, Cooper and Gaga have voices worth listening to, especially when they’re harmonizing in front of a crowd of thousands. We just wish the narrative mixed in a few more sharps and flats to ensure a clearly distinct sound and experience.

Directed and co-written by Wash Westmoreland (Still Alice), Colette is hitting theaters during a moment in our cultural history when many women, much like the film’s title character, are standing up for themselves against the oppression of toxic men. It’s a timely biopic on female empowerment — one that rests solely on the shoulders of Knightley and her insightful depiction of strength and desire for independence.

Where the film falters, however, is in Westmoreland’s script, which should have offered more narrative support from its secondary characters. Instead, Colette remains a loner as she confronts the unsustainable life she’s built with Willy and the romance she later establishes with Missy (Denise Gough), an androgynous partner who understands the frustration Colette feels from having to stay silent and unseen for so long — like a ghost floating around in literary limbo.

Although it’s a central message, Westmoreland gets a bit heavy-handed with his metaphors. In one scene, Colette is transfixed on a male mime singing soprano before the camera pulls back to reveal that he is lip-syncing a song actually being sung by a woman standing behind him. If we didn’t know any better, we might think Colette was trying to say something.

Find more news Find more every day at film stories sacurrent.com

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CURRENT | October 3-9, 2018 | sacurrent.com

food

THE BIG SPOON

Luby’s is worth saving, but can we?

BY JESS ELIZARRARAS

T

o say I’m conflicted about the news that Luby’s troublingly low earnings could lead to more closures is an understatement.

The restaurant, a San Antonio institution that first opened in 1947, serves up a whole lot more than Lu Ann platters. It serves up oodles of nostalgia with a side of comforting, warm feelings and a bread roll, too.

Growing up in deep South Texas meant we had a handful of chain restaurants, and even then, there was always “comida en la casa.” But on occasion, if my parents wanted to splurge, or if we were taking our grandparents out for lunch after church, Luby’s was the go-to. The restaurant continued as a staple as I moved away from the Valley to San Antonio because the menu items were the same. I could get my baked almondine, no tartar, and blue Jell-O at any location and still feel comforted by the price, by the lack of an actual menu, by the hospitable staff.

When I shared the news on social media that Luby’s may close stores because of low-earnings, friends and followers balked. “#Savelubys I’m in!” “Como que? Save Luby’s? Are they closing?” and “I still go to Lubys! I’m concerned I think it’s still doing okay right?!”

That was several days after Luby’s Inc. announcement that they’d have to sell off or close more properties to pay off a $40-million debt. Luby’s had already sold eight properties companywide. So everyone’s reaction was troubling in more ways than one. If you’re a fan of the restaurant, why don’t you know it’s failing? If you love Luby’s, how could it close?

But just as Luby’s has remained a constant, the restaurant business has changed. A lot.

Fast-casual is king, and that’s not necessarily the vibe a plate of chicken-fried steak and mac ’n’ cheese conjures up. Farm-to-table is still having a moment, and people want to know

Contact the author: flavor@sacurrent.com

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servers and craning our necks for any new side dishes, such as the buttery spaghetti squash casserole. Turkey and dressing helped dull the pain of a week’s worth of judiciary committee hearings, at least for this writer.

We indulged in chocolate tres leches and, yes, blue Jell-O, and whiled away a lunchtime hour as customers almost filled the massive dining room inside the former Main Bank and Trust.

There’s still 84 Luby’s left for now, and though that can’t be guaranteed going into a new year, it shouldn’t stop us from trying to #savelubys. But maybe we should swing by for a full combo instead of the Lu Ann.

PM

PEARL’S

Jess Elizarraras

where their food comes from. There is no executive chef sharing recipes and family stories.

Now almost 72, the cafeteria-style chain based out of Houston is showing its age.

Did millennials kill Luby’s? No, and I’ll fight whomever suggests as much, but our propensity for Instagrammable food and cool new openings has certainly helped bring the stores to a halt. Even with the dire financial forecast, surely there’s something we can do to perhaps delay the inevitable…

During lunch hour on a recent Friday, the line for Lu Ann platters (and newfangled three-side Lu Ann Plus platters) was bustling with young and old. We grabbed our trays and rolled-up silverware and scooted along the line, making casual quips to our food

sacurrent.com | October 3-9, 2018 | CURRENT

33

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CURRENT | October 3-9, 2018 | sacurrent.com

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sacurrent.com | October 3-9, 2018 | CURRENT

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CURRENT | October 3-9, 2018 | sacurrent.com

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VOTE FOR US IN BEST OF SAN ANTONIO

food Viet-Tex

There’s a lot to love about Singhs tiny menu

BY JESS ELIZARRARAS

S

inghs Vietnamese opened its first brick-and-mortar location on the St. Mary’s Strip just over a month ago, but Northsiders have been privy to the unique blend of Vietnamese meets Tex dishes since 2013, when the food truck by the same name was launched.

And while the menu is similar, the uniqueness of the flavors has evolved since opening the St. Mary’s location.

The space is muted. Clean corners, and a still-empty bar gives way to a tiger mural courtesy of a high-school best friend. There’s nothing particularly striking about the space, all 2,000 square-feet of it, but that sleekness does allow eaters to focus on the food.

For most diners, it could very well be the first time enjoying Singhs, which recently closed its truck operation on the corner of Loop 1604 and White Fawn Drive. But new patrons shouldn’t expect traditional Vietnamese fare because, well, this isn’t that.

Singhs is the story of Louis Singh’s mother, who ran away from Can Tho, a small village in South Vietnam’s Mekong Delta, in her teens to find work in Saigon. She eventually met her future husband, Louis’ father, there and had three children. Fast-forward to the Fall of Saigon in 1974 when Papa Singh, a contractor with the U.S. Embassy in Vietnam, was put on one of the last helicopters out of the country. Mama Singh believed he was dead for more than a year. But the family was reunited several years later in Helotes, just outside of San Antonio.

Louis was born in the ’80s, and he’s wanted to share his family recipes since he was 15. He teamed up with high-school friend Eric Treviño after dabbling in bands and sound-editing and catering, and Singhs was born.

Don’t go expecting to find your favorite pho – you won’t find it at Singhs.

But do go to find great, 10-hour braised brisket atop vermicelli noodles or bún, paired with fresh cucumbers and lightly pickled daikon and carrots to help cut through that unctuous meatiness. There’s also fried chili-oil ribs if you’re feeling particularly ravenous, and Saigon egg rolls, rolled by hand — at times by Mama Singh as she shares her story. They’re the most labor-intensive menu item, but worth the cost for its crisp and delicate casing.

You’ll also enjoy Singh’s take on bánh mì, served on a buttery roll instead of a crusty baguette but just as good, with each protein somehow more tender than the next.

Opening a brick-and-mortar location on a new side of town means favorites have shifted. Those now include noodles and goi, a shaved cabbage salad, nearly perfect with shrimp or chicken, dressed with a light drizzle of aioli.

And then there’s the Mama’s jasmine rice, a fragrant number with turmeric, ginger and coconut topped with your choice of meat or seasonal veggies. It’s Singhs’ answer to arroz con pollo. It’s the result of Singh growing up in the heart of Texas, and sharing his Vietnamese mother’s recipes – and it’s a welcome addition to the St. Mary’s Strip fare.

Jess Elizarraras

Singhs Vietnamese 2803 N. St. Mary’s St. Cost: $2.50-$9 Hours: 11:30am-11pm Sunday-Thursday; 11:30ammidnight Friday-Saturday; closed Monday Best Bets: Brisket bún, chili oil ribs, rice, goi.

Jess Elizarraras

sacurrent.com | October 3-9, 2018 | CURRENT

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CURRENT | October 3-9, 2018 | sacurrent.com

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Erin Winch

COCKTAIL OF THE WEEK

For the Bats

BY ERIN WINCH

A

s we transition into fall, so begins the menu shift from clear spirits to those that have age, spice and oak. However, cocktail menus aren’t the only things that are shifting – the bats that call South Texas home for most of the year are starting to migrate as well. What better way to honor these intriguing mammals than with a Cocktail of the Week in their honor?

Hoppy Monk, located on San Antonio’s far North Side just inside Loop 1604, has dedicated a drink on their menu to local bats. The cocktail, which is called For the Bats, is a combination of Siembra Valles High Proof Tequila, Skinos — an interesting Greek liqueur that’s made from tree sap — Montardo Aperitivo and lime. It was created

by Ricardo Ruiz, bar manager at the Hoppy Monk, who wanted to create a balanced drink that showcased the tequila.

The result is a cocktail that finds a balance between flavor profiles. The tequila is perfect for those who want to savor the flavor of the spirit. The Skinos adds a slight sweetness, with the aperitivo and the lime contributing bitter and tart notes that round out the cocktail. This is the perfect drink to sip while scanning the sky for those creatures of the night.

And you can partake for a good cause — $1 from

each cocktail purchase benefits the Tequila Interchange Project (TIP), which helps to preserve traditional methods of creating and distilling tequila. Bats play a vital role in the agave pollination process, and TIP is dedicated to ensuring the bat population is sustained. Without the bats, the agave industry as we know it could cease to exist naturally.

Don’t worry. Though the bats are starting to migrate, the drink is on the menu for the next couple of months. The cocktail will only put you back $10 and is available during normal business hours, including brunch.

The Hoppy Monk 1010 N. Loop 1604 E., (210) 545-3330 thehoppymonk.com Erin Winch writes about boozin’ in the Alamo City on her blog Drinking In SA. sacurrent.com | October 3-9, 2018 | CURRENT

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CURRENT | October 3-9, 2018 | sacurrent.com

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music Courtesy of Demitasse

Demitasse to Release New Album Powercouple

BY CHRIS CONDE

P

erhaps I’m biased as a fan of songs in minor keys and modes that vibrate with longing, loss, despair and tragedy – I know, let’s cry about it already – but the sophomore effort from San Antonio’s Demitasse might be the best local album of the year.

A side project of Buttercup’s Erik Sanden and Joe Reyes, Demitasse harnesses the somber textures of acts like Simon and Garfunkel as well as Elliott Smith while stirring in the folk-pop warmth of the Everly Brothers with an edge of ’90s alt rock in the vein of R.E.M. circa “Losing My Religion.”

We sat down with Sanden and Reyes to talk about the new album and how Demitasse emerged in 2010 a project in its own right.

“My dad was dying, and I wasn’t even here most of that year,” Sanden said. “I was going and writing these sad songs, I would come

back, and Joe was like ‘Let’s record them.’”

Reyes’ father was sick, too. Without a drummer, but with their impulse to continue to create music, Reyes and Sanden wrote the demos of what would be the first album Blue Medicine, which didn’t see the light of day until 2014.

“I think that, though there was humor on Blue Medicine, there’s a little more optimism coming through the corners [on Powercouple],” Sanden said.

Reyes chimed in, saying, “I wrote those songs, ‘It’s Good To Be Alive Again’ and ‘There’s Still Beauty at The Base of The Mountain’ – those two came after I had had this really bad psychological dip,” Reyes said.

“Some of the therapy I had had and some of the wise things people told me finally clicked, and those two songs came right out of that feeling of basically ‘I can live my life again.’”

While the somber goodness that are the tracks “Majic” and “Leave The House,” – probably my favorite moments on the record – “There’s Still Beauty at the Base of the Mountain” gives listeners an opportunity to come up for air. “There’s Still Beauty…,” sort of reminiscent of the Beatles’ “Tomorrow Never Knows,” pulls listeners through poppy, psychedelic caverns not yet explored on the record (or catalog) and a contrast to the moodiness of Powercouple.

“So there is a bit more hopefulness on the new record – that’s where the songs came from, I think,” said Reyes. “Both of our dads were sick … as you get older, a lot of your friends start to get sick and all that kind of stuff weighs on you, so I guess that record has a bit of that [mood.] I like that though.

I’ve always liked ‘Rainy Days and Mondays’

by The Carpenters.”

“There’s more thankfulness on this record,” said Sanden. “Life is complicated – it’s a mixed bag.”

Overall, the album feels like unfiltered artists living the human experience and processing the not-so-jolly parts of it. It’s raw, genuine and sort of appropriate as we enter a cooler season.

Find more music coverage Find more news every day at sacurrent.com

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CURRENT | October 3-9, 2018 | sacurrent.com

music | music Picks

Marisa Gesualdi

Ebru Yildiz

TERROR, HARM’S WAY, AND MORE p Wednesday, October 3

While it may not be quite Halloween yet, we know our city well enough to know that you’re already getting in the spirit. As you finish hanging your final decorations – a fake blood-spattered shower curtain, how edgy of you – consider a well-timed dose of Terror to build your tolerance for the macabre. By Terror, of course, we are referring to the veteran LA hardcore/ punk/metal band that will be in town this week. With the band’s seventh LP, Total Retaliation, out just last week, fans and seasonal seekers alike can expect a heavy dose of new material bolstered by choice cuts from the five-piece band’s back catalog.

Like-minded artists also on the bill include Harm’s Way, Backtrack, Year of the Knife, Candy and Bloodhound. $17-$20, 6pm, Alamo City Music Hall, 1305 E. Houston St., ticketfly.com.

— James Courtney

Alexander Malecki

METZ, PINKO L Thursday, October 4

Toronto outfit Metz, in town for a show this week, makes rock music that can appeal to pretty much everyone who likes any strain of the vague and far-flung genre. Starting from a grungy alternative rock base, the trio blends in elements of noise, punk and experimental hard rock. It is hard-edged yet highly palatable,

intricate in a way that rewards endless repeated listens, but with a sense of emotional immediacy that grabs you from the first. You can check out Metz’ impressive catalog at metz.bandcamp. com. Pinko, a perfectly paired local act that makes an artful and experimental brand of post-hardcore, will open the show. Head over to pinkosanantonio.bandcamp.com for a primer on Pinko’s face-melting goodness. $15-

$17, 8pm, Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — JC

THE BREEDERS M Thursday, October 4

The Breeders are coming to San Antonio, andddddd that’s pretty fucking cool.

Because they haven’t toured in, like, 25 years, and they’re one of the major players that contributed to now-nostalgic, dreamy, ‘90s alt-rock sound. Comprised of Ex-Pixies singer-bassist Kim Deal, along with twin sister Kelley, bassist Josephine Wiggs and drummer Jim Macpherson — The Breeders are touring in support of their fifth studio album, All Nerve. Fucking sick. The band hits the Aztec Theatre this Thursday and, yes, they’ll probably play “Cannonball.” $25-$45, 7pm, The Aztec Theatre, 104 N. St. Mary’s St., theaztectheatre.com. – Chris Conde

ACL \

Friday, October 5-7

Courtesy St. Vincent

Metallica is headed back to Texas to headline ACL, which is actually sort of weird and awesome since most of ACL’s headliners recently have been the likes of Radiohead, Jay-Z and Willie Nelson – not gigantic metal acts. If you’ve seen Metallica in recent years you’d probably be stoked too since they usually play very few new songs and a shit ton of their old work, which rules if you’re like us and don’t really listen to anything past the Black album. Besides Metallica, the rest of the headliners include Paul McCartney, Arctic Monkeys, Travis Scott and Odesza. The full lineup is actually shaping up to be fantastic, too, with St. Vincent Janelle Monáe and David Byrne slated for appearances. $100-$3600, Zilker Park, Austin, Texas, aclfestival.com. – CC sacurrent.com | October 3-9, 2018 | CURRENT

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music | music Picks J. BALVIN \

Sunday, October 7

Courtesy of J Balvin

MAYDAY PARADE q Sunday, October 7

Chances are, if you graduated high school in the late 2000s, you or one of your friends had a Mayday Parade record and wore the hell out of it. In 2006, without any label support, the Floridians sold over 50,000 copies of their debut release Tales Told by Dead Friends, a six-song EP that fused wailing post-hardcore emo-ish singing with just the right amount of anthemic pop-rock that had a generation of show-going scene kids flooding Hot Topics for T-shirts to sport at the band’s appearance at Van’s Warped Tour the following year. Back on tour in support of their latest album Sunnyland, the Tallahassee boys prove that emo-style singing probably isn’t going anywhere anytime soon. $27, Alamo City Music Hall, 1305 E. Houston St., alamocitymusichall.com. – CC

On the heels of a banging, brass-heavy performance of “Mi Gente” with Beyoncé at Coachella and a cameo in Cardi B’s “I Like It,” alongside Puerto Rican trap artist Bad Bunny earlier in the festival, Colombian Reggaeton star J Balvin has announced a U.S. tour scheduled for this fall. Cue collective freak-out.

The 27-date trek will be in support of his highly-anticipated album, Vibras, which came out in May. The tour kicks off September 19 in Fresno, California, and concludes October 28 in Miami, with a stop in San Antonio this Sunday.

The 32-year-old artist was just in town for a performance at the San Antonio Stock Show & Rodeo, but we’re stoked to get the full J. Balvin package. Heh. $44, $498, Freeman Coliseum, 3201 E. Houston St. – CC

maybe if you didn’t cancel on us three times in a row, we’d feel different about ya. Anyway, Marr is touring in support of his new solo album Call the Comet, released in June. The new track “Hi Hello” sounds like it definitely could be a Smiths song and omg omg. $35, 7pm, Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. – CC

JOHNNY MARR 5 Monday, October 8

So if there’s something you’d like to try – like, for instance, going to see ex-Smith’s guitarist Johnny Marr play in the Alamo City – ask us, we won’t say no, how could we? If those Smith’s lyrics threw you for a loop and you’re wondering just what in the hot heck we’re talking about, the former guitarist for Morrissey-fronted group is headed to Paper Tiger on Monday, October 8, and we’ve been sent into a “Panic” over here at the office. After five years and several iconic records, Marr parted ways with the band citing musical differences, but we all know working with Morrissey after a while must’ve been a nightmare. Sigh. Oh, Morrissey,

Jonathan Weiner

DAVID BYRNE q Tuesday, October 9

Former Talking Heads singer David Byrne will return to the Tobin Center just six months after a sold-out show to grace us with a second dose of his solo American Utopia tour. San Antonio really “must be the place” where he wants to be. Byrne will return this Tuesday. The man with the big suit will perform with a twelve-piece band and stage tracks from his new album as well as some classics by the Talking Heads and his earlier solo work. So even if his latest work doesn’t strike a nerve, you’ll have an opportunity to belt along to your favorites anyway.

“We’ll be doing some new songs… and many others that will, I assume, be familiar,” said Byrne in a press release. “I’m excited. This is the most ambitious show I’ve done since the shows that were filmed for ‘Stop Making Sense,’ so fingers crossed.”

The risk-taking album is his first true solo album released in almost fifteen years (discounting a series of collaborations). $44.50 - $235, 7:30pm, The Tobin Center for the Performing Arts, 100 Auditorium Circle, tobincenter.org.

– CC

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music | calendar WEDNESDAY, OCTOBER 3 Ruben V Ruben V will perform rock and blues at Sancho’s Cantina. Free. Sancho’s Cantina, 9-11pm.

THURSDAY, OCTOBER 4 32nd Annual Gruene Music & Wine Fest Specially curated wine and beer tasting, and live music featuring Mike & The Moonpies. $15-$20. Gruene Hall, 5:307:30pm.

The Breeders An alternative rock band formed in 1989 by Kim Deal of Pixies and Tanya Donelly of Throwing Muses. The band has experienced a number of lineup changes; Kim Deal has been the band’s sole continual member. Their first album, 1990’s Pod received wide critical acclaim.

The Breeders’ most successful album, 1993’s Last Splash, is best known for the hit single “Cannonball”. $25-$57. Aztec Theatre, 7pm.

Fall Fandango Concert Celebrating the Briscoe’s 5th Anniversary, the Briscoe presents popular English/Spanish roots rock group Sisters Morales in a rare San Antonio engagement. Join the Brisco Museum for an evening of sweet harmonies, and Americana and Ranchera music in the Briscoe’s beautiful McNutt Sculpture Garden. $20-$60. Briscoe Western Art Museum, 5:30-8:45pm.

Metz Canadian punk rock band from Toronto. The band consists of guitarist and vocalist Alex Edkins, bassist Chris Slorach and drummer Hayden Menzies. $15-$17.

Paper Tiger, 8pm.

Michael Martin Murphey Michael Martin Murphey’s musical journey has taken many unpredictable paths over the past 50 years – topping the pop, country, western and bluegrass charts. $35. Gruene Hall, 8pm.

Tres Honchos Sancho’s Cantina is hosting Claude Butch Morgan, Robar Adams and Trevor Doak Morgan of the Bandaholics.

The band is set to perform regularly on Thursdays. Free. Sancho’s Cantina, 7pm.

Western Star Five-piece rock’n’roll band from Baltimore, heavily influenced by AC/ DC’s Angus and Malcom, Young Old 97’s Frank Black and Wino, performs with special guests Snowbyrd. The Mix, 9pm-1am.

FRIDAY, OCTOBER 5 Dirty Heads Alternative band from Huntington Beach, California. Their newest album, Swim Team, was released in 2017. Special guests are three-piece power-pop group Jukebox the Ghost and Just Loud. $25$81. Aztec Theatre, 7pm.

The Fab Four: The Ultimate Tribute to The Beatles Emmy Award-winning Beatles tribute band The Fab Four is a highly

polished tribute act that has been wowing audiences across the U.S. and around the world with its dynamic portrayal of the Beatles for over two decades. $34.50$57.50. Tobin Center for the Performing Arts, 7-9pm.

SATURDAY, OCTOBER 6 32nd Annual Gruene Music & Wine Fest Original Texas country music featuring Dirty River Dixie Band, Beat Root Revival and Sophia Band. $25-$35. Gruene Hall, 12-6pm.

Henry The Archer, Saigon Sinners Henry the Archer isn’t only a stage-name for producer-singer-songwriter, Richard Hennessy; aka “Henry”. It’s also become an entity, including the talents of Drummer Kevin Geist, and Bassist Charles Marchbanks, with a moody sound hinting at post-punk rock offset with groove-pop melodies. The Mix, 9 p.m.-12:30am.

Jake Worthington In 2014, Jake Worthington was named “Runner-Up” on Season 6 of the hit NBC TV show The Voice. $10-$12.

John T. Floores, 7pm.

Mothers, LALA LALA Experimental folk band from Athens, Georgia. Mothers formed in 2013 as the solo project of musician Kristine Leschper. $12-$15. Paper Tiger, 7pm.

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SUNDAY, OCTOBER 7 32nd Annual Gruene Music & Wine Fest Parker McCollum, Jason Boland (acoustic), Micky & The Motorcars, Max Stalling, Dalton Domino (acoustic), Jamie Lin Wilson, Bart Crow Band, Courtney Patton and Jon Roniger & The Good For Nothin’ Band performing on three stages. $40-$50.

Gruene Hall, 1-10pm.

MONDAY, OCTOBER 8 Johnny Marr English musician, songwriter and singer, best known as the guitarist and – with Morrissey – co-songwriter of the Smiths, who were active from 1982 to 1987. Born in Ardwick, Manchester, to Irish parents, Marr formed his first band at the age of 13. $35-$39. Paper Tiger, 7pm.

TUESDAY, OCTOBER 9 Koffin Kats Psychobilly trio from Detroit, Michigan. Fusing the swing of classic rockabilly with the hot-wired energy and ghoulish imagery of Misfits, this band proves that high-octane psychobilly is still alive. Koffin Kats were formed in 2003 by lead singer Vic Victor and guitarist/ vocalist Tommy Koffin, who had been part of the Motor City punk scene before trying their hands at the doom-struck twang of their punk-rockabilly fusion. $10-$12.

Paper Tiger, 8pm.

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etc S AVA G E L O V E B Y D A N S AVA G E

Hearts and Minds

Playmates and soul mates...

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deliberately paying attention to sensations, sounds, and

back up again? My girlfriend and I (we’re both women) have

thoughts in the present moment – and noticing when the

been together for four years, and we haven’t had sex for two.

mind gets pulled elsewhere and then gently but firmly

I thought the sex was good before it stopped, but apparently

guiding it back. Mindfulness is also about not berating

she was going through the motions. She’s a sex worker, and it

yourself for finding it challenging or judging yourself for

took her a while to figure out she was not being present, and

the thoughts you have.”

she wanted to stop having sex with me until she could figure

In her practice, Dr. Brotto has seen research subjects suc-

out how to change that. I get that and respect it. We have an

cessfully use mindfulness to cultivate and/or reignite sexual

open relationship, so I started having more sex with other

desire, calm anxiety, and relieve the awkwardness and fear

people. And while it’s fun, I do find myself wishing I could

that some people experience with sex.

have sex with someone I actually care about – and I only care

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Is it even possible for a couple that stopped having sex to start

“Suffice it to say,” she said, “there is an impressive body

about her. She says she wants to start having sex with me

of research that supports the practice of mindful sex, and

again, but we don’t really know how to do that. Everything is

people who otherwise may believe that their minds are in-

kind of terrifying and awkward. She said it’s hard to go from

capable of staying still can effectively learn to fully engage

sex with zero intimacy into sex with the intimacy turned up to

their attention to sex and the person(s) with whom they

11. We’re very romantic with each other, and there are other

are having sex. It doesn’t matter if you are skeptical about

forms of physical affection like kisses and snuggling, but no

whether mindfulness works or not – if you are willing to

making out or humping. I love her more than I knew I could

learn the skills and apply it to sex, you’re likely to benefit.”

love a person, and if we never do figure out how to have sex

And if you’re nervous or scared that it won’t work or

together, I’ll still stay with her. But for two people who are

that you’ll never reconnect sexually with your girlfriend,

both highly sexual and want to have sex with each other, we

SORD, Brotto wants you to know that those feelings are

sure are perplexed at how to make this work.

perfectly normal.

Sex Or Romance Dilemma

“The uncertainty surrounding what will happen when they try to reintegrate sex can be terrifying for some cou-

“Let’s cut to the chase: Yes, it is possible for a couple that has

ples,” said Brotto. “What if it doesn’t work? What if neither

stopped having sex to start having it again,” said Dr. Lori

of them has desire? What if the sex is just plain bad? If

Real Singles, Real Fun...

Brotto, a clinical psychologist and a sex researcher at the

SORD and her partner are worrying about the anticipated

University of British Columbia.

sex, or even catastrophizing over it – a jargony term mean-

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two good reasons for hope: You and your girlfriend are

damn near impossible to remain in the present. The good

completely open and honest with each other, and you’re

news is that mindfulness can help with the tendency to get

committed to staying together whether or not the sex

lost on the thought train.”

You ended on a note of despair, SORD, but Brotto sees

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of Dr. Brotto’s new book and read it with your girlfriend.

bedrock on which you can rebuild your sex life.

And while you wait for the book to arrive, you’re going to

“There are two aspects of SORD’s question that jump out at me: One, the reference to wanting to be present for

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and awkward,” said Brotto. “SORD’s girlfriend likely per-

goal of triggering arousal or desire,” said Brotto. “SORD’s

fected the practice of ‘going elsewhere’ during sex while

role is to pay attention to the sensations emerging, and

at work, which meant that it became almost automatic

curtail any thoughts by redirecting attention to the here

for her to do this while having sex in her relationship.

and now. And relax. After 15 minutes, they switch roles so

This is classic mindlessness, and it is why mindfulness

SORD becomes the giver and her girlfriend is the receiver.

– the state of full awareness to the present moment in a

This is not foreplay. It is not manual sexual stimulation.

kind and compassionate way – may be a tool for her to

It is a mindfulness exercise designed to teach a person to

consider implementing.”

remain in the present while receiving sensual touch.”

CURRENT | October 3-9, 2018 | sacurrent.com

18+

There are solo mindfulness exercises, SORD, and some good, commercially available apps out there that can walk you through them. But if your goal is reconnecting

and it allowed monks to sit with their present experience,

with your girlfriend, Brotto strongly recommends that

including pain and suffering, for hours or days – or some-

you two work on mindfulness together.

times weeks and months,” said Dr. Brotto. “In more recent

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“She will invite her girlfriend to touch her from head to toe, minus the genitals, for 15 minutes – without the

“Mindfulness has a long history in Buddhist meditation,

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try a mindful touching exercise called “sensate focus.”

sex, and two, the description of the situation as terrifying

Sex Through Mindfulness: How Women Can Cultivate Desire.

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So here’s what you’re going to do, SORD: Order a copy

commitment – neither of you are going anywhere – are the

Mindfulness is the subject of Brotto’s new book, Better

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ing they imagine it ending in disaster – that can make it

“My view is that a couple-based mindfulness

years, mindfulness has been reconceptualized as a tool that

exercise like sensate focus will get them to their goal of

anyone can use and benefit from. It doesn’t rely on having a

mind-blowing, mind-knowing sex,” said Brotto.

Buddhist orientation or a cave to retreat to.”

So how does this ancient mindfulness stuff work where modern girl-on-girl sex is concerned?

“The practice is simple,” said Brotto. “It involves

Follow Dr. Brotto on Twitter @DrLoriBrotto.

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14 Dizzy 15 Open, as a toothpaste tube 16 Egypt’s org. from 1961 to 1971 17 Natural furniture that’s only good for serving stew, thanks to some spoons?

20 “That’s funny” 21 Group within a group 22 Country home 23 Air quality index issue 25 Gather wool from 27 Overlook 28 Moves on 30 Some baseball stats 32 Law professor Hill 34 Laborious way to open an envelope 36 Distress signal 39 Starting note for an underwater orchestra, thanks to some forks?

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etc FREE WILL ASTROLOGY BY ROB BREZNY ARIES (March 21-April 19): Electra is an action-packed story written by ancient Greek playwright Sophocles. It features epic characters taking drastic action in response to extreme events. In contrast to that text is Marcel Proust’s novel In Search of Lost Time, which draws from the sensitive author’s experiences growing up, coming of age, and falling in love, all the while in quest for meaning and beauty. Author Virginia Woolf compared the two works, writing, “In six pages of Proust we can find more complicated and varied emotions than in the whole of the Electra.” In accordance with astrological omens, I recommend that you specialize in the Proustian mode rather than the Sophoclean.

Your feelings in the next five weeks could be as rich and interesting and educational as they have been in a long time. Honor them!

making an enduring upgrade from i to I. Our allies’ support and feedback will fuel our inner efforts to clarify our identity.

TAURUS (April 20-May 20): Researchers in Maryland have created a new building material with a strength-to-weight ratio that’s eight times better than steel. It’s an effective insulator, and in some forms can be bent and folded. Best of all, it’s biodegradable and cost-effective. The stuff is called nanowood, and is derived from lightweight, fast-growing trees like balsa. I propose that we make it your main metaphor for the foreseeable future. Why? Because I think you’re primed to locate or create your own version of a flexible, durable, robust building block.

VIRGO (Aug. 23-Sept. 22): Your theme in the coming weeks is the art of attending to details.

But wait! I said “the art.” That means attending to details with panache, not with overly meticulous fussing. For inspiration, meditate on St. Francis Xavier’s advice, “Be great in little things.” And let’s take his thought a step further with a quote from author Richard Shivers: “Be great in little things, and you will be given opportunity to do big things.” Novelist Tom Robbins provides us with one more nuance: “When we accept small wonders, we qualify ourselves to imagine great wonders.”

GEMINI (May 21-June 20): The U.S. Secretary of Defense paid an official visit to Indonesia early this year. The government arranged for him to observe soldiers as they demonstrated how tough and well-trained they were. Some of the troops shimmied through broken glass, demolished bricks with their heads, walked through fire, and bit heads off snakes. I hope you won’t try stunts like that in the coming weeks, Gemini. It will be a favorable time for you show off your skills and make strong impressions. You’ll be wise to impress important people with how creative and resourceful you are. But there’s no need to try too hard or resort to exaggeration.

CANCER (June 21-July 22): i confess that i have a fuzzy self-image. With odd regularity, i don’t seem to know exactly what or who i am. For example, i sometimes think i’m so nice and polite that i need to toughen up. But on other occasions i feel my views are so outrageous and controversial that i should tone myself down. Which is true? Often, i even neglect to capitalize the word “i.” You have probably experienced some of this fuzziness, my fellow Cancerian. But you’re now in a favorable phase to cultivate a more definitive self-image. Here’s a helpful tip: We Cancerians have a natural talent for inspiring people to love us. This ability will come in especially handy as we work on

LEO (July 23-Aug. 22): “I am a little afraid of love, it makes me rather stupid.” So said author Simone de Beauvoir in a letter she wrote to her lover, Nelson Algren. I’m happy to let you know, Leo, that during the next twelve months, love is likely to have the opposite effect on you. According to my analysis of the astrological omens, it will tend to make you smarter and more perceptive. To the degree that you expand your capacity for love, you will become more resilient and a better decision-maker. As you get the chance to express love with utmost skill and artistry, you will awaken dormant potentials and boost your personal power.

LIBRA (Sept. 23-Oct. 22): Libran astrophysicist Neil deGrasse Tyson offers this observation: “When you look for things in life like love, meaning, motivation, it implies they are sitting behind a tree or under a rock. [But] the most successful people in life recognize that in life they create their own love, they manufacture their own meaning, they generate their own motivation.” I think Tyson’s simple wisdom is exactly what you need to hear right now, Libra.

You’re primed for a breakthrough in your ability to create your own fate.

SAGITTARIUS (Nov. 22-Dec. 21): Fling out friendly feelers! Sling out interesting invitations! Figure out how to get noticed for all the right reasons! Make yourself so interesting that no one can resist your proposals!

Use your spunky riddle-solving powers to help ease your tribe’s anxieties. Risk looking odd if that will make you smarter! Plunk yourself down in pivotal places where vitality is welling up! Send out telepathic beams that say, “I’m ready for sweet adventure. I’m ready for invigorating transformation!”

CAPRICORN (Dec. 22-Jan. 19): “Someone spoke to me last night, told me the truth,” writes poet Doeianne Laux. “I knew I should make myself get up, write it down, but it was late, and I was exhausted from working. Now I remember only the flavor.” I offer these thoughts, Capricorn, in the hope that they’ll help you avoid Laux’s mistake. I’m quite sure that crucial insights and revelations will be coming your way, and I want you to do whatever’s necessary to completely capture them so you can study and meditate on them at length.

AQUARIUS (Jan. 20-Feb. 18): As a young man, Aquarian poet Louis Dudek struck up a corre-

spondence with renowned poet Ezra Pound, who was 32 years older. Dudek “admired him immensely,” and “loved him for the joy and the luminosity” of his poetry, but also resented him “for being so magnificent.” With a mix of mischief and adulation, Dudek wrote a poem to his hero. It included these lines: “For Christ’s sake, you didn’t invent sunlight.

There was sun dazzle before you. But you talk as if you made light or discovered it.” I hope his frisky tone might inspire you to try something similar with your own idols. It would be healthy to be more playful and lighthearted about anything or anyone you take too seriously or give enormous power to.

PISCES (Feb. 19-March 20): In his book Till We Have Faces, C. S. Lewis writes, “Holy places are dark places. It is life and strength, not knowledge and words, that we get in them.

Holy wisdom is not clear and thin like water, but thick and dark like blood.” In that spirit, and in accordance with astrological omens, I suggest you seek out dark holy places that evoke wonder and reverence, even awe. Hopefully, you will be inspired thereby to bring new beauty into your life. You’ll be purged of trivial concerns and become receptive to a fresh promise from your future life.

THIS MODERN WORLD BY TOM TOMORROW

SCORPIO (Oct. 23-Nov. 21): Japanese entrepreneur Hiroki Terai has created a business that offers crying therapy. His clients watch short videos specially formulated to make them weep.

A professional helper is on hand to gently wipe their tears away and provide comforting words.

“Tears have relaxing and healing effects,” says an Okinawan musician who works as one of the helpers. Hiroki Terai adds, “It has been said that one drop of tear has the effect of relieving stress for a week.” I wish there were a service like this near where you live, Scorpio. The next two weeks will be a perfect time to relieve pent-up worry and sadness and anxiety through cathartic rituals like crying. What other strategies might work for you? sacurrent.com | October 3-9, 2018 | CURRENT

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