San Antonio Current — October 6, 2021

OCT. 6 - OCT. 19, 2021

YELP ONWARD HERE’S TO ALL THE SA LOCALS WHO ENJOYED THE HAPPIEST OF HOURS SO THAT WE CAN FOLLOW IN THEIR FOOTSTEPS

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“Bloom” sculpture series by San Antonio Artist Leticia Huerta

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

in this issue San Antonio Current

Issue 21-20 /// October 6 – October 19, 2021

38 Music

Editor-in-Chief: Sanford Nowlin General Manager: Chelsea Bourque

Still a Louisiana Man

Editorial

Doug Kershaw brought Cajun music to a wider audience over a dcadeslong career. He’s not done yet.

Digital Content Editor: Kelly Merka Nelson Contributing Arts Editor: Bryan Rindfuss Food and Nightlife Writer: Nina Rangel Contributors: Ron Bechtol, Chris Conde, Daniel Conrad, Jade Esteban Estrada, Dan R. Goddard, Lance Higdon, Steven G. Kellman, Hannah Lorence, Kiko Martinez, M. Solis, Gary Sweeney, Lea Thompson, Abe Asher, Mackenzie Cook Editorial Interns: Katelyn Earhart, Yukiko Yamazaki

Music Listings

Marketing and Events

Marketing and Events Director: Cassandra Yardeni Events Manager: Chelsea Bourque Account Manager: Nathan Sokul Senior Account Executive: Mike Valdelamar Marketing Interns: Julia Bentley Social Media Manager: Meradith Garcia

Creative Services

Graphic Designer: Samantha Serna Production Interns: Pedro Macias

Circulation

Circulation Manager: Justin Giles

Euclid Media Group

Chief Executive Officer: Andrew Zelman Chief Operating Officers: Chris Keating, Michael Wagner VP of Digital Services: Stacy Volhein Director of Agency Services: Mindi Overman Digital Operations Coordinator: Jaime Monzon Senior Marketing and Events Director: Cassandra Yardeni www.euclidmediagroup.com National Advertising: Voice Media Group (888) 278-9866, vmgadvertising.com San Antonio Current 915 Dallas San Antonio, Texas 78215 sacurrent.com Editorial: (210) 332-5448 Display Advertising: (210) 332-5448 Classified: (210) 227-CLAS / Fax - (210) 227-7733 The San Antonio Current is published by Euclid Media Group Verified Audit Member San Antonio Distribution – The Current is available free of charge, limited to one copy per reader.

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Nathan Sokul

33 Feature

Garten Party

San Antonio biergartens — both old and new — provide the ideal place to celebrate Oktoberfest

11 News

The Opener News in Brief

Cityscrapes Not Attaining

17 Calendar Calendar Picks

23 Arts

Showing San Antonio to New York

Curator Marian Casey expands the Texas narrative with new Governors Island show ‘Mutable Land’

Francis’ Big Adventure

Actor Mark Holton of Pee-wee fame is Guest of Honor at San Antonio’s 10th Annual Burton Ball

31 Screens

Horror en la Sangre

San Antonio native Marcella Ochoa penned the screenplay for Madres, which streams October 8

OCT. 6 - OCT. 19, 2021

33 Food

Tapping Into the Future San Antonio and Texas craft brewers react to emerging trends with both new and backward-looking styles

Prost! like a pro

Here’s your survival guide to the San Antonio Beer Festival

Better Than Bar Food

Künstler Brewing’s German-inspired bill of fare is worth exploring with or without a beer in hand

O

n the Cover: The Current’s annual beer issue lines up with the San Antonio Beer Festival, scheduled for Saturday, October 16. Photo by Nathan Sokul. Cover design: Samantha Serna.

Ricos San Antonio Current Beer Edition 2021.pdf

1

9/24/21

12:27 PM

Ingredients 1 15 oz Ricos Aged Condensed Cheddar Cheese Sauce 12 oz Alamo Amber Lager 1 lb ground beef 1 lb ground pork sausage 28 oz crushed tomatoes 28 oz black beans drained & rinsed 1 cup diced onion 2 cloves garlic minced 2 tbsp tomato paste 2 tbsp chili powder 1/2 tsp ground cumin 1/4 tsp cayenne pepper 1 tbsp salt 1 tsp black pepper 1 tsp Mexican Oregano 1 tbsp chopped cilantro

Instructions Sauté onions, garlic, beef and sausage in a pot on medium high heat.

Lower heat and add tomato paste, crushed tomatoes and spices and stir occasionally.

Add Alamo Amber Lager beer and bring to a simmer until chili becomes thick.

Add black beans and Ricos Cheese Sauce and mix until combined.

Garnish with chopped cilantro.

Amber Lager Chili con Ricos www.ricos.com

© 2021 Ricos Products Co., Inc.

Available at your favorite Grocery or Club Store 8

CURRENT | October 6 – October 19, 2021 | sacurrent.com

QP San Antonio Current Beer Edition 2021.pdf

1

9/24/21

12:25 PM

Available at your favorite HEB or WALMART © 2021 Ricos Products Co., Inc.

www.ricos.com sacurrent.com | October 6 – October 19, 2021 | CURRENT

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CALL OR TEXT STEPHANIE STONE AT

210-343-1999

OR VISIT OUR WEBSITE AT STEPHANIESTONEHOMES.COM

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

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Voted BEST Realtor!

H

As the Texas Lege debates the creation and adoption of new congressional maps, the Texas Tribune is reporting that the Republican-run state House is getting outside help from a master of the redistricting dark arts: Adam Foltz, an operative who helped craft Wisconsin’s heavily gerrymandered map in 2010. Foltz was hired by the Texas Legislative Council at an annual salary of $120,000 and is reportedly working behind the scenes for the House Redistricting Committee, the Trib reports.

H

SA has a new mural celebrating one of its most beloved characters: the diminutive impersonator known as “Hispanic Elvis.” Local muralist Colton Valentine painted the mural, which depicts the colorful local celebrity on his trademark bicycle. The image on a wall at 802 San Pedro Ave. replaces Valentine’s depiction of Cardi B.

H

In news that will shock no one, a report issued last week by federal energy regulators shows that Texas hasn’t addressed the root causes of February’s catastrophic power-grid failure. The document recommends that the state make two dozen changes to better prepare for the coming winter.

A state district judge last week ordered Texas to release 250 migrants arrested in accordance with Gov. Greg Abbott’s “catch and jail” border policy. The arrested migrants were held in prison for over a month without being charged with any crime, violating both their constitutional rights and Texas law, the judge ruled.

As many as 900 migrants arrested after being accused of property crimes were being held without charges last week, the Texas Tribune reports. — Abe Asher

YOU SAID IT!

“What we have is a real domestic violence crisis on our hands. We have a very real homelessness crisis.

We’re experiencing a very real sex trafficking crisis and a very real veteran opioid and mental health crisis. What we’re not facing is a ‘transgender-in-sports’ crisis, because it doesn’t exist. Anyone who tells you that this is a problem in Texas is misinformed or, in the case of [Lt. Gov.] Dan Patrick and Greg Abbott, is trying to misinform you.”

ASSCLOWN ALERT

Clayton Perry votes ‘no’ Assclown Alert is a column of opinion, analysis and snark.

It’s tempting to write off Clayton Perry, the sole conservative on San Antonio’s largely progressive city council, as a loveable curmudgeon.

After all, he’s more folksy than brash in his contrarian stances, not exactly someone prone to Trumpian tantrums.

But Perry’s vote against last week’s council resolution condemning the ugly crusade by Texas GOP leaders to ban transgender kids from school sports is one more reason why we shouldn’t fall into that temptation.

In defending his vote — the only one cast against the resolution — the District 10 councilman argued that he was refusing to back an empty gesture.

“Oftentimes, these resolutions bare no teeth and go beyond the ability and responsibility of council,” he said in a written statement. “Potential legislation regarding this issue is currently under review at the state legislature. This resolution, like many others that have come before council, is an attempt to point fingers and place blame on our state and federal leaders.”

Perry’s right in one sense: Republicans in the Lege don’t give a shit what San Antonio’s city council has to say about their latest bill to marginalize transgender kids. To be sure, those lawmakers haven’t listened to the parents or experts on school sports who correctly point out that it’s both cruel and unnecessary.

The reality, however, is that political bodies pass resolutions of approval or disapproval all the time. Yes, they’re largely symbolic, but

Matthew Dowd, former chief strategist for President George W. Bush, last week announced he’ll run as a Democrat for Lieutenant Governor. Dowd said he began considering a run following the January 6 coup attempt.

After the Texas Legislature’s hard-right push during its most recent session, Dowd decided to target Republican Lt. Gov. Dan Patrick, whom he called “cruel and craven.” Dowd will have to face Democratic primary voters first; Mike Collier, who came within five points of beating Patrick in 2018, is also exploring a run.

news

That Rocks/That Sucks

Facebook / District 10 Councilman Clayton Perry

they’re provide moral support for constituents affected by the issue. They have value in establishing how a community stands.

While Perry has voted against plenty of resolutions, he’s not universally opposed to them. Last year, he voted for one condemning pandemic-related hate speech, and in 2019 he supported another calling for an end to mass shootings. Did he really believe his vote would abolish either ill?

Perhaps Perry’s opposition to last week’s resolution — like his abstention from one last year declaring racism to be “a public health crisis” — isn’t so much rooted in his opposition to the practice itself as it is in signaling to voters in his conservative-dominated district where he falls on America’s deepening partisan divide.

The Lege’s politically motivated assaults on trans kids affects families in Perry’s district, and it’s taking a dark toll. The Trevor Project, a suicide prevention group serving LGBTQ+ young people, said crisis contacts from Texans is up 150% from January 1 through August 30 compared to the same period of 2020.

Council’s resolution matters to San Antonio families affected by the Lege’s ugly fixation with punishing transgender kids. If Perry is unwilling to stand up for them, even symbolically, he’s clearly put being a pandering assclown ahead of his role as a public servant. — Sanford Nowlin

The Musicians of the San Antonio Symphony (MOSAS) voted to strike after contract negotiations with the Symphony Society broke down.

The musicians rejected the Symphony Society’s offer to cut the orchestra’s compliment of fulltime musicians from 72 to 42, converting 26 of those positions to part-time work and terminating four entirely. The musicians also rejected a previous offer to cut all their paychecks by half.

The Symphony Society argues that major cuts are a financial necessity. — Abe Asher

— Manny Pelaez,

District 8 San Antonio councilman Twitter / @matthewjdowd

Find more news coverage every day at sacurrent.com

Featured events include : Oct. 6 Artist Talk/Plática and Workshop with Lisette Chavez Oct. 7 Artist Talk/Plática: Lupe Mendez, 2022 Texas Poet Laureate Oct. 11 Film Panel/Plática: Truly Texas Mexican: Honoring Native American Histories through Food Sept. 15-Oct. 15 Virtual Art Exhibit: Life and Experiences in the U.S./Mexico Borderlands – Mexic Arte Museum, Austin, Texas

To view the full line-up of Heritage Month events, visit:

alamo.edu/pac/heritage-month

All events are FREE and OPEN TO THE PUBLIC. 1400 W. Villaret Blvd. | San Antonio, TX 78224 alamo.edu/pac

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Sanford Nowlin

CITYSCRAPES

Not Attaining

As San Antonio’s air quality once again fails to meet federal standards, it’s time to demand better

BY HEYWOOD SANDERS The following is CityScrapes, a column of opinion and analysis.

R

ecently, there’s been a ritual gnashing of teeth and a flood of complaints from the Chamber of Commerce amid fresh forecasts of economic doom.

Officials have shared a troubling report — albeit now four years old — from economist Steve Nivin that estimates billions in costs and economic losses.

Some blame outsiders, claiming the real problem lies across the southern border.

No, we’re not talking about a fresh flood of migrants coming into South Texas or some grand threat to San Antonio’s future. All that rancor surrounds “nonattainment,” the term used to describe the failure of our metro’s air quality to meet the Environmental Protection Administration’s standard for ground-level ozone.

That standard, set in 2015, is 70 parts per billion. We had until September 24 of this year to meet it. We didn’t.

Now there’s a 30-day comment period, where the state’s environmental “regulator,” the Texas Commission on Environmental Quality, will argue that our failure is actually the result of pollution streaming over from the other side of the border. And, as the Express-News reported, the Chamber of Commerce emphasized in a letter to the EPA that the San Antonio area lowered its ozone level by 20% from 2014 to 2019.

Maybe those parties will succeed in making their case to the feds. If they don’t, the state may go to federal court, as it did in 2018, to overturn an EPA judgment that we’re in nonattainment.

Regardless of the wrangling, the reality is that, once again, San Antonio failed to meet the EPA standard. For all the complaints about having to get our vehicle emissions tested and about additional requirements for “point sources” such as power plants

and quarries, the truth is this: our air is dirtier and unhealthier than it should be. Despite the court decision upholding the 70-parts per billion standard, we haven’t managed to move our air quality for years. While our ozone level dropped from 81 in 2013 to 73 in 2016, progress has essentially stalled. It was the same 73 in 2019 and about the same in 2020.

We dealt with the easier emission sources years ago. But as the Alamo Area Council of Governments noted in a 2019 report, “On-road vehicles have traditionally represented the significant source of [nitrous oxide] in the region.” As our metro continues growing, spreading urban growth outward, we drive more every year — albeit with a downward “blip” in 2020 due to the pandemic.

Living in Monte Vista near U.S. Highway 281, I see and hear the impact of that growth every day.

Once the highway was terribly congested northbound in the late afternoon as downtown workers left for homes in Stone Oak and beyond. Now, the southbound traffic clogs up after 4 p.m., the result of construction and maintenance workers returning south of downtown from new subdivisions well beyond Loop 1604.

Then there’s all the crosstown traffic as workers head home to the far West Side from job centers around the Medical Center, UTSA’s main campus and Stone Oak.

What we’ve built over the years is a highly dispersed city with multiple job centers. And we’ve done it with public policy and public subsidies. The property tax abatements to Citibank and Microsoft at Texas Research Park, along with more recent breaks for the Kohl’s operations center at Rogers Run and others, all contributed to San Antonio’s spread.

The city government and local public agencies also continue to boost the fortunes of favored local developers.

For example, University Health District announced the purchase of land next to the Texas A&M-San Antonio campus south of Loop 410. That’s where the early developers of the Verano tax increment zone, approved in 2007, promised to produce “2,542 single-family detached homes, 3,375 multi-family homes, 1,021 condos/town homes, 5,977,200 square feet of commercial, and the new Texas A&M,” not much of which happened.

The Chamber isn’t going to stop wailing as we once again deal with nonattainment. But it’s time for the rest of us to stand up and say that we want cleaner air, that we want less asthma and respiratory disease and that we value public health at least as much as private developers’ gain.

Heywood Sanders is a professor of public policy at the University of Texas at San Antonio.

sacurrent.com | October 6 – October 19, 2021 | CURRENT

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

news

Instagram / @GovAbbott

Paying for the Probe

Texas taxpayers likely face a steep bill for ‘election audit’ Trump ordered from Gov. Greg Abbott

BY SANFORD NOWLIN

W

hile Texas officials have yet to explain how they’ll pay for their recently announced probe into the 2020 election results in four of the state’s most-populous counties, evidence suggests it won’t come cheap to taxpayers.

On September 23, former President Donald Trump issued an open letter demanding a “forensic audit” of the 2020 election in Texas, a state he handily won. Hours later, in a statement echoing Trump’s “forensic audit” language, the Texas Secretary of State’s Office said it would probe the election results in Dallas, Collin, Harris and Tarrant counties, three of which were won by President Joe Biden.

The probe comes under the watch of Republican Gov. Greg Abbott, a Trump ally running for reelection in 2022. It’s the latest so-called “forensic audit” ordered up by GOP state lawmakers as Trump continues to push discredited lies that widespread fraud cost him the 2020 election.

This summer, a 30-page nonpartisan report documented the high cost of the investigations ordered up by Trump-coddling lawmakers. A collaboration between the left-leaning Brennan Center for Justice, center-right

R Street Institute and nonpartisan anti-authoritarian watchdog Protect Democracy, the study also found that in some states, unaccredited contractors were allowed to access voting machines.

Arizona’s recently completed investigation alone had already racked up $2.4 million in expenses at the time of the report’s July 8 street date. Much of that price tag comes down to Maricopa County being required to replace its voting machines after they’d been “compromised by this interference.”

The months-long review by a firm called Cyber Ninjas in late September confirmed that Joe Biden had won both Maricopa County and the state by more votes than counted in the initial tally.

Earlier in the summer, Cyber Ninjas also revealed that Trump-supporting groups had kicked in $5.7 million to fund its work, while the state Senate had funneled it $150,000 for the effort.

“The takeaway is that this was a colossal waste of time,” Arizona Secretary of State Katie Hobbs told Politico. “And anyone who is considering replicating it in their state, or taking further action based on this report, should not be considered a serious leader.”

Beyond Arizona

According to the same report, a statewide probe ordered up by Republican lawmakers in Wisconsin is estimated to run more than $63,000 and could expand statewide.

That Wisconsin price tag appears poised to go up further, according to news reports. Late last month, Republicans who control the Wisconsin Legislature began seeking approval to spend up to $680,000 in taxpayer money to bankroll the investigation.

Meanwhile, the report estimated the cost of Pennsylvania’s ongoing Republican-ordered election investigation at $25,000. However, Philadelphia officials have warned that the city could be forced to replace $40 million in voting machines compromised during the process, Reuters reported.

Michigan’s GOP-backed probe has so far generated an estimated price tag of $5,000, the report states. However, Republican lawmakers in that state’s legislature are also pushing for legislation that would appropriate $2.5 million in funding for the project.

The cost of Georgia’s review was unclear at the time data was compiled, according to the report.

Just as alarming as the expense of the audits are what Republican officials are getting for their money, the report warns. The partisan reviews examined by the study failed basic standards of objectivity, transparency and competence, according to the authors. “[T]he procedures proposed for these reviews are not designed to obtain secure and accurate results and are radically different from proven election

integrity procedures, such as post-election tabulation audits, routinely conducted by election officials across the country,” the report notes. “That these efforts are gaining traction more than six months after certification of the election is a blinking red warning light.”

Calling out Abbott That high price tag for partisan election probes didn’t go unnoticed by journalist Chris Wallace, who quizzed Abbott in late September during the governor’s appearance on normally GOP-friendly Fox News Sunday.

“Isn’t it just a terrible waste of taxpayer money to have an audit in a state that everybody says went fine and that President Trump won by 600,000 votes, and aren’t you contributing to this undermining confidence in our election process?” Wallace asked.

Abbott ducked the question, instead asserting that because governments regularly audit other functions, they should also do so for elections.

Even though Texas’ announcement of its probe came mere hours after Trump shared an open letter demanding an audit of the Texas results, Abbott asserted to Wallace the probe was unrelated to the former president’s request.

“They actually began months ago because the secretary of state of Texas has an obligation to make sure that we do conduct audits in the state of Texas,” Abbott said.

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calendar

Courtesy Pohotos / Big Texas Comicon

FRI | 10.08 SUN | 10.28 SPECIAL

BIG TEXAS COMICON

Nearly two years since the last major comic convention took place in San Antonio, Big Texas Comicon is opening its doors to fans of all things pop culture and hoping to set a new precedent for any of the other locally produced shows to do the same moving forward. This year, con co-founder Fred Hernandez and his crew are bringing out a mix of actors and artists, including Giancarlo Esposito (TV’s Breaking Bad), Doug Jones (The Shape of Water), Martin Kove (TV’s Cobra Kai), Holly Marie Combs (TV’s Charmed), David Koechner (Anchorman) and Richard Cabral (TV’s Mayans M.C.). Face masks are required inside the convention center, so don’t be a dick about it. If you’re planning on cosplaying this year, why not go as Scorpion or Sub-Zero from Mortal Kombat, that way the face mask is part of the costume? No, going as Zorro wouldn’t cut it, but going as Iron Man might give you extra protection. Of course, we’re being facetious. Just play by the rules, so we can continue to have nice things. $11-$201, 2-8 p.m. Friday, 10 a.m.-7 p.m. Saturday, 10 a.m.-6 p.m. Sunday, Henry B. González Convention Center, 900 E. Market St., bigtexascomicon.com. — Kiko Martinez

SAT | 10.09 SPECIAL EVENT

CHALK IT UP While this annual event has typically taken place downtown,

Maverick Library, Igo Library, Encino Library and Thousand

games like Plinko making an appearance? And the prizes

Oaks Library. Artpace also will promote the event across its

are real, folks. For those who want a chance to get onstage,

social media platforms. It encourages locals who participate

registration is available at the Tobin Center three hours

from home to use the hashtag #ArtpaceChalkItUpAtHome.

before showtime. And remember: the Big Wheel has to go

Free, 10 a.m.-2 p.m., various locations, artpace.org. — Kelly

all the way around or your spin doesn’t count. If you make it

Merka Nelson

onstage, we’re begging you, please don’t humiliate yourself. $29.50-$49.50, 7 p.m. Sunday, 7:30 p.m. Monday, Tobin Center

Artpace is partnering with the San Antonio Public Library for a second year to host Chalk It Up at library branches across the city. Featured artists will create large-scale murals at each participating branch following the theme of The Spirit of San Antonio. Visitors can enjoy the murals as well as create art of their own in designated chalk zones. Heck, they’ll even have access to free chalk. Participating branches

SUN | 10.10 MON | 10.11

for the Performing Arts, 100 Auditorium Circle, (210) 223-8624, tobincenter.org. — Mike McMahan

SPECIAL EVEN T

include Landa Library, Carver Library, Mission Library,

THE PRICE IS RIGHT LIVE

Johnston Library, Bazan Library, Great Northwest Library,

Come on down if you remember a time before streaming, before cable, when there were like three TV channels available. If you were lucky and could get the antenna pointed in precisely the right direction. Or maybe you were unem-

Reminder:

ployed or maybe it was summer or maybe you stayed home from school. Somehow, though, at some point you watched the quintessential game show: The Price Is Right. Bob Barker was the host, and he sent you off with a reminder to fix your dogs and cats. And you loved it! Those days are back — for real! — via a live stage show. Unfortunately, the now 97-year-old Barker won’t be there. For that matter, neither will current host Drew Carey, since this is a stage show, not Cade Bradshaw

a taping for a TV broadcast. But who cares when there are

Courtesy of Tobin Center for the Performing Arts

Although live events have returned, the COVID-19 pandemic is still with us. Check with venues to make sure scheduled events are still happening, and please follow all health and safety guidelines.

ENTER AT YOUR OWN RISK!

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18

CURRENT | October 6 – October 19, 2021 | sacurrent.com

calendar THU | 10.14 SAT | 10.17 COMEDY

CHINGO BLING Yes, this comedian does some rapping. But how could he not with a name like Chingo Bling? Born Pedro Herrera III in Houston, Bling first came to public attention via, yes, his raps. The Tamale Kingpin, his debut album, gave a pretty good hint as to his career direction. Branching out, though, he started a YouTube channel to have an outlet for his humor and found himself with a burgeoning second career. Since then, Mr. Bling has made enough inroads on the comedy circuit that his first standup special, They Can’t Deport Us All, aired on the mitú network and is now streaming on Netflix. As a comic, he’s spoken about death threats from white nationalist groups and complained about being targeted by right-wing media. You might think such an outspoken Latino would oppose one Donald J. Trump. Well, the comedian is breaking the mold there, having produced a YouTube video about why he voted for the former guy. If you care about such matters, the video is still up, but really: Do you care about why anyone supported Trump? No, no you don’t. $70-$140, 8 p.m. Thursday, 7:30 p.m. and 9:45 p.m. Friday, 7 p.m. and 9:30 p.m. Saturday, 7:30 p.m. Sunday, Laugh Out Loud Comedy Club, 618 Northwest Loop 410, (210) 541-8805, improvtx.com/sanantonio. — MM

Courtesy Photo / LOL Comedy Club

FRI | 10.15 FI LM

FOODIE CINEMA: SWEENEY TODD

Jose Villalobos

Nothing says a great night out like dinner and a movie. To that end, the San Antonio Botanical Garden is pairing director Tim Burton’s 2007 Academy Award-winning musical Sweeney Todd: The Demon Barber of Fleet Street and an assortment of English foods, since the story is, of course, set in 19th century London. Johnny Depp, who was nominated for Best Actor for his performance, plays the title character, a barber and serial killer whose shaving technique is a bit too close for customers’ comfort. Once Sweeney bleeds them dry with his straight razor, he and his accomplice Mrs. Lovett (Helena Bonham Carter) bake the dead

TUE | 10.12 ART

UNITED STATES CUSTOMS OF OPPRESSION

It can be challenging to keep up with Jose Villalobos, a fast-rising San Antonio artist whose multimedia work often protests the “toxicity of machismo” from a queer Latinx perspective. Since earning a prestigious Painters & Sculptors Grant from the New York-based Joan Mitchell Foundation in 2018, the El Paso native has exhibited across the Lone Star State, from the McNay Art Museum and Artpace to Texas A&M International University in Laredo and the Dallas Latino Cultural Center. He’s also one of seven artists featured in “Mutable Land” — a Tex-centric group show on Governors Island in New York (see Arts section, page 23). Upon returning from that show’s September 25 opening, he quickly set off for Lubbock to install a solo show at the Louise Hopkins Underwood Center for the Arts. Perhaps unsurprisingly, Villalobos is also among the handful of artists representing San Antonio in the 2021 Texas Biennial — a socially minded survey spread across five institutions including the San Antonio Museum of Art. While Villalobos’ layered, mixed-media installation Los Pies Te Cargaron (The Feet That Carried You) will remain on view at SAMA through December 5, his performance United States Customs of Oppression is a one-time-only affair. Set to take shape in SAMA’s West Courtyard on October 12, the standalone piece expands on something Villalobos wrote and shared with us: “The truth is that / We fight and we fight / But the white man is always right / But I refuse to give up this light / That I carry inside / I will shift and I’ll grow / Like the desert in sight / My brown skin will interrupt your land like the sharp rusted blades of the border wall / I will stand tall even when I fall.” Free, 6-6:30p.m., San Antonio Museum of Art (West Courtyard), 200 W. Jones Ave., (210) 978-8100, samuseum.org. — Bryan Rindfuss

Warner Home Video

sacurrent.com | October 6 – October 19, 2021 | CURRENT

19

Artist & Support Services

Apply to be on our Pre-Qualified List to be considered for projects.

DEADLINE: November 16, 2021 at 5:00 p.m. CST www.SanAntonio.gov/Arts/Open

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

calendar

bodies into meat pies, which she then sells in her shop. So, what, pray tell, is on the Foodie Cinema menu that’s being cooked up by Chef Katrina Flores? Expect meat pies and mash, of course. Attendees will also be served English chips, Guinness cheese sauce, British roasted veggie salad with stilton, English trifle and a gin Bloody Mary. “Tell me, are they flavorsome?” It’s a good thing the evening doesn’t include a free haircut. $55, 6:30 p.m., San Antonio Botanical Garden, 555 Funston Place, (210) 536-1400, sabot.org. — KM

SAT | 10.16 SPECIAL EVENT

MONARCH BUTTERFLY AND POLLINATOR FESTIVAL The sixth annual Monarch Butterfly and Pollinator Festival celebrates the monarch butterfly’s migration from Canada to the mountains in Mexico. For centuries, the butterflies returned to Mexico in time for Day of the Dead in November, so they are symbolically associated with the souls of loved ones. After taking place virtually in 2020, this year’s festival moves to Confluence Park for the first time, where it will feature butterfly tagging, kayaking and educational activities celebrating monarchs as well as other pollinators at the peak of the butterfly’s migration season in San Antonio. In a gesture of hope and healing, the butterflies tagged at the festival this season will carry the names of people who have died. Those who wish to tag a butterfly in memory of a loved one can complete a form on Texas Butterfly Ranch’s website. Free, 10 a.m.-2 p.m., Confluence Park, 310 W. Mitchell St., texasbutterflyranch.com.

— Yukiko Yamazaki

Joel Salcido

FRI | 10.15 CLASSICAL MUSIC

AGARITA: POSTCARDS FROM THE BORDER

Chamber ensemble Agarita’s latest entry in its 2021-2022 season is a collaboration with photographer Joel Salcido and writer Oscar Cásares.

Seeking to tell a more genuine story about the Texas-Mexico border, the pair traveled the length of the Rio Grande River together, creating the series “Postcards from the Border,” which appeared in Texas Monthly last year. For the performance, Agarita has crafted a program to pair with Salcido’s images, which will also be accompanied by narration by Cásares. Free, 7:30 p.m., Carver Community Cultural Center, 226 N. Hackberry St., (210) 207-7211, agarita.org. — KMN

SAT | 10.16 FILM

HOTEL TRANSYLVANIA Enjoy the fall weather outside with a screening of Hotel Transylvania, a Halloween classic sure to delight both kids and adults. In the film, Adam Sandler’s Count Dracula hosts his daughter Mavis’ 18th birthday party — and things go awry as monster and human worlds collide.

The wholesome movie is sure to warm folks up for the chilly October ahead. Bring blankets, lawn chairs and snacks to picnic at the plaza.

Food trucks and parking are available on site. Pets are also welcome, and masks and social distancing are recommended. Free, 7 p.m., MisU.S. Fish and Wildlife Service

sion Marquee Plaza, 3100 Roosevelt Ave., slabcinema.com. — YY

Sony Pictures Home Entertainment

sacurrent.com | October 6 – October 19, 2021 | CURRENT

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CURRENT | October 6 - October 19, 2021 | sacurrent.com

arts

Courtesy Image / Mari Hernandez

Showing San Antonio to New York M Pitted Brother Against Brother Curator Marian Casey expands the Texas narrative with new Governors Island show ‘Mutable Land’

BY BRYAN RINDFUSS

F

or many artists, exhibiting work in New York can be a lifelong goal — one that requires not only talent and perseverance but the ever-elusive opportunity. For seven San Antonio artists, that opportunity arrived courtesy of Marian Casey, an independent curator whose work focuses on “social engagement and building experimental approaches to historic narratives and spaces.”

A San Antonio native who earned a master’s degree in curating from the Courtauld Institute of Art in London — and happens to be the daughter of Rick Casey, the veteran San Antonio journalist — Casey devised the exhibition “Mutable Land” as part of a curatorial partnership with the nonprofit New York Art Residency and Studios (NARS) Foundation. In keeping with her interest in storied locales, the venue the NARS Foundation provided was situated on Governors Island. Originally dubbed Paggank (“Nut Island”) by the indigenous Lenape, the island was purchased by the Dutch in 1637 (reportedly for “two ax heads, a string of beads and a handful of nails”), became British territory in 1750, operated one of the nation’s longest continuous military installations (1755-1996) and only opened to the general public in 2003.

“When I had the opportunity to produce the show with NARS Foundation, I was reading about the history of Governors Island and the history of that space immediately started reminding me of the history of Texas,” Casey explained.

Described in the press release as an artistic exploration of Texas land — “how humans change the land beneath our feet and the

people living on it, with a focus on shifting borders, colonization, migration, militarization, gender and tradition” — Casey’s “Mutable Land” brings together drawings by Fernando Andrade; woodblock prints by Richard Armendariz; photographic self portraits

by Joe Harjo and Mari Hernandez; archival digital prints by Ethel Shipton; mixed-media installations by Jose Villalobos; and sculptural and video works by Anne Wallace.

While it places San Antonio talent on a truly unique New York stage, “Mutable Land” also seeks to spark conversations that extend far beyond the dominant narratives currently surrounding Texas. In hopes of learning more about the exhibition, we arranged a Zoom conversation with Casey, excerpts from which follow.

Is this the first time you’ve curated a San Antonio-specific show?

This is my first Texan group show, which is really exciting. I had a solo show of an artist called Gary Cruz last year. [He’s] Texan but has been based in New York for a really long time. … I’ve been really wanting to do a show of Texan artists for a long time. I’d been thinking about it in London for a while; I split my curatorial practice between New York and London. When I had the opportunity to produce the show on Governors Island with NARS Foundation, I was reading about the history of Governors Island and the history of that space immediately started reminding me of the history of Texas. There’s a lot of this back and forth of different nations sweeping through and deciding, “Okay, now this space is mine.” And a lot of heavy militarization

Mari Hernandez jabs at Texas history in her staged self portrait .

and redrawing of borders and just being a space of contestation. The difference is that Governors Island was this center of military leadership and the center of the American and European perspective for a long time in the 19th and 20th centuries — whereas for a lot of that time period Texas was seen as more of a far-flung frontier. But they both had this interesting history of the push and pull of different national interests pushing through … and the redrawing of borders, migration and colonization.

What was the gallery space originally?

Military housing — all of the houses on Governors Island were formerly houses for military leadership. This building was probably built in the 1930s. A lot of the main houses on Colonels Row were built for returning union generals in the mid-19th century. That’s part of what made me really think about a lot of those themes.

Had you spent much time on Governors Island before you got this project?

I had never been there until I had the opportunity to do this project. And it’s a really interesting space. The Trust for Governors Island has offered these houses to different arts organizations and nonprofits to create satellite spaces and do pop-ups. It’s created this really interesting vibe on the island. …

Every house is populated by a different social justice project, arts project or residency.

Once you made the connection between Texas and Governors Island, how did you go about selecting artists?

I was thinking about artists who were 27

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*List Subject To Change Without Notice

Gemini Ink presents an unforgettable Inkstravaganza 2021

HONORING PLAYWRIGHT, POET, JOURNALIST, FILMMAKER

Gregg Barrios

Friday, October 15th, 6:30-8:30pm Join us in person for an open-air “Garden Party” at the McNay Art Museum, followed by a star-packed, virtual show, Saturday, October 16th, at 7pm CST, with artists nationwide joining us for a celebration of Gregg Barrios’ literary achievements. Tickets start at $75.

Visit geminiink.org for full details or call (210) 734-9673.

Thank you to our sponsors who make this all possible: Sandra Cisneros, James Lifshutz, Martin Rico, Bob Rivard & Monika Maeckle, Bonnie Reed & Stu Schlossberg

San Antonio’s Writing Arts Center

26

CURRENT | October 6 - October 19, 2021 | sacurrent.com

arts

Bill Daniel Courtesy Image / Ruiz-Healy Art

Courtesy Image / Joe Harjo

Courtesy Image / Fernando Andrade

Fernando Andrade’s series La Ruta recreates buses his grandmother took between Texas and Mexico.

Ethel Shipton references the U.S.-Mexico border’s former confines with her print La Frontera 1845.

M

Native artist Joe Harjo addresses forced assimilation with his photograph Mark of the Beast.

M

M

23 engaging with place — the place of Texas — and the experience of living on that place in really different and interesting ways. I wanted an interesting range in perspectives. Some of the artists were people I’d already been interested in working with and some were people whose work I was introduced to through conversations and research. And I was thinking in three strands. I was thinking about artists who engage a lot with history and research … and how different areas of history impact how we’re living today — [artists] like Mari Hernandez or Anne Wallace.

Anne Wallace is so research-oriented, so thorough in her practice. [She] really puts in that work to know so much about who the people were who were living on this land — not just the big names but all the marginalized folks throughout history. And then also artists who are thinking about movement and the experience of moving around Texas and what that looks like. Fernando Andrade’s series is about these busses that his grandmother used to take back and forth [between Texas and Mexico] to visit family. And then artists who were thinking more about the experience of the personal — the lived experience of today on Texan land. For example, Jose Villalobos dealing with what it means to be a queer man unpacking a lot of machismo culture, growing up in El Paso and processing all that you carry as a queer Latino man in that space. [I was] trying to find that breadth.

from that series as well. It’s that experience of what it is to be living in the current moment, as a Native artist on Texan land, but then also engaging with that history of forced assimilation, relationship to the church and that dynamic between history and present that’s really fascinating.

of Texas at the Spanish Colonial Missions, which is nice because that kind of research and context is very key to her practice. We also showed some digital prints of The Unofficial Story, the sidewalk oral histories she made around the Lavaca [neighborhood].

It’s been nice to have a diversity of different pieces of Texan history in the show, especially in exhibiting for more of a New York audience. I think when people think about Texas, they think about border politics, maybe the Alamo. I’m not sure if they even think about the Alamo. I don’t know if San Antonians want to think about that. Ideas around the border are so dominant. And they are very looming but that’s not the only history and those aren’t the only stories. So to be able to include these stories — like Anne’s oral histories about gentrification and the ways that these urban regions have evolved in San Antonio — is really special. And with her naming stone pieces also, it’s the history of these missions and, and that relates to Joe Harjo’s series as well — the history of indigenous experience and experience of Spanish missionary work in Texas.

What is Joe Harjo showing?

Joe Harjo is showing three really beautiful pieces from his series “The Only Certain Way.” Two [are photographic] self portraits, and there’s a video piece

Did you have specific works in mind that you wanted to include from each artist?

I went to them with general ideas about what works I thought would be really great. But I absolutely went to them open to conversation. And that was really productive and exciting. I love having those kinds of conversations. And it did result in sometimes showing different pieces than I had initially [considered]. … And that brought out this broader conversation. So it was very collaborative.

I’m also curious about Anne Wallace, I’m a big fan of her work.

Yeah, Anne’s fantastic. I’m really excited to finally get to show her work. She and I had really tried hard to produce a project for the Art in Odd Places festival a few years ago and then our venue fell through, which was really disappointing. So it felt really great to finally [collaborate]. We are showing her El Otro Lado video piece/experimental documentary and some of the Naming Stones she created from her “Destino San Antonio” exhibition at the Briscoe, which are beautiful engravings on antique limestones. … And to accompany the stones, we have a small clip of an interview [Wallace conducted] with Ramon D. Vasquez, who is the executive director of the American Indians

How has the reception been so far?

We had really great turnout over the [opening] weekend … and people seemed really engaged. We had a lot of people asking really interesting questions.

People are really curious about these artists and I think it’s interesting for audiences in New York to get to see artists who are doing something different from the artists they’re seeing in other parts of the city. You can feel that when people come into the space. You can feel that they’re seeing something new. sacurrent.com | October 6 - October 19, 2021 | CURRENT

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CURRENT | October 6 - October 19, 2021 | sacurrent.com

arts

Francis’ Big Adventure

Actor Mark Holton of Pee-wee fame is Guest of Honor at San Antonio’s 10th Annual Burton Ball

BY KIKO MARTINEZ

Y

ears after making a name for himself in some of the most memorable movies in the 1980s —Pee-wee’s Big Adventure, Teen Wolf and The Naked Gun, to name a few — Mark Holton was ready to call it quits as an actor. In 2015, he and moved his family out of California and back to his home state of Oklahoma where he planned to lay low.

Hollywood, however, had different plans.

When filmmakers contacted Holton to reprise his role from the 1993 horror flick Leprechaun, the industry he thought he’d escaped reeled him back in. Before he knew it, he was in South Africa shooting the 2018 SyFy movie Leprechaun Returns, the franchise’s eighth installment.

Three years later, Holton is making his first-ever trip to San Antonio to serve as Guest of Honor for the 10th Annual Burton Ball, the longest-running Tim Burton-themed event in Texas.

Holton, of course, starred in Burton’s first feature film, the 1985 cult classic Pee-wee’s Big Adventure. In the movie, he plays Pee-wee’s archnemesis, the man-child Francis Buxton, who covets

Warner Bros.

Everyone loves Pee-wee’s Big Adventure, but San Antonians seem to have an even bigger connection to it, of course, because of the Alamo basement storyline. When did you realize it was such a popular movie here?

When Paul [Reubens] was doing his grand tour back then, I realized it was popular all over Texas! I went to Dallas the protagonist’s bicycle. Holton iniwith him to one of those beautiful, histiates the events that lead to Pee-wee’s torical theaters, and I saw Big Adven“big adventure” by hiring someone to steal the prized bike. ture with a huge Texas crowd, which The Burton Ball takes place Octois the only way to see the movie. It was ber 16-17. Saturday night is the tradisuch a mind-blowing experience. There tional evening party are so many moments followed by Family in the movie that 10th Annual Day on Sunday. The audiences can seize Burton Ball event will include live on. (Singing) The stars $7-$60 music, carnival games, at night / are big and October 16-17, 6 p.m.-1 a.m. food trucks, costume bright / Deep in the Saturday, noon-6 p.m. Sunday contests, vendors and heart of Texas.

Vibes Event Center, Vibes Underground and The Rock Box more. Holton will be 1211-1223 E. Houston St. on hand for photos Did you ever think (210) 255-3833 and autographs. when you were During an interview making the movie 36 burtonball1.eventbrite.com with the Current, years ago, that we’d Holton talked about still be talking about visiting San Antonio for the first time it? and even sang a few bars from a scene After nearly four decades, it seems like in Big Adventure. the film is more popular now than it ever was. It has more fans than it did in How excited are you about attending 1985. I have people coming up to me at conventions saying, “I remember the the 10th Annual Burton Ball? first movie my father ever played for Very excited. All of this is new to me. me was Big Adventure … and now we’re You start throwing in the magical playing it for our grandchildren.” You’ll words “Guest of Honor” and, my goodhave three or four generations in one ness, when will that ever happen in my family who are fans now. I think lifetime? I’m walking on clouds.

the bones of Big Adventure have never been sturdier.

Are you at all surprised that you never worked with Tim Burton again? It seems to me that you would have fit well in some of his other movies.

It was something of a given that we would work together again. I know there were plans for a Part 2 and that I was definitely part of those plans.

I thoroughly expected to work with him again, but it never happened. I remember he wanted me to read for Beetlejuice, but he never managed to get me a script. The world just spun off in a different direction.

How is it that after all these years, you’ve never been to San Antonio?

Oh, it’s criminal! It’s somewhere I’ve always wanted to go since I was a little kid. It’s going to be great to get over there and get that vibe. I really want to immerse myself in it.

Can you share a story about the late Phil Hartman, who co-wrote Big Adventure?

Phil was always on the set when I was.

He wanted to see what I had in store for that day. He was there the night they yanked me off the bicycle and flew me across the screen. There [were curse words] coming out of my mouth I didn’t even know I knew. I’d be way up there, and there was Phil Hartman, the size of an ant, laughing like a lion.

sacurrent.com | October 6 - October 19, 2021 | CURRENT

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CURRENT | October 6 - October 19, 2020 | sacurrent.com

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Horror en la Sangre

San Antonio native Marcella Ochoa penned the screenplay for Madres, which streams October 8

BY KIKO MARTINEZ

A

horror movie fan since the age of 4, screenwriter and San Antonio native Marcella Ochoa long wanted to write a fright flick featuring

Latinos.

Ochoa’s grandparents, aunts and uncles were migrant farmworkers, and she felt connected to their stories. When she started doing more research on the lives of people who did farm work during the 1970s, she came across an article that disturbed her.

We’ll spare the details to withhold spoilers, but she knew right away that the story could be the basis for the horror movie she wanted to write.

“I thought the story needed to be told,” Ochoa told the Current during a recent interview. “That was my motivation — to educate an audience who didn’t know it happened. I think horror is a great way to tell these social justice stories.”

Ochoa’s film Madres is one of four features that make up the anthology series Welcome to the Blumhouse. It tells the story of Beto (Tenoch Huerta) and Diana (Ariana Guerra), a young Mexican American couple expecting their first child. They move to a small California town during the 1970s after Beto lands a job managing a farm. However, the community isn’t what Diana expects, and she soon realizes the grim secrets concealed by the town could have dire consequences for the family.

During an interview with the Current, Ochoa, who attended St. George Episcopal and Locke Hill Elementary School as a child, talked about her obsession with the horror

genre and what she thinks makes a good horror movie. Madres premieres on Amazon Prime October 8 as part of Welcome to the Blumhouse.

Why was it important to you to write a horror movie with Latino characters?

Being Mexican American, we never get our stories told, especially in the horror genre.

That’s something really important to me in everything I do. I want to tell our stories where it’s not stereotypical [and] where we’re the lead characters and the heroes. I want to show our community and change the narrative of how we’re perceived.

What are your thoughts about horror movies that have social messages embedded in them like Candyman and Get Out? The first time I saw Get Out, I loved it. Horror is great because it’s so versatile. You can have monster movies where you just want to be scared, but you can also have these kinds of films. I think there’s room for everything within this genre.

Whether we’re talking about a monster movie or a movie with a message, is there an element a horror movie needs to be good?

I love stories where you’re really invested in the characters and you’re scared for them. If I’m not connected to the characters, I don’t really care if they are taken by a creature or if a ghost is haunting them. Character is so important. Then, you build the scares around it. One of my favorite movies is A Quiet Place

because I was invested in the family. It makes it much scarier.

What is your earliest memory as a kid watching horror movies?

Growing up, my parents loved movies, and they watched everything. They would let me watch everything, too. When I was 4 years old I saw Jaws. I loved that feeling of being scared. I didn’t even want to go to our local swimming pool anymore. I was sort of obsessed with that feeling.

Was Latino folklore something you remember as a kid, too?

Yes, we grew up with legends and scary stories like La Llorona and El Cucuy at a very young age. Horror is in our blood. We’re surrounded by these creepy legends as kids.

That also attributed to my love for horror, the supernatural and magical realism. It was part of my culture.

Do you think a shift has happened in Hollywood and studios are now more interested in telling Latino stories?

I think [studios] are starting to see that we’re such a huge audience. We show up to horror movies and superhero movies. There has been a shift where they’re seeking out our films — but also having us in front of and behind the camera. I have seen the shift just from having meetings with the studios. The word that everyone is using is “authentic.”

Give me some advice on how to talk my wife into letting our 5-year-old and 10-year-old watch more scary movies. I’ve showed them Gremlins, but that’s as far as she’ll let me go.

(Laughs.) It’s the same argument I have with my sister, whose kids are 6 and 12. I say, “Look, I saw horror movies at a really young age, and it really shaped me.” So, maybe you can get your wife on board if you tell her that it will feed their imagination.

Find more film stories at sacurrent.com

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

food

Garten Party

San Antonio biergartens — both old and new — provide the ideal place to celebrate Oktoberfest

BY RON BECHTOL AND NINA RANGEL

T

he first Oktoberfest is believed to have taken place in Munich in 1810 with a royal wedding as inspiration.

Celebrants had a good enough time that they just kept repeating the festivities.

Outside of Bavaria, though, most Germans were either unaware or unimpressed. It wasn’t until the fall festival took root abroad that Oktoberfest spread throughout Germany.

U.S. towns settled by German immigrants became Oktoberfest incubators as early as the mid-19th century. The barrel really got rolling after World War II when the return of American GIs fresh from encounters with fräuleins and biersteins fueled demand.

A German singing society, or liederkranz, in Pennsylvania is credited with being one of the first to formalize the notoriously informal event in 1949. The beer-fueled bash was taken up in Cincinnati in the 1960s, where it eventually became the largest celebration of any kind in the U.S. Of course, the phenomenon also took root in San Antonio, yet another city rich in German heritage. Those looking to get in on the fun this month have multiple options, including some one-off events and several biergartens that make great spots to celebrate.

When it comes to the latter, it may be worth exploring the most venerable such spot as well as a pair of newcomers.

Beethoven Halle It’s unclear when the first Oktoberfest took place at San Antonio’s own Beethoven Halle und Garten, but some would say that’s immaterial since there’s a kind of perennial beerand-brats aura about the place. The Beethoven Männerchor — a men’s chorus — and its associated musical and fraternal components have occupied the hall’s location on Pereida Street since 1924. Before that, home was the historic building at HemisFair Plaza that now houses the Magik Theatre.

Whatever the history, Beethoven Halle’s is “the real” Oktoberfest, or so spokesperson David Uhler said.

Making it real this year is a full schedule of events beginning Friday and Saturday, October 1 and 2 and continuing the following weekend. You may want to practice holding an appropriate weight at arm’s length for the stein-hoisting contest. It’s up to you if you

Courtesy Photo / Beethoven Halle

need warming up for the singalongs. Other activities such as the tapping of the ceremonial keg each evening and performances by various Beethoven Halle bands require only a receptive ear.

The spot offers 25 beers on tap on a rotating basis. Many hew toward the lighter end of the spectrum but there are also there are also meltier fall-appropriate offerings. You might want a little practice here too — unless brands such as Weihenstephaner Krystalweis already roll off your tongue.

Beethoven Hall serves food year-round — regular hours are 4 p.m.-midnight, Tuesday to Saturday. However, the menu ramps up around Oktoberfest. A nearly all-volunteer staff turns out brats with sauerkraut, potato pancakes, schnitzel, Reuben sandwiches and rouladen, or beef traditionally rolled around bacon and onions and simmered in gravy.

Wednesdays also include a chef’s special. Be informed that a group called Tuba Meisters will perform on Friday, October 8 — so either come early or late depending on your tuba tolerance. There is likely no escaping dirndls and lederhosen, though. Admission is $10 at the gate, which opens at 5 p.m.

Beethoven Halle und Garten, 422 Pereida St., (210) 222-1521, 4-10 p.m. Tuesday-Saturday (see above for special Oktoberfest hours).

Metzger Biergarten German pretty much in name only, the Metzger Biergarten at Cool Crest Miniature Golf on Fredericksburg Road is nevertheless a fittingly cool place to knock back a brew in a setting with a history of its own. In 1929, only a short time after Beethoven Halle was reestablished in King William, Cool Crest opened just in time for the Great Depression. The property was leased from the original owners

by Harold and Maria Metzger in 1937, hence the name of the biergarten, which itself is only two years old.

It’s unlikely you’ll encounter tubas or Tyrolean hats at Metzger, but there are German-style beers on tap. On my last visit, Texas brewer Altstadt supplied a lager and a kölsch, but their list also includes both a

traditional märzen Oktoberfest and another seasonal brew called Festbier that’s in line with the lighter styles currently in favor for the fall event. Made even closer to home are the German-style Betty, a kölsch, and SA Hefe, a yeasty hefeweizen, from Dorcol Distilling’s Highwheel Beerworks.

Entertainment on tap for October promises neither tubas nor German choral groups but does include music of just about every other genre from jazz to folk and funk. Noshing options from visiting food trucks are equally eclectic. Expect Mexican fare from Serrano’s, pies from Stone Bro’s Pizza and the likes of brisket nachos from Uncle Jesse’s BBQ .

Metzger Biergarten, 1402 Fredericksburg Road, (210) 732-0222, 5-10 p.m. Thursday and Friday, noon-10 p.m. Saturday, noon-6 p.m. Sunday.

Little Rhein Prost Haus Little Rhein Prost Haus, the Bavarian concept now inside longtime fine-dining spot Little Rhein Steak House, is yet another relative newcomer.

Little Rhein recently gave the space above the storied Paseo del Rio a reinvention of übergröße proportions. Among its offerings are two biergarten patios, German-inspired eats and 20 draft beers, many imported directly from Munich. Local craft suds brewed in German styles also grace the beer taps, and guests can order liter-sized biersteins as well as sampler flights of the brews.

The food menu is extensive, offering schnitzels of various types, German potato salads, brats, sauerkraut, homemade beer cheese, grain mustards and apple strudel. For the exploratory Oktoberfest eater — or just the indecisive one — the Prost Haus Tower may be just the ticket. Its literal tower of German and German-inspired fare runs the has a little something for everyone.

The atmosphere is light and the service prompt, making it easy to stow away a brew — or three — on the patio, watching the San Antonio River meander past the Arneson River Theater. Little Rhein Prost Haus, 231 S. Alamo St., (210) 890-2225, open daily 11 a.m. to midnight.

Find more food & drink news at sacurrent.com

In the heart of the San Antonio Riverwalk, El Camino is a beacon for the downtown community to join and enjoy a range of selections from our guest gourmet food trucks paired with precisely created cocktails.

El Camino is the perfect spot to bring together friends, family and furry companions under our eco-consciously designed covered seating with a fully stocked bar that includes, frozen drinks, craft brews, and top-shelf cocktails.

ElCaminoSA.com | Downtown SATX 1009 Ave. B 34

CURRENT | October 6 – October 19, 2021 | sacurrent.com

food Tapping Into the Future

San Antonio and Texas craft brewers react to emerging trends with both new and backward-looking styles

BY TRAVIS E. POLING

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he craft beer market has grown more diverse than ever, from the rise of classic lagers and nearly lost historical beers to a continuing love for brews that taste like anything from chocolate cake to tiki drinks.

It’s a time of both endless experimentation and yearning for beer that actually tastes like beer.

In the past few years, it’s become hard to walk into taprooms or down the supermarket beer aisle without being confronted with New England IPAs, also known as hazy IPAs, that downplay classic IPA bittering hops and embrace heavy dry hopping with hops that emulate mostly tropical fruit flavors such as mango and passionfruit or stone fruits like peaches and apricots.

The other prevalent trend is the production of high-calorie “pastry stouts,” usually highly alcoholic dark ales with ingredients such as chocolate, coconut, lactose, peanut butter, marshmallow and fruit flavors.

Martin House Brewing of Fort Worth is probably the most visible Texas brewer turning out these stouts and other flavored styles, such as Lemon Icebox Pie. However, drinkers can find examples from area breweries including Guadalupe Brewing Co. in New Braunfels, where German chocolate cake is a mainstay. Meanwhile, San Antonio’s Weathered Souls is the originator of the nationwide shared-recipe Black Is Beautiful imperial stout, and Islla St. Brewing is known for Mexican pastry-inspired brews.

Here to stay Those trends don’t seem to be going away anytime soon. Nationally distributed brands such Sierra Nevada, Dogfish Head and Boston Beer Co., of Sam Adams beer fame, have embraced the hazy style. Because beers with a lot of adjunct ingredients, such as pastry stouts, can be tricky to can without sometimes explosive results, they tend

to be on tap at the brewery or sent home with patrons from one refrigerator to another.

“We went off on the hazys and the pastry stouts,” said Rob Martindale, owner and founder of San Antonio-based beer bar chain Big Hops.

Many of the 32 taps at his two company locations and a franchised store on the far Northwest Side are in those styles.

Martindale said he is starting to see variations in both those broad styles.

For example, more bourbon-barrel aged versions of pastry stouts are emerging to meld an old trend with a newer one. Also, fruit extracts are coming into play to make some of these hazy IPAs. “I think a year from now, we’ll be talking a lot about them,” Martindale said of the fruity brews.

‘I’m all for that’ A smaller niche, but one with an avid fan base, is a riff on the hazy IPA called “smoothie” IPAs — a thicker, fruit-forward version of the style. Milkshake IPA, another subset of the style, utilizes the milk sugar lactose to create an adult drink emulating a childhood favorite.

Another trend hearkens back to the classics.

“Lagers are coming back around, and I’m all for that,” said Jason Davis, director of brewing operations at San Antonio’s Freetail Brewing Co., who’s worked at Texas breweries for more than two decades.

Classic pilsners and numerous other lager varieties lost traction on the craft beer scene over the years. However, professional brewers pushed to keep the easy-drinking styles alive because that’s what they craved at the end of a laborious shift.

Within that trend are lagers aged in oak barrels such as Roadmap Brewing’s recent anniversary offering. Pouring methods, like the classic Czech sidepour tap used at Second Pitch Brewing,

Shutterstock

also are bringing new life to the styles.

Craft classics But lagers aren’t the only classics that are reappearing. Breweries are also looking to early American craft classics based on European styles.

Recent trips to San Antonio’s Second Pitch, Weathered Souls and Mad Pecker found interpretations of old-school brown ales, which have been mostly missing from the American beer scene for a decade. Gather Brewing, opening soon near Randolph Airforce Base, is embracing new beer varieties, but putting revered Belgian styles as its centerpiece.

“Style-wise, I feel like historical beers are having a comeback,” said Julia Herz of the brewery consulting firm Herz Muses, one of preeminent authorities on beer styles and beer and food pairing.

She’s now seeing obscure — to American drinkers — Polish and other Eastern European styles emerge from U.S. craft breweries, along with lost homegrown styles such as Kentucky Common. Craft versions of “pilsners and Kolsch are having their day again,” as brewers have gotten better at making them, she added.

Hold the alcohol Non-alcoholic beers are also trending. Such brews have been around since Prohibition as “near beer” weighing in at less than 0.5% alcohol by volume. The twist right now is that smaller breweries with a focus on flavor are tackling the guilt-free beverage.

National players such as Brooklyn Brewing, Untitled Art and Lagunitas have hit San Antonio shelves with non-alcoholic offerings in recent months, said Brian Tarver, beer and wine head for H-E-B’s Alon Market. So has Athletic Brewing, an operation that specializes in near-beer options.

Freetail’s Davis points out that trends can also emerge from outside the craft beer market. For example, hard seltzers have been taking a chunk out of the beer market as consumers look for alcohol with lower carbohydrates.

In response, many breweries added those flavored malt beverages to their offerings. Now the hard seltzer trend has collided with non-alcoholic beers to create a market for non-alcoholic seltzers, where they started in the first place.

“If I could predict the next trend, I’d be all over it,” Davis said.

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food

Jaime Monzon

Prost! like a pro

Here’s your survival guide to the San Antonio Beer Festival

BY NINA RANGEL

T

he San Antonio Beer Festival is nearly upon us, pouring 400 beers from more than 100 breweries into one single-day event.

If it sounds like a lot to take in, well, that’s because it is. After all, we’re talking about Texas’ second-largest, single-day beer celebration.

Every year, thousands of thirsty enthusiasts converge at the event to sample unique casks, one-ofa-kind collaborations and a dizzying array of brews from porters and stouts to ciders and sours. This year, the festivities take place at Crockett Park on Saturday, October 16. Tickets and more details are available at San AntonioBeerFestival.com.

As Beer Fest veterans, we wrangled together a list of dos and don’ts that will help you get the most out of the festival without being overwhelmed by the sheer volume of options.

DO be courteous

This one comes first because it’s the most important.

Simply put, don’t be a dick. We’re still grappling with a pandemic, so be aware of your surroundings and other festival attendees by practicing social distancing and general human decency.

DO try new things

We all have our favorite brews, but given the array

of far-flung breweries represented at this event, now is the time to venture outside your quaffing comfort zone. Try a new brewer. Try a new style. A good rule of thumb for festivalgoers: if you can find it at your local grocery, convenience store or watering hole, move it down on your must-taste list.

DO dump beer

A beer festival is a marathon, not a sprint. There’s no way you can safely sample everything. Don’t be afraid to dump a beer you don’t like — or simply had enough of to quell your curiosity. Nobody’s going to take offense. If you’re unsure whether something is likely to tickle your fancy, ask for half a glass instead of a full pour.

DO show up early — or, at least, on time

Arrive early to beat the crowds. That way you’ll have more opportunity to chat up the brewers and sample their creations to your heart’s content. Not only will you get the lay of the land early — we’re talking snacks and shady spots — you’ll get a jump on popular styles that may be scarce later in the day.

DO leave the driving to someone else

Plan ahead and select a designated driver for the day.

Or just skip driving altogether and split a rideshare

with friends. As extra enticement to bring along someone who can remain sober behind the wheel, the event even offers $20 designated driver tickets for purchase at the door. Plus, there will be a variety of non-alcoholic beers and other beverages available from participating brewers.

DON’T skip the hydration stations

Take a moment to think back on the hard-partying days of your youth. Or to last weekend, if those days aren’t fully behind you. Staying hydrated is key when planning an entire afternoon of imbibing. Try to drink a glass of water for every beer you sample, or at least stop by the water stations every couple of beers.

It’s also a great way to wash out your cup between beers, keeping your palate ready for your next sample.

DON’T pre-game

Look, we know the San Antonio Beer Festival is one giant excuse to party, but it’s best to save the partying for the event itself. You and your friends will be awash in drinking options once you get there, so play it smart and don’t spend time or money getting tipsy beforehand.

DON’T forget to eat

Eat before you arrive at the event or make time to nosh while you’re there. The San Antonio Beer Festival isn’t all about the beer, after all. With all the food trucks and great snacks around, there’s no excuse for running around on an empty tank. You’ll thank yourself later.

sacurrent.com | October 6 – October 19, 2021 | CURRENT

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

food Better Than Bar Food

Künstler Brewing’s German-inspired bill of fare is worth exploring with or without a beer in hand

BY NINA RANGEL

S

an Antonio’s Künstler Brewing has won praise for its creative and expertly crafted beers, racking up multiple awards since its 2017 launch, including silver medals at the Great American Beer Festival.

So, the beer’s good — the pros have proclaimed it — but that’s just part of the draw at the Lone Star Arts District spot, which also offers brunch, lunch and dinner.

To see if the bill of fare made a worthy match to its extensive list of housebrewed beer, I took advantage of the Oktoberfest-worthy weather to post up in Künstler’s biergarten with culinarily minded cohorts to explore its dining options.

On past visits, the food wasn’t the primary reason for my visit, and it didn’t make much of an impression.

Pleasantly complex, expertly brewed and graciously priced, Künstler’s beers were always the main reason I ended up there.

But with a revived outlook — and the prospect of picking up a crowler of Confident Bitch, the brewery’s complex and revered American Brown Ale — we set out to taste as much of the menu as we could. Between pints, of course.

The visit started with the fried Brussels sprouts, served with bacon, chopped cashews and lemon aioli. The flash-fried mini cabbages were easily the highlight of the meal, and they had the entire table debating about the finer points of their preparation. Home cooks know there’s a fine line between uncomfortably bitter Brussels and edible ones. Whoever’s manning the fryer at Künstler knows exactly where that line lies.

Between the fresh-baked pretzel bun and its cargo of beautifully cooked seafood, the shrimp roll was another high point. Prepared New England-style, the loaded sandwich featured the crustaceans tossed in an aioli full of finely diced, raw red onion and chopped celery. The bun was generously buttered and toasted, even if the filling needed more acid, salt and pepper. The

lack of seasoning didn’t stop me from going back for multiple forkfuls of the delightfully plump shrimp, however.

The soup of the day, billed as Mushroom Miso, was confusing, to say the least. The texture was more like a chowder, and the potato-heavy dish tasted more of bacon and corn starch slurry than either of its title ingredients.

You can’t visit a German brewery without ordering a pretzel, and Künstler’s certainly scratches that itch. We chose pimento cheese for dressing the twisty baked offering and were surprised at the overpowering flavor of blue cheese. If not for the color, you wouldn’t be able to tell the spread was, in fact, pimento cheese. Indeed, blue cheese turned out to be a prominent flavor on more than one sampled dish.

On that note, the single-patty Künstler burger, served on Saturdays, includes obatzda — a Bavarian spread that Künstler prepares with both blue and brie cheeses. It also comes with tomato, apple and onion jam and arugula a pretzel bun. The jam, delightful on its own, was overwhelmed by the obatzda’s blue cheese notes.

Somehow, the patty itself was both under- and overcooked. The absence of any caramelization on the exterior led me to believe the inside would have a juicy, slightly pink center, but no dice.

The ground beef was grey all the way through.

The burger order was pepped up, however, by a refreshing side of potato salad, which I enjoyed immensely.

Bright bits of chopped scallion and fork-tender chunks of red potato mingled for a hearty accompaniment.

The dish differed from a traditional

Nina Rangel

kartoffelsalat thanks to the presence of shredded cheese throughout.

And the beer? As usual, all stellar.

Overall, it was worth devoting serious attention to the offerings from Künstler’s kitchen. It can sometimes be too easy to write off a spot off as a one-trick pony. Athough, with Künstler’s multi-award-winning beer track record, that pony still knows one hell of a trick.

While execution issues dragged down a few of the dishes we sampled, there’s something to be said for a brewery that’s taking bold steps to expand its offerings from those on the draft rail. I’ll keep making the trek to the south-of-downtown beer oasis, and I’ll keep exploring the menu. There’s plenty from the kitchen to pique my interest, and hell, I’ll already be there for the beer.

KÜNSTLER BREWING 302 E. Lachapelle St. | (210) 688-4519 | kuenstlerbrewing.com Monday, 4-10 p.m.; Tuesday-Sunday, 11 a.m.-10 p.m.

Price point: Entrees from $10, daily specials from $11, pints from $6 Best bets: Fried Brussels sprouts, shrimp roll, pretzels and potato salad The skinny: This south-of-downtown brewpub excelled at serving up award-winning brews since 2017, and the food adds an extra element to the experience. Like it says above the door: Kunst und Bier gibt es allhier, “Art and Beer: Get it here.” Künstler takes the artistry of craft brewing seriously, and that alone should encourage adventurous eaters to explore the brewery’s bill of fare.

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

Doug Kershaw brought Cajun music to a wider audience over a dcades-long career. He’s not done yet.

BY SANFORD NOWLIN

L

egendary Cajun singer-songwriter Doug Kershaw planned to tie in his Monday, October 11 gig at San Antonio honky tonk the Lonesome Rose with his performance at the New Orleans Jazz & Heritage Festival.

But the higher-profile — and likely higher-paying — New Orleans show evaporated when organizers scrapped the fest over COVID concerns. The 85-year-old musician kept the San Antonio engagement, figuring he’d rather play a Monday night than not at all.

“I feed off the audience. That’s who I’m entertaining when I’m live: I’m one of them,” said Kershaw, best known for his fiddle prowDoug Sahm. ess, although he’s proficient on a dizzying 28 instruments.

The San Antonio show is part of Texas PubWhat made you decide that Monday night in lic Radio’s intimate Lonesome Lounge sesSan Antonio was still worth showing up for, sions, which include a performance capped even if you can’t tie it in with Jazz Fest? at 100 tickets that’s also livestreamed.

Well, let me tell you something. I’ve run out The need to perform took root early for of walls in my house to climb. I want to get Kershaw, the son of a South Louisiana alligaback on the road. I just want to get back and tor hunter. He played his first gig at the age play. I think — I know — this is going to be of 9 at a bar called the Bucket of Blood with great. It’s going to be fun. his mother accompanying him on guitar.

Prior to the pandemic, how As half of Rusty and Doug, many nights out of the year $25, 7 p.m., Monday, a duo formed with one his were you out playing?

October 11, brothers, Kershaw cranked Oh, at least 50, 60.

Lonesome Rose, out singles in the ’50s and 2114 N. St. Mary’s St., early ’60s that merged Cajun What keeps you so eager to (210) 455-0233, sounds with country and stay on the road? thelonesomerose.com rockabilly. Among those It’s my life. I just love it. I like was the autobiographical to perform. I love to per“Louisiana Man,” a career-deform. I told them, with all of fining Top 10 hit that’s since my family, they’ve seen my become an Americana standard. show, so I can’t perform it for them anymore.

A solo career followed, which included Getting out on the road with the fans and acclaimed releases such as Mama Kershaw’s people, that’s my life, you know? I’m not Boy and performances with anyone from Bob going to quit. Never.

Dylan to Hank Williams Jr. to Grand Funk Railroad. More recently, Kershaw has turned What was it about Cajun music that made his attention back to singing in French, you think that it could have an audience having released the album Face to Face with wider than Louisiana? fellow Cajun musician Steve Riley in 2014.

I’m going to talk culture. The first thing that We caught up with Kershaw by phone got me is I grew up being ashamed of being from his home in Colorado to talk about a Cajun because nobody explained it to me. what keeps him performing, why he thought When I wrote “Louisiana Man,” I decided Cajun music could find wide acceptance and you know, bull with this. I actually took my his connection to San Antonio musical icon culture around the world. Introduced the

music

Still a Louisiana Man

Creative Commons / David Simpson cajunzydeco photos

world to the culture, and the music just followed. Of course, there’s so much ... Cajun music is great. Even when I do it in English, it’s wonderful.

Are you surprised that music you recorded so many years ago is still beloved by so many people and that new generations keep discovering it?

Absolutely. I’m humbled. I had no idea when I was doing that stuff, you know? The Rusty and Doug catalog, it’s just an incredible thing. It came around, along with my solo career. Matter of fact, it probably helped a lot, but yes, it’s very surprising. Songs like, “Hey Mae,” a little song I wrote, big, big time. You go to England, and it’s an anthem. Yes, very surprised and appreciative.

I was fascinated to learn that you have a significant San Antonio musical connection. You introduced Doug Sahm to Huey P. Meaux, the record producer who helped launch the Sir Douglas Quintet.

Huey Meaux, I did. Yes. My brother and I, we brought him to Houston and got him started.

Were you surprised how fruitful that meeting of minds turned out to be?

No, no, because I saw the talent. I saw it. Doug Sahm is such a talent. There’s a lot of people with talent that don’t know what to do with it. Doug Sahm did. I heard him in the nightclub, and I could see right then that he could become a star. And he did. By golly, he did.

We were friends up until he died.

Reminder:

Although live events have returned, the COVID-19 pandemic is still with us. Check with venues to make sure scheduled events are still happening, and please follow all health and safety guidelines.

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

music listings Wednesday, October 6

Aaron Watson After spending the better part of two decades on the road, country singer-songwriter Aaron Watson knows what he’s doing. He was rewarded with a No. 1 album for 2015’s The Underdog, and he followed that with the hit 2017 single “Outta Style.” Watson is firmly in the traditionalist camp, citing influences including George Jones, Merle Haggard and Willie Nelson. $55, 9:30 p.m., Gruene Hall, 1281 Gruene Road, New Braunfels, (830) 606-1281, gruenehall.com. — MM

Big Freedia

Big Freedia, Gilbert Votion, Chris Conde Big Freedia’s shows have an infectious recipe: a dash of sparkles, a jar full of New Orleans bounce music and a whole lot of “big dick energy.” There’s nothing she hasn’t done, from writing a book and having a reality TV show to trying to break the Guinness World Record for most people twerking at once and leaving a mark on the hip-hop genre. Strong support comes from local artists Gilbert Votion and Chris Conde. $22-$25, 8 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com.

— Brianna Espinoza

Big Freedia

Jaime Monzon

Thursday, October 7 Elefante, Inspector Mexico is making its way to the Aztec as southof-the-border bands Elefante and Inspector bring their own takes on alt-rock. Elefante takes a direct approach to the genre, packing their songs with a lot of emotion. Meanwhile, Inspector take a path less traveled, giving their pop rock a dusting of ska and reggae. $49, 8 p.m., Aztec Theatre, 104 N. St. Mary’s St., theaztectheatre.com. — Enrique Bonilla

Friday, October 8 Band of Horses After starting out as just another Seattle indie-rock band signed to Sub Pop Records, Band of Horses eventually came into their own, expanding both their lineup and their sound.

Fifteen years after its release, the band’s song “The Funeral” continues to pop up in TV shows and movies, most notably How I Met Your Mother. $30-$77, 8 p.m., Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre. com. — BE Monophonics Hailing from San Francisco — a land where the unexplored is explored — come Monophonics, who describe themselves as “psychedelic soul.” The band’s choice of descriptor suggests instrumental focus, and that aspect of their sound is highlighted on It’s Only Us (Instrumentals), released this year. But the band is fronted by vocalist Kelly Finnigan, so don’t expect an all-instrumental performance: It’s Only Us was released in 2020, vocals and all. Do expect a full horn section, however. $15-$36, 8 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx. com. — Mike McMahan

Saturday, October 9 Sebastian Bach Once upon a time — the late ’80s, to be exact — there was a debut LP from a band of handsome bad boys called Skid Row. They named the record Skid Row, and it was popular. Like, real popular. The power ballads were smash hits and played well on the Bon Jovi tour the band opened. So, Skid Row did the obvious thing when faced with success and put out a crazy, heavy follow-up without much commercial appeal. They even hired Pantera to open the ensuing tour. That second album, Slave to the Grind, is an uncompromising post-hair metal classic and ended up being the first No. 1 album of the SoundScan era. Now Skid Row frontman Sebastian Bach — a solo artist three decades later — is performing the entire thing, live, as part of a 30th anniversary tribute. He recently explained, in his inimitable way, that the first album is beloved by the ladies and the second by the bros. There you have it, ladies and germs. $26, 7 p.m., Rock Box, 1223 E. Houston St., (210) 255-3833, therockboxsa. com. — MM Wavves Nathan Williams, the singer-songwriter behind Wavves, is no stranger to San Antonio’s indie rock scene, so expect a triumphant return as his band takes the stage at Paper Tiger.

The act’s album Hideaway marks a return to straightforward rock and to Fat Possum, the label that produced Wavves’ ’09 self-titled debut album and the lo-fi indie staple King of the Beach. $25, 8 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — EB

three? Write it in with permanent marker. The four-piece band Mac Sabbath play what they refer to as “drive-thru metal,” and they perform in total anonymity since they take the stage clad in ’80s-era McDonald’s character garb.

Ozzy Osbourne himself has even expressed his respect for the talent of the LA quartet.” $17, 7 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — EB

Wednesday, October 13 Metalachi Nothing beats the oddball combination of metal and mariachi that constitutes both this band’s schtick and its name. The group brings all the metalheads from the barrio together when they perform mariachi versions of famous headbanging songs. Of course, the vatos must stop in San Antonio since it’s both the Heavy Metal Capital of the World and a city steeped in Mexican cultura. $10-$15, 8 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — EB

Courtesy Photo / Wavves

Tuesday, October 12 Mac Sabbath If you’re a fan of heavy metal, fast food or parodies, pencil this one onto your calendar. All

Marty Moffatt

Joe Bonamassa Blues guitarist Joe Bonamassa was practically born into his art form. As a kid, he was mentored by a legendary guitarist Danny Gatton, and by the ripe old age of 12 he’d opened for a string of performances by B.B. King. Now in his 40s, Bonamassa is still wowing audiences with his searing solos and huge collection of vintage guitars and amps. $83.50-$599, 8 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-5700, majesticempire.com. — BE

Saturday, October 16

Metalachi Courtesy Photo / Metalachi

Thursday, October 14 Ayron Jones, Hounds You may have heard Ayron Jones’ name, but have you heard the music? He describes his own sound as “if Michael Jackson played guitar like Jimi Hendrix in Kurt Cobain’s band.” Which is a fair enough description. Jones is touring behind his third album, his first for a major label, in this case the Big Machine Label Group.

St. Louis alt-rock outfit Hounds open the show. $16, 8p.m., RockBox, 1223 E. Houston St., (210) 255-3833, therockboxsa.com. — EB

Friday, October 15 David Beck’s Tejano Weekend Beck’s specialty is well-executed Tejano sung in English. Sounds readymade for a night of dancing and drinking. And your auntie can even come along and bring that new boyfriend of hers that doesn’t understand Spanish. $5, 10 p.m., Blue Bonnet Palace, 17630 Lookout Road, (210) 651-6702, bluebonnetpalace.com. — EB

Wavves

Joe Bonamassa

Friday, October 15 Chase Atlantic Australian R&B? Yes, it’s a thing. This trio from down under is making its way to San Anto for the first time, bringing along a sound that blends dark lyrics with catchy upbeat R&B like the Weeknd’s early work. $23, 8 p.m., Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre.com. — EB

Kane Brown Kane Brown — aka That Country-Pop Singer Who Uses Way Too Many Clap Beats in the Background of His Singles — is heading this way to treat SA to songs about love and having a good time on the weekend. Whether or not that’s your thing, the biracial Brown has helped break the color barrier in C&W and continues to gain more recognition and success with each release. $40.50-$389.50, 7 p.m., AT&T Center, 1 AT&T Center Parkway, (210) 444-5000, attcenter.com. — BE 42 Dugg Don’t get your hopes up, sci-fi fans. This hip-hopper has nothing to do with that all-important number from The Hitchhiker’s Guide to The Galaxy. In fact, the moniker is pronounced “four-two Dugg.” Name origins aside, the rapper’s star has been shining brightly of late. He was named R&B/Hip-Hop Rookie of the Month

by Billboard in May. He got his start writing slam poetry with the infamous Lil Baby, after the two became friendly following one of 42 Dugg’s prison stints. $35-$49.50, 8 p.m., Aztec Theater, 104 N. St. Mary’s, theaztectheatre. com. — MM

Tuesday, October 19 Black Stone Cherry These Kentucky Southern rockers, who recently celebrated their 20th anniversary as a band, have a radio-friendly sound that earned them opening slots with Def Leppard and Nickelback. Lest you pigeonhole them, though, their 2016 single “The Rambler” featured Billy Ray Cyrus. Cyrus was already in his post-mullet era by then, unfortunately, but his presence on a single from aspiring arena rockers speaks to the diverse appeal they’re striving for. $25-$150, 7 p.m., Sam’s Burger Joint, 330 E. Grayson St., (210) 223-2830, samsburgerjoint. com. — MM

sacurrent.com | October 6 – October 19, 2021 | CURRENT

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

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CURRENT | October 6 – October 19, 2021 | sacurrent.com

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