San Antonio Current — March 9, 2022

SURREALISM COMES TO SA | JAD FAIR'S PAPERCUTS | JUDAS PRIEST'S 50 HEAVY METAL YEARS | MAR. 9 - MAR. 22, 2022

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CESAR E. 2 6 T H

A N N UA L

CHAVEZ MARCH For Justice

SATURDAY, MARCH 26, 2022

MORNING PROGRAM: 9:15 A.M.

MARCH STEP OFF: GUADALUPE & BRAZOS AT 10 A.M.

AFTER MARCH CELEBRATION AT HEMISFAIR: 11 A.M.-3 P.M.

BRING YOUR CANNED GOODS TO THE MARCH.

FOOD WILL BE DONATED TO THE SAN ANTONIO FOOD BANK

For 26 years, the Cesar E. Chavez March for Justice has been a day that our San Antonio community comes together to unite, celebrate, and remember a great humanitarian. Equally important, it is a day to never forget the Si Se Puede Spirit Cesar Chavez encouraged us to embrace so that we can overcome the injustices and inequalities our community faces.

“Once social change begins, it cannot be reversed. You cannot un-educate the person who has learned to read. You cannot humiliate the person who feels pride. You cannot oppress the people who are not afraid anymore”

–

Cesar Chavez

LEARN MORE AT SANANTONIO.GOV/CHAVEZMARCH | sacurrent.com | March 9 – 22, 2022 | CURRENT

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in this issue Issue 22-05 /// March 9 – 22, 2022

San Antonio’s sausage makers keep a venerable —and delicious —tradition alive

32 Music

Call for the Priest

Catching up with Judas Priest ahead of the San Antonio stop on its 50 Heavy Metal Years tour

Family Affair

Don’t expect Wolfgang Van Halen’s Mammoth WVH to be a retread of his late father’s legendary band

Music Listings

San Antonio Current

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

Editorial

Digital Content Editor: Kelly Nelson Contributing Arts Editor: Bryan Rindfuss Food and Nightlife Writer: Nina Rangel Staff Writer: Michael Karlis Contributors: Abe Asher, Ron Bechtol, Enrique Bonilla, Daniel Conrad, Mackenzie Cook, Brianna Espinoza, Kiko Martinez, Mike McMahan, Dana Nichols, M. Solis, Gary Sweeney Editorial Interns: Ashley Allen

Marketing and Events

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

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Creative Services Manager: Samantha Serna Production Interns: Pedro Macias, Marlene Mejia, Sydney Pujol

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

Courtesy Photo / Michael Mehl

32 Feature

National Advertising: Voice Media Group (888) 278-9866, vmgadvertising.com

Long Live Bongo Joe

Will the street musician who provided San Antonio’s downtown soundtrack for two decades be lost to obscurity?

09 News

The Opener News in Brief

Mad About Masks

In latest blowup, U.S. Rep. Chip Roy of Texas likens pandemic mandates to Russian invasion of Ukraine

13 Calendar Calendar Picks

18 Arts

Questioning Reality

New exhibition investigates the intersections of neo-surrealism and magic realism

Going With the Flow

Underground music legend Jad Fair showing hundreds of his papercuts

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

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The San Antonio Current is published by Euclid Media Group

Exhibition Exodus

Verified Audit Member

What the McNay’s rejection of local artist Sarah Fox’s commissioned piece says about contemporary art in San Antonio

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Students of Cinema

San Antonio high schoolers screening shorts at 2022 SXSW Film Festival

29 Food

Satisfying in Southtown

Bar Loretta wins on its comforting setting and hand with familiar Texas flavors

Not a Dog in the Bunch

O

n the Cover: Street musician George “Bongo Joe” Coleman was a fixture downtown from the late ‘60s through the late ‘80s.

Cover design: Samantha Serna.

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CURRENT | March 9 – 22, 2022 | sacurrent.com

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CURRENT | March 9 - 22, 2022 | sacurrent.com

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A new report from the Asthma and Allergy Foundation of America has named San Antonio the fifth-worst U.S. city for people who suffer from seasonal allergies, far out-stripping other major Texas cities including Dallas and Houston. The worst seasonal allergy city in the country? Scranton, Pennsylvania. Go figure.

H

A state judge last week blocked Texas’ child protection agency from investigating the parents of a transgender teen who received gender-affirming healthcare. District Judge Amy Clark Meachum also is considering whether to issue a statewide injunction to block all such investigations. The ruling signals the beginning of what will be a legal fight to protect Texas’ transgender kids after they were targeted by Gov. Greg Abbott’s directive to investigate parents who provide gender-affirming care.

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Texas Children’s Hospital in Houston has stopped providing hormone therapy to transgender minors after Gov. Greg Abbott directed the state’s child-welfare agency to investigate parents who provide gender-affirming care to their children. A spokesperson told the Texas Tribune the hospital’s move is to shield medical professionals and families from “potential criminal legal ramifications” related to the governor’s dictate.

A San Antonio cheesecake shop has raised more than $70,000 to support Ukrainian armed forces as they continue to resist Russia’s invasion. After the Ukrainian immigrant-run bakery Laika Cheesecake & Espresso in Alamo Heights announced proceeds from all sales between Feb. 25-27 would go to support Ukraine’s military effort, residents formed lines around the block and bought out the shop’s entire inventory of baked goods, beverages and merchandise. — Abe Asher YOU SAID IT!

“A week before an election, Gov. [Greg] Abbott and Attorney General Ken Paxton issued a partisan political attack that isn’t rooted in the needs of families, the evidence from doctors and the expertise from child welfare professionals.”

— Adri Perez

ACLU of Texas Policy Strategist on Abbott’s order asking the state’s child protection agency to investigate parents of transgender teens

ASSCLOWN ALERT

State Rep. Jared Patterson Assclown Alert is a column of opinion, analysis and snark.

State Rep. Jared Patterson of Frisco has led a group of Republicans in the Texas House in demanding that school administrators won’t do business with book vendors that supply “pornographic materials.”

In a letter from last week signed by 26 other Republican lawmakers, Patterson specifically called out the book Gender Queer: A Memoir

by Maia Kobabe as an example of porn making its way into school libraries, claiming that the young adult book “graphically illustrates child pornography.”

In the graphic novel, Kobabe recounts her own struggle to understand her sexuality as a nonbinary person. Some illustrations of oral sex appear in the book, which Texas GOP leaders including Gov. Greg Abbott have held up to justify their attempts to ban books dealing with LGBTQ issues from public schools.

In a statement provided to the Texas Tribune, the Association of Texas Professional Educators correctly pointed out that pornography has a legal definition — and that definition isn’t based on whether Patterson or his cronies finds

news

That Rocks/That Sucks

Twitter / @JaredLPatterson

something objectionable.

“ATPE urges school districts to recognize the power of the elected school board to work with parents and educators to find the right balance for their local communities and avoid getting caught up in these types of politically motivated pledges,” Shannon Holmes, ATPE’s executive director said in the statement.

In other words, she wisely urged districts to engage in conversations with teachers and parents rather than listen to the dictates of assclowns pandering in the runup to an election.

— Sanford Nowlin

One of San Antonio’s first and largest COVID-19 vaccination sites has closed due to a decrease in demand. The vaccination center at Wonderland of the Americas mall administered its last shot on Friday after administering more than 500,000 vaccines over the last year-plus. Local testing sites testing sites have closed as well, with COVID case numbers plummeting — for now — in the San Antonio area.

The race to replace outgoing Bexar County Judge Nelson Wolff isn’t yet set. Former District Judge Peter Sakai and State Rep. Ina Minjarez will compete in the May 24 runoff election after neither cleared the 50% threshold in last week’s Democratic primary. Sakai pulled 41% of the vote to Minjarez’s 31%. The winner will face Republican nominee Trish DeBerry in November.

There was plenty of good news for South and Central Texas progressives on primary night.

Former Austin City Council member Greg Casar easily won the Democratic primary for the congressional district that spans from San Antonio north to Austin, while attorney Jessica Cisneros forced nine-term incumbent U.S. Rep. Henry Cuellar into a runoff for the Democratic nomination in the district that stretches from San Antonio south to Laredo. — Abe Asher

Courtesy Photo / City of San Antonio

Find more news coverage every day at sacurrent.com

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CURRENT | March 9 - 22, 2022 | sacurrent.com

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news Mad About Masks

In latest blowup, U.S. Rep. Chip Roy of Texas likens pandemic mandates to Russian invasion of Ukraine

BY SANFORD NOWLIN

U

Twitter / @RepChipRoy

.S. Rep. Chip Roy, a far-right Texas Republican who’s made railing against mask mandates a key part of his political brand, is at it again.

This time Roy, whose district includes part of San Antonio, likened the pandemic-fighting efforts of Dr. Anthony Fauci and the Centers for Disease Control to the atrocities Russia is unleashing in Ukraine.

“We are looking at that and we are talking about war crimes,” Roy said of the Russian invasion during an appearance last week on Fox News. “I want to talk about the crimes against humanity that have been perpetrated by Anthony Fauci, the CDC and the federal government against the American people.”

During an interview with Will Cain, filling in for Fox host Tucker Carlson, the congressman suggested that rare vaccine side effects constituted crimes against humanity, as did pandemic-re-

lated job losses and kids being forced to wear masks in school.

“They want to sweep the facts under the rug,” Roy said of Fauci and other health officials who have tried to keep Americans alive and out of the hospital during the pandemic.

The claim is only the latest incendiary outburst about pandemic restrictions from Roy, who’s claimed the pandemic is a hoax, disregarded federal mask rules on a commercial flight and unsuccessfully threatened to shut down the federal government over vaccinate mandates.

Roy’s comments came the same week as Roy was one of just three U.S. House members to vote against the Emmitt Till Anti-Lynching Act, which would make lynching a federal hate crime. In a statement, Roy claimed the measure is “an effort to advance a woke agenda under the guise of correcting racial injustice.”

Texas gets a failing grade on medical-marijuana advocacy group’s annual report card

T

exas is one of 13 U.S. states and territories to receive a failing grade on national medical cannabis advocacy group Americans for Safe Access’ 2021 report card.

ASA’s annual “State of the States” report analyzes each state’s medical marijuana program, rating it on factors including access, affordability, legal protection, product availability and product testing and labeling.

Even though the Texas Legislature last year expanded the Lone Star State’s medical marijuana program, it remains one of the most restrictive in the nation, something reflected in the state’s failing grade.

While Texas’ “tiny” registry of just

Ryan Lange / UnSplash

over 3,500 patients grew 46% over the past year, the report notes that just two retailers are open in the state. Both are in Austin but make deliveries to satellite locations in other major cities, including San Antonio.

“State legislators should address this critical lack of access,” the report notes.

“For a state as large as Texas, two retailers in a single city won’t cover it, even with the registry as small as it is.”

ASA also recommended Texas scrap its current list of qualifying conditions, saying patients and doctors should be allowed to make their treatment decisions together rather than have them

dictated by lawmakers.

Maine received the highest grade on ASA’s report card at a B, and Illinois ranked second with a B-. They were the only two states to earn more than a C. —By Sanford Nowlin

sacurrent.com | March 9 - 22, 2022 | CURRENT

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STATUS OF IN SAN ANTONIO Reflections on the Pursuit of Gender Equality

Opening Reception Tuesday, March 22, 2022 6pm – 9pm Exhibition on view through November 18, 2022 Featured Artists: Kat Cadena, Carmen Johnson Alexander, Kallie Cheves, Jennifer Ling Datchuk Jenelle Esparza, Audrya Flores, Sarah Fox, Adriana M. Garcia, Megan Harrison, Mari Hernandez Ana Hernandez, Laura Mijangos-Rapp, Rhys Munro, Karen Robinson, and Hiromi Stringer

Free and Open to the Public Culture Commons Gallery 115 Plaza de Armas, San Antonio, TX 78205 Wednesday – Friday | 11am – 4pm @GetCreativeSA | #CultureCommons

12

CURRENT | March 9 - 22, 2022 | sacurrent.com

COMEDY

DAVID A. ARNOLD As a stand-up comedian, David A. Arnold has been making people laugh for the past 25 years. He was a regular at the Laugh Factory and the Comedy Store and has made TV appearances on shows including Def Jam Comedy, Entourage and BET’s Comicview. He’s also written for series such as Meet the Browns and Tyler Perry’s House of Pain. In 2020, Arnold premiered his Netflix special Fat Ballerina, which features him talking about anything from how he’s figured out a way to “make a living not doing shit” to his resistance to working out now that he’s married. “I need to be ripped up, [so] I can do regular chores around the house with my shirt off for a woman who don’t give a fuck?” explains. “We ’bout to sit here and eat these Doritos and fall apart together.”

More recently, Arnold served as the supervising producer of Netflix’s Fuller House (RIP Bob Saget). Beyond that, he’s worked as producer on the Nickelodeon shows Side Hustle and That Girl Lay Lay. $60-$240, 8 p.m. Thursday, 7:30 p.m. and 9:45 p.m. Friday, 7 p.m. and 9:30 p.m. Saturday, Laugh Out Loud Comedy Club, 618 NW Loop 410, (210) 541-8805, improvtx.com/ sanantonio. — Kiko Martinez

calendar

THU | 03.10 SAT | 03.12

Walt Disney Studios Home Entertainment

FRI | 03.11 FILM

ENCANTO AND LITTLE SHOP OF HORRORS

Courtesy Photo / LOL Comedy Club

THU | 03.10 COMEDY

THAT GOLDEN GIRLS SHOW! A PUPPET PARODY We live in the Age of Reboots. So maybe there were a bunch

For its Movies by Moonlight in the Garden series, the San Antonio Botanical Garden will hold an interesting double-feature screening of last year’s Oscar-nominated Disney animated film Encanto and the 1986 classic horror-comedy Little Shop of Horrors. Both films are fantastic, but we’re not sure how a four-year-old is going to react jamming out to “We Don’t Talk About Bruno” one minute and then watching a carnivorous plant devouring human flesh another. Before we digress, we suggest staying for only Encanto if your little ones are easily frightened by man-eating monsters or sadistic dentists. Stay away from the candy, kids. In Encanto, a Colombian teenager realizes that she’s the only one who can save her family’s “miracle” despite not having magical powers herself. When the Current talked to Stephanie Beatriz, the actress who voices main character Maribel Madrigal, last year, she spoke about the kind of special power she wish she’d had as a kid. “I think when I was 5, I would’ve wanted to disappear,” Beatriz said. Maybe Beatriz will get that wish if she ever meets the voracious plant Audrey II. Feed me, Seymour! $15-$20, 6 p.m., San Antonio Botanical Garden, 555 Funston Place, (210) 536-1400, sabot.org.— KM

of suits sitting around in a room trying to think of a way to reboot Golden Girls and overcome the obvious obstacle: that the actresses are no longer living (RIP Betty). Maybe one of

a run for their money. $39.50, 7:30 p.m., Charline McCombs

ments in the 15 years since she left her husband — and notes

them said, “You guys are familiar with puppets, yeah?” OK,

Empire Theatre, 226 N. St. Mary’s St., (210) 226-5700, majestice-

the troublesome response she faces from people of her past.

so that probably didn’t happen, but if it did, the result might

mpire.com. — Mike McMahan

The 2017 Broadway production was nominated for eight Tony Awards, and Laurie Metcalf snagged the win for Best

look something like That Golden Girls Show! A Puppet Parody.

Promising that “devoted fans will fondly remember our four girls from Miami” and that those unfamiliar will have a blast as well, the evening promises to provide a light-hearted escape from the ongoing dystopia that is Earth 2022. At press time, there was no confirmation that the Blanche puppet will give her foul-mouthed counterparts from Team America

THU | 03.10 SUN | 03.27 TH EATER

A DOLL’S HOUSE, PART 2

Performance by an Actress in a Leading Role in a Play. The Classic Theatre’s run will include a March 25 showing with American Sign Language interpreters located near the stage for audience members who are deaf or hard of hearing. $24$39, 7:30 p.m. Thursday, Friday and Sunday March 10-27, San Antonio Botanical Garden, 555 Funston Place, (210) 589-8450, classictheatre.org. — Dana Nichols

The sequel to Henrik Ibsen’s A Doll’s House picks up 15 years

Reminder:

after the 1879 play’s heralded ending — and was written well over a hundred years later by a different playwright. Ibsen’s original story follows Nora Helmer, a Norwegian woman living with her husband and children as an ideal 19th-century wife. She attempts to follow opportunity but finds that difficult in a world dominated by men. By the end of the play — 142-year spoiler alert! — Nora leaves her belittling husband behind to pursue a life she can live for herself rather than others. Part 2, written by American playwright Courtesy of Empire Theatre

Lucas Hnath, catches up with Nora and her accomplish-

Siggi Ragnar

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.

13th Annual

Open Weekends:

Mar 5 – Apr 24 + Fri Mar 18 10 AM To Dusk Rain Or Shine | No Pets -Camping Available-

Location

1883 Old Hwy 20 Mcdade, Tx 78650

35 Miles East Of Austin -Or2 Hrs Northeast Of San Antonio

Entertainment

Join Robin Hood & Lady Marian as they host full contact jousting, falconry, swordplay, archery, juggling, comedy, theater & more. Medieval England comes to life in Central Texas.

Artisans + Merchants We host a grand selection of hand-crafted goods in Central Texas. We offer demonstrations like glass blowing, blacksmithing, pottery spinning, leather armor making, weaving, jewelry & art creation, & others.

Song + Dance

You'll find minstrels, bards, storytellers, magicians, jugglers, & all types of performers strolling our lanes & playing on our stages. If you're lucky, you may spot a faery or two!

Food + Drink

From trenchers weighty with tasty fare to tankards overflowing with foamy mead, there's plenty to eat and drink at Sherwood Forest Faire. You'll discover medieval treats & delicacies.

Tickets On Sale Now At Sher woodforestfaire.com | (512)222-6680 | Follow Us On 14

CURRENT | March 9 - 22, 2022 | sacurrent.com

calendar FRI | 03.11 SPORTS

SPURS VS. JAZZ The Spurs’ latest Rodeo Road Trip included a return to playing .500 basketball, albeit in an eight-game window. With that in the rearview mirror, San Antonio is looking to shore up its record at home

Courtesy Photo / San Antonio Parks Foundation

on Friday night against the surging Utah Jazz. When the two squads squared off at the AT&T Center back

Ride volunteers will leave each hour from 10 a.m.-

in December, Wagner High School product Jordan

2:30 p.m. Those who want to keep the fun going

Clarkson paced both teams with 23 points in his

after festivities wind down at the park can bring

homecoming, sparking a 110-104 win for the Jazz.

their pup and head to the nearby Hops & Hounds,

Flanked by All-Stars Donovan Mitchell and Rudy

13838 Jones Maltsberger Road, from 4-7 p.m. for

Gobert, Clarkson, the league’s Sixth Man of the Year,

the Official Fest of Tails Yappy Hour presented by

has played a key role in the Jazz’s push to secure

Texas Public Radio and the Parks Foundation. Free,

home court advantage to start the post-season.

10 a.m.-4 p.m., McAllister Park, 13102 Jones Maltsberger

Timely contributions from Devin Vassell and Lonnie

Road, (210) 212-8423, saparksfoundation.org. — Kelly

Walker IV have been difference makers for the Spurs

Nelson

during a crucial seven-game homestand. A spot in the league’s Play-In Tournament remains within reach for a youthful squad led by Dejounte Murray, who continues to turn heads in a breakout career-altering campaign. $13-$900, 7:30 p.m., AT&T Center,

MON | 03.14 COMEDY

One AT&T Center, (210) 444-5000, attcenter.com, Bally

TEACHERS GONE BAD

Sports Southwest. — M. Solis

Think of the worst teacher you had as a kid. Mine was Coach Nichols, second grade. To punish all the boys in P.E. class for coming in late from recess, one Friday afternoon she called a “free day” and told us we were going to watch a movie instead of doing exercises. She proceeded to play a VHS copy of the 1987 animated film, The Chipmunk Adventure. As soon

Courtesy Photo / Freeman Coliseum

WED | 03.16 SPECIAL EVEN T

AEW PRESENTS DYNAMITE AND RAMPAGE

All Elite Wrestling will bring its brutal, alternative-to-the-WWE brand of bouts to the Alamo City for the first time this spring. The league — which features a mixture of former WWE stars and up-and-comers — will stage its live AEW Dynamite and taped AEW Rampage television shows at Freeman Coliseum Wednesday, March 16. Dynamite will air live on TBS, while Rampage will run on TNT on Friday, March 18. AEW launched in January 2019 under leadership of Tony Khan, co-owner of the NFL’s Jacksonville Jaguars and the Premier League’s Fulham FC, with the aim of being an alternative to the Vince McMahon-owned WWE. Pro wrestling pundits have long criticized the near-70-year-old WWE for having a long chokehold over the industry since the 2001 closure of the WCW, its last significant TV competitor. AEW boasts pro wrestling superstars including Chris Jericho, CM Punk and Bryan Danielson, all advertised to appear on the San Antonio card. Also scheduled to appear on the show is Alamo City resident Thunder Rosa, a Tijuana, Mexico-born luchadora and a former NWA World Women’s Champion. $32-$1,148.50, 6 p.m., Freeman Coliseum, 3201 E. Houston St., AEWTix.com. — Jose Garza III

as the movie started, she told all the boys to turn around and stare at the opposite wall for the entire Twitter / @spurs

SAT | 03.12 SPECIAL EVENT

FEST OF TAILS

class. She also warned us that if we turned around

Exchange, 411 Bonham, (210) 386-4537, facebook.com/

to look, we would be in a lot of trouble. One boy

reylopezentertainment. — Sam Sanchez

did. We never saw him again. We’re not sure if the

THU | 03.17

teacher-slash-comedians who will take the LOL stage are as horrible as Coach Nichols, but we’re sure they aren’t evil enough to say, “Hey, boys, you’re missing

DANCE

a really great movie right now” as we sat with our

SWAN LAKE

The San Antonio Parks Foundation’s Fest of Tails

backs to the TV. Topics of discussion at Teachers

is back for its 15th annual iteration on Saturday,

Gone Bad will include family, parenthood, dating,

March 12. After last being held in October 2021

marriage and how each of them has emotionally

due to a pandemic-forced rescheduling, the event

scarred their students so badly that they’ll probably

is returning to its traditional March timeline. The

end up writing about it years later. $20-$40, 7:30

performer, recording artist and comedian Manila

iconic St. Petersburg version of the ballet Swan Lake,

outdoor, all-ages kite festival and dog fair will be

p.m., Laugh Out Loud Comedy Club, 618 NW Loop 410,

Luzon for two shows at the Bonham Exchange. The

choreographed by Nadezhda Kalinina. The fairytale

held at McAllister Park near the dog park and pump

(210) 541-8805, improvtx.com/sanantonio. — KM

evening will be hosted by local drag icon Tencha La

ballet showcases the now legendary trickery of the

track. The gathering will feature kite demonstra-

Jefa. Luzon was a contestant on the third season of

evil wizard Rothbart, who turns the princess Odette

tions and family kite flying as well as live enter-

RuPaul’s Drag Race, where she came in second place,

and her friends into swans and tricks Prince Sieg-

tainment and a variety of food and vendors. Dog

and from there, she went on to compete on the first

fried into picking the wrong bride. RBT’s production

owners can sign up for the popular Pooch Parade

and fourth seasons of RuPaul’s Drag Race All Stars.

features a multinational cast with SFX makeup by

and Costume Contest presented by H-E-B. Pooch

Luzon has released eight music singles and been

Parade participants will be in the running for Best

signed with Warner Music Philippines. With over a

Dressed Dog, Most Resembles Owner and Best In

million Instagram followers, the performer’s pop-

Show, with separate 13-and-under youth divisions

ularity has translated into partnerships in global

for each. The parade will commence at 12:30 p.m.

“Tour de Tails,” a bicycle ride along the Salado Creek Greenway that ends at the festival in McAllister Park.

Riders can choose a 3-mile or 10-mile route, starting

classic coming-of-age love story. The U.S.-owned troupe will present a retouched version of the

and domestic campaigns with Maybelline, Disney’s Courtesy Photo / LOL Comedy Club

with contest judging immediately after. To honor its 15th anniversary, Fest of Tails is debuting the

Ballet troupe RBT is welcoming the spring with a Courtesy Photo / Rey Lopez Entertainment

THU | 03.17 DRAG

from either the Lady Bird Johnson Trailhead or the

MANILA LUZON

Hardberger Trailhead. Groups led by SATX Social

Ray Lopez Entertainment is presenting popular drag

Mulan and Cruella, Facebook, Jack Daniels, Amazon Prime and Absolut Vodka, among others. Luzon’s website offers this take on her stage persona: “Manila Luzon is an international drag queen most famous for her campy twist on glamour, silly crosseyed expressions and signature black and blonde wigs.” $20-$25, 10:30 p.m. and midnight, Bonham

Courtesy Photo / Majestic Theatre

sacurrent.com | March 9 - 22, 2022 | CURRENT

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Irina Strukova, along with hand-painted sets and over 150 hand-sewn costumes created by designer Sergei Novikov. $49.50-$89.50, 7:30 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-5700, majesticempire.com.

— Ashley Allen

FRI | 03.18 SUN | 03.20 TH EATER

RENT 25TH ANNIVERSARY FAREWELL TOUR The hit 1996 rock musical Rent is hitting the stage for its 25th anniversary and final tour. Winner of multiple Tonys and the Pulitzer Prize for Drama, the show has long been a Broadway fan favorite for its depiction of life in the Manhattan’s Alphabet City. It follows a group of hungry young artists and the impact of the HIV/AIDS epidemic on the creative community. In the quarter-century since its debut, the show has played on stages all over the world and even made its way to the big screen in the 2005 Chris Columbus adaptation. $40-$130, 8 p.m. Friday, 2 p.m. and 8 p.m. Saturday, 2 p.m. Sunday, Majestic Theatre, 224 E. Houston St., (210) 226-5700, majesticempire.com. — DN

Courtesy Photo / Freeman Coliseum

SAT | 03.19 COMEDY Courtesy Photo / Broaddway in San Antonio

FRI | 03.18 SAT | 03.19 SPECIAL EVENTS

ST. PATRICK’S DAY FESTIVAL AND RIVER PARADE

KATT WILLIAMS

Maybe our man Katt Williams has a line on The Simpsons’ crystal ball, because he announced his World War III Tour last year, and well, here we are. And if nuclear Armageddon does happen, Williams can probably use the survival skills he’s built up, given that he emancipated himself at age 13 and got by as a street vendor. In addition to standup comedy, Williams has appeared in a range of projects including TV’s NYPD Blue and has provided voiceovers for The Boondocks and Grand Theft Auto IV, although he’s arguably best known for his turn as Money Mike in Friday After Next. His stand-up specials have included HBO’s Katt Williams: Priceless: Afterlife, directed by Spike Lee, and Netflix’s Great America.

Williams struggled to deal with hecklers through the years, which has become both a source of laughs and trouble. In one notorious 2011 incident — for which he declined to apologize — the comedian yelled at a Latinx heckler “...so if you love Mexico, bitch, get the fuck over there!” $62-$353, 8 p.m., Freeman Coliseum, 3201 E. Houston St., (210) 226-1177, freemancoliseum.com. — MM

Another holiday in San Antonio, another excuse for a parade and festival along the River Walk. The Harp & Shamrock Society of Texas’s Alamo City-style Patrick’s Day celebration kicks off at 1 p.m. Thursday by

for the 3rd annual tater tot eating contest. The challenge? Two pounds

the defensive end.” McCollum scorched the Spurs for a game high 36

dyeing of the San Antonio River green — with eco-friendly coloring, of

of tater tots in under three minutes. And if you’re not paraded out by

points in a losing effort last month in Louisiana, where he was nearly

course. The festival itself takes place Friday and Saturday with live mu-

that point, there’s another option on Saturday. The Lucky Dog Parade

matched by Murray with 31. The Pelicans land in San Antonio seeking

sic, food trucks, games and family-friendly entertainment. The annual

at La Villita will take festively attired pooches on a quarter-mile route

their first win against the Spurs this season. The team’s campaign is

River Walk parade runs 4-5 p.m. Saturday, so get there in time to snag

where one will be crowned winner. Line-up starts at 1 p.m. for the

defined by the absence of Zion Williamson and recent acquisition of

a spot anywhere along the parade route for a view of 12 Irish-themed

2 p.m. pup parade. The party will continue late into Saturday night

McCollum, whose veteran presence has provided needed stability. Next

floats, each carrying entertainers — yes, that includes bagpipers. This

during Howl at the Moon’s After Party Street Fest, which will feature a

up for the Spurs is the last extended road trip on the schedule, which

year, the River Walk parade will be followed by a new Luck of the Irish

performance by an ’80s cover band as well as a Silent Disco with more

includes stops in San Francisco, Portland and a rematch with the Pel-

River Parade, which will take place along the Museum Reach starting at

than 30 DJs rotating on eight turntables. Whichever of the events end

icans in New Orleans. Expect a pair of shootouts between Murray and

6 p.m. If you’re able to save stomach space Friday, head to the Passport

up on your schedule, make sure you’re wearing green! Free, 1-8 p.m. Fri-

McCollum as both the Spurs and Pelicans look to extend their seasons.

to Ireland booth as soon as the festival opens to get one of the 10 slots

day and Saturday, River Parade 4-5 p.m. Saturday, San Antonio River Walk,

$20-$2,149, 7:30 p.m., AT&T Center, One AT&T Center, (210) 444-5000,

thesanantonioriverwalk.com. — DN

attcenter.com, Bally Sports Southwest. — MS

FRI | 03.18 SPORTS

SPURS VS. PELICANS Prior to the All-Star break, New Orleans Pelicans sharpshooter and president of the National Basketball Players Association CJ McCollum Courtesy Photo / Visit San Antonio

praised the Spurs’ Dejounte Murray, complimenting the point guard’s increased efficiency, much improved jump shot and “great tenacity at

Twitter / @spurs

sacurrent.com | March 9 - 22, 2022 | CURRENT

17

Questioning Reality

New exhibition investigates the intersections of neo-surrealism and magic realism

BY BRYAN RINDFUSS

A

Find more arts coverage every day at sacurrent.com

lthough the term “surrealism” often conjures perplexing visual imagery — Salvador Dalí’s melting clocks, René Magritte’s raining men, Frida Kahlo’s antlered head atop The Wounded Deer — the genre actually originated as a literary movement in early 20th-century Europe. Taking cues from both Sigmund Freud’s dream studies and Karl Freudian flip Marx’s political theories, surrealism centered on “automatic writing” designed to harness Hailed as “one of the most celebrated living subconscious creativity. artists in Mexico” and “one of the master illuAs with any artistic movement, surrealism sionists of late 20th-century art,” octogenarhad its proponents, dabblers and detractors ian Pedro Friedeberg is arguably the second — and Kahlo fell within a complicated space. most recognizable figure in the exhibition Some of her most famous works skewed — the first being a gilded example of the surreal, and she participated in movement ubiquitous Hand Chair he introduced in 1962. leader André Breton’s International SurrealAs Architectural Digest reported in its 2017 ist Exhibition in Mexico City in 1940. Yet she article “The Story Behind Pedro Friedeberg’s didn’t consider herself part of the movement.

Iconic Hand Chair,” that functional staple of “They thought I was a surrealist, but I modern surrealism has achieved cult-like stawasn’t,” Kahlo once asserted. “I never painted tus in global design circles. But it’s only the dreams. I painted my own reality.” tip of the iceberg for Friedeberg, who works In certain ways, surrealism paved the way between sculpture, painting, printmaking, for its younger cousin magic realism, which montage and installation — and remains inpresents fantastical occurcredibly prolific to this day. rences as common aspects of “He works all the time,” ‘Neo-Surrealism & everyday life. Both evolved Ruiz-Healy said of Friefrom a literary tradition into deberg. “He’s just happy Magic Realism’ a distinct style that’s loaned drawing and creating …

11 a.m.-4 p.m. itself to painting, film and and he has this incredible Wednesday-Saturday other forms of visual expresdiscipline.” through April 23 sion.

Positioned near the gallery Ruiz-Healy Art, 201A E. Olmos On view through April entrance almost as a welDr., (210) 804-2219, ruizhealy23, the new Ruiz-Healy Art come sign into “Neo-Surrealart.com. exhibition “Neo-Surrealism & ism & Magic Realism,” FriedeMagic Realism” explores the berg’s Hand Chair delivers a diverse applications of these master class in continuity as two genres along with contemporary adaptait sits next to his Tercer Banco — a complementions and gray areas in between. tary but much less accommodating seating During a recent Zoom conversation, gallery device he devised nearly 60 years later. director Patricia Ruiz-Healy explained that “Pedro was very close to Leonora Carthe exhibition sprang from her desire to rington, and to Bridget Bate Tichenor, showcase two late San Antonio artists, Katie another big surrealist who lived in Mexico,” Pell (1965-2019) and Bruno Andrade (1947Ruiz-Healy explained. “He doesn’t like to say, 2013). Although stylistically disparate, they ‘I’m a surrealist,’ but he does recognize that both alluded to fantasy in works driven by surrealism has played a big role in his work.” nature and memory. With those two bookDelivering an analytical stare from a small ends in place, “Neo-Surrealism & Magic Realbox supported by tiny wooden feet, Friedeism” developed organically into a 17-person berg’s nearby sculpture Homenaje a Sigmund show that speaks eloquently to the strangFreud seems to wholeheartedly concur. er-than-fiction realities of our times.

Fantastic memories

Bryan Rindfuss

Pedro Friedeberg’s iconic Hand Chair welcomes visitors into “Neo-Surrealism & Magic Realism.”

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After succumbing to the unavoidable pleasures of Friedeberg’s golden oddities, viewers’ eyes will likely wander to Katie Pell’s Waiting for You. Exemplifying Pell’s love of nature — which took shape in imaginative homages to the Delaware woods of her adolescence — the mixed-media piece beckons with a mix of flora and fauna flanking cloud patterns that recall both Magritte’s masterworks and the opening credits to The Simpsons. Driven home by a mirrored plexiglass frame, Waiting for You can be taken as an invitation into an alternate dimension or, as the title wryly implies, a conceptual selfie scenario.

Thoughtfully included in the exhibition’s press release, Pell’s words describe her work in a manner all her own: “Some of us build our own mythology out of our environment, our desires, and our own furious defiance at our genetic mediocrity. I hope my work can ignite or describe the excitement of our pointless and forgettable lives, and reaffirm the value of our gorgeous desperation.”

A San Antonio native who found major artworld success and taught for 20-plus years at Texas A&M University in Corpus Christi, Andrade created exuberant paintings that drew from nature, memory and his Chicano heritage.

“I have always been very intrigued by his work,” Ruiz-Healy admitted. Characterized as both “a realist with a refined sense of abstraction” and “a sophisticated painter inoculated with the wonder of an eccentric visionary,” Andrade is represented here with the joyful still life Into Memory and the dreamy landscape Apple of My Eye.

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While he may not be a household name in these parts, Japanese-Mexican artist Shinzaburo Takeda is considered a master printmaker and his influence resonates through the work of the many young artists he’s taught in his home state of Oaxaca. With its muted color palette, Takeda’s 2010 print Mujeres de Mayo may not scream for attention as loudly as some of its neighbors but it’s unusual subject matter — which places a towering crocodile at the helm of a ship being pulled through the water by horses — renders it one of the most surreal works in the show.

“He’s a perfect magic realism artist as well,” Ruiz-Healy offered. “All his works are based on travels. He knows Oaxaca and Mexico so well and he goes to these very remote areas and documents [what he sees]. A lot of his paintings, you might think they’re part of his imagination. But no: they’re for real — obviously, not the crocodile.”

Often placing borderland themes within the surreal realm of science fiction, San Antonio-based Mexican artist Juan de Dios Mora is another natural fit and his 2009 print Partido en Dos (Torn in Half) delivers one of the show’s most poignant moments. Depicting a listless kid at odds with his broken accordion, it speaks to “a life spent straddling two worlds.”

But the feels don’t stop there. The day after “Neo-Surrealism & Magic Realism” opened, Mora posted a photo of Takeda’s Mujeres de Mayo with the following caption: “In a million years I never thought that I will be showing my art right next to a maestro which I admire. … Thanks @ruizhealyart for making

Juan de Dios Mora’s print Partido en Dos (Torn in Half) offers a poignant highlight.

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my dream come true.”

Lo real maravilloso Although Nobel Prize winner Gabriel García Márquez is often hailed as the “father of magic realism,” Ruiz-Healy pointed out that Cuban novelist Alejo Carpentier came first with his theory of lo real maravilloso, a fantastic spin on reality he found to be inherent to Latin America — and decidedly different from European constructs of surrealism.

That spirit comes across most clearly in Ruiz-Healy’s pairing of Irma Guerrero’s 2004 painting Viento y Agua (Wind and Water) and Patssi Valdez’s 1992 print Cactus Queen. While Guerrero employs hummingbirds and a majestic bird of paradise flower to hint at the magic of the natural world, Valdez crowns her queen with a cactus paddle amid a mountainous landscape punctuated by a bright red snake.

“I love that piece,” Ruiz-Healy said of Cactus Queen. “A lot of people think that we’re just now recognizing Brown [artists]. And it’s not [the case]. Look at Patssi: she chose to represent this beautiful woman as a queen — and she’s Brown. … That’s why the work of César Martínez and Patssi Valdez and Mel Casas is so important — because they were the pioneers in this country of recognizing their own identity, their own culture.”

Adriana Vargas Allison Boerger Alyssa Montes Amber Hoey-Paul Amena Leauvano Anavel Gonzales Andrew Casillas Andrew Quiroga Angela Martinez Anna Hoelting Areetha Carter Aubree Hoffman Becky Hudson Bianca Alberty Bianca Flores Brad Johnson Brad Randle Brian Buster Carol Pope Cathey Ambush Cecily Pretty

Charla Davies Christina Cragg Craig Yugawa Cynthia Munoz Daisy Torrance Dan Yoxall Danica Murillo Daniel Kleffner Daniel Conrad Debra Cobb Desiree Martinez Diamond Eskridge Diana Blinn Diva Eytch Doug Creedon Elizabeth Farrell Elizabeth Parlato Emile Huggins Erin Baker Evan Barbosa Evan Hansen

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Jonathan Stevens Joseph Yakubik Joyce Raposo Katharine Martin Katherine Diana Kathy Keevan Katie Jarl Kayla Beltran Keneth Kanagaki Kim Johnson Kimberly Gibson Kindel Hollis Kristian Persson Kurt Bergo Laura Barberena Laura Jesse Laura Barberena,Ph.D. Lea Svoboda Linda Perez Linda Suttner Linda Grace Solis

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Samuel Shreve Sarah Erickson Shannon Carr Stephanie Plaza Suellen Ehrmann Theresa Fossier Tom Rademacher Travis Poling Vicki Hannigan Victoria Martinez Wade Cruse Wayne Owens William Perdue William Patry

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Art Crawl: Lovely Lines 10:00–10:45 a.m.

Art Activities 11:00 a.m.–3:00 p.m.

Art to Lunch: Who’s Who of Roman Empires 12:30–1:00 p.m.

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Bonus: Free admission to Bexar County residents every Tuesday 4:00-700 p.m. & Sunday 10:00 a.m.-12:00 p.m.

samuseum.org/calendar | 200 West Jones Avenue

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CURRENT | March 9 - 22, 2022 | sacurrent.com

arts Going With the Flow

Underground music legend Jad Fair showing hundreds of his papercuts at San Antonio’s Space C7

BY BILL BAIRD

J

ad Fair hasn’t just proven himStarting with friendship self as a distinctive and original voice in one art form. He’s For many music fans, the entry point earned that reputation in two. to Fair’s work is through his collaboraHis seminal work with art-punk band tions with other musicians.

Half Japanese and his extensive releases “Collaboration usually starts with as solo musical artist helped birth his friendship,” Fair said. “That’s how it accomplished visual arts practice. His happened with Daniel [Johnston], output in both effortlessly embraces and it was the same with the Pastels or life and finds beauty in natural, unTeenage Fanclub or Yo La Tengo. These forced expression. are people that I knew and became And Fair’s output remains vital as friends with, and then later it felt natuever. Even though his music career ral just to do some recording.”

— which includes dozens of albums, In the case of Yo La Tengo, with collaborations with the Velvet Underwhom Fair recorded the 1998 album ground’s Moe Tucker, NYC downtown Strange but True, the musical partnerlegend John Zorn, revered Texas outsid- ship stemmed from his decades-long er artist Daniel Johnston, friendship with band singTeenage Fanclub, Yo La Tener-guitarist Ira Kaplan.

‘A Happier go, the Pastels and tours “I first met Ira in 1978,” Happiness’ with Nirvana and Lou Reed Fair said. “He bought the Free, Saturday, March 12-Saturday, April 30, 10 a.m.-5 — has spanned decades, first Half Japanese single. p.m. Monday-Saturday, Space he’s lost none of the inUsually, I’d include a thank C7, 2450 Roosevelt Ave., (806) 392-1915, thesouth-side.com. spired joy that’s infused his you note in orders, but Reception: Saturday, March 12, work since Half Japanese’s sometimes they’d write 6-9 p.m.

1974 inception. back again, and it’d turn That same joy animates from a note into a letter.

Fair’s intricate papercuts, hundreds of And then into a friendship.” which will be featured in “A Happier As testament to Half Japanese’s cultHappiness,” his visual art show openlike status, Nirvana picked the band to ing Saturday, March 12 at San Antonio’s open its In Utero tour.

Space C7 as part of Contemporary Art “It surprised me that the audience Month. He’ll be on hand for the openwas a lot younging and perform a music set as well. er,” Fair recalled.

Fair first developed his papercutting “High school kids. technique to alleviate tour boredom, The first night and it eventually grew to grace many of we had some fast his own album covers. Since then, it’s songs and some been exhibited worldwide and comslow ones. The piled in four books. fast songs went “Music and artwork, it all comes from over well, and the the same part of the brain,” Fair said in slow ones just a recent phone interview. “For me, it bombed. So, after all comes so easy. I don’t really need to the first night we think about it. I’m sure there is some only played fast thought process, but it’s not something songs.”

I need to be aware of. It just kind of Half Japanese flows. It has a real natural feel.” also opened for Tapping into this effortless flow, Fair Lou Reed, while has produced a mind-boggling numserving as Moe ber of records. And he still gigs regular- Tucker’s backing band. Undaunted by ly, including a planned Sunday, March working with the greats, Fair takes it all 27 performance at Echo Bridge as part in stride. “It was great,” he said. of CAM’s closing ceremony.

Not far to go

Courtesy Image / Jad Fair

one week’s time,” Fair said. “When he Fair’s San Antonio art opening and first came down, my thought was we’d show are practically in his own backrecord the songs and Daniel would yard. He moved to Texas 23 years ago, leave and I would do the mixing, but settling near Austin.

“I got married and my wife was living Daniel really wanted to be there for the mixing, which meant we had to do a lot in Texas, and I thought, well, as long as in just a week. But we got it we’re married, I might as done. A lot of hours.” well live with her,” he said.

Like his other collabora“I grew up in Michigan and CAM Closing tions, that one began with I just got so tired of the Ceremonies friendship and mutual long winters. The warmer Free, Sunday, March 27, 7-10 admiration. weather really appeals to p.m., Space C7, 2450 Roosevelt Ave., (806) 392-1915, “I first heard Daniel’s me.” thesouth-side.com. music around 1985,” Fair Despite his proximity to said. “Half Japanese played the Alamo City, Fair admits a show in Austin and Danhe iel’s manager, Jeff Tartakov, hasn’t gave us a copy of Hi, How Are You? We spent much time just played it over and over again — here. loved it. And I started corresponding “I like it a lot, with Daniel and then started spending though. There a good bit of time with him.” are several nice Like Johnston, whose work also homes and I spanned visual art and music, Fair’s really like the work celebrates innocence and a freepalm trees,” he dom from restraint — things that can’t said. “Austin has help but make fans feel a little freer some palm trees, themselves. but San AntoC7’s ancillary galleries will feature nio’s seem much work by Steve Cruz, MJ Hernandez, Jeff healthier.”

F. Wheeler, Wynn Doe, Gary Sweeney, During Fair’s Hills Snyder, Franco Mondini Ruiz, Echo Bridge Courtesy Image / Jad Fair Daniel Johnston and others. show, he plans to Fair’s exhibition is sponsored by Nina include numerous songs by Johnston, Hassele. The Contemporary Art Month his late collaborator. The pair worked Closing Ceremonies are presented by together on the classic 1989 album It’s Southwest School of Art, Sala Diaz and Spooky.

Dorćol Distilling + Brewing Co. “We recorded that entire album in sacurrent.com | March 9 - 22, 2022 | CURRENT

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Instagram / @foxsar2

Exhibition Exodus

What the McNay’s rejection of local artist Sarah Fox’s commissioned piece says about contemporary art in San Antonio

BY ABE ASHER

T

he McNay Art Museum’s rejection of a commissioned piece from a local artist over its sexual content has forced the museum to rework the exhibition and local creators to question its commitment to fostering the city’s contemporary art scene.

In a February 12 social media post, Sarah Fox announced that the museum had rejected a video clip of a puppet show she submitted for an upcoming exhibition focused on the collection of founder Marion Koogler McNay. Museum officials objected to the clip, which features a pair of papier-mâché puppets engaged in an illicit encounter.

The decision to reject Fox’s video has kicked off a broader debate in the San

Antonio arts community about what kind of work is valued, which artists wield power and who decides what’s exhibited.

Since the McNay’s refusal, five of the seven other artists from whom the museum commissioned pieces for its exhibition — Jennifer Ling Datchuk, Xavier GiImore, Lisette Chavez, Alyssa Danna and Libby Rowe — have pulled out in solidarity.

A McNay spokesperson said that the exhibit is “being reimagined to include an even greater focus on the legacy of our founder, Marion McNay.” It’s still scheduled to open Thursday, March 17, with just two of the original artists.

In a statement provided to the Current, McNay spokesperson Ra-

chel Trevino said the museum raised concerns about the video when it was first shared with the curatorial team February 1. Members eventually asked Fox to submit a different piece, which the artist declined to do.

“The video by Sarah Fox created for the exhibition does not adhere to the exhibition’s focus on our founder, Marion McNay,” Trevino wrote. “The artist’s decision to diverge from the show’s original thesis — and subsequent refusal to work with the Museum’s Curatorial team on realigning with the exhibition focus — is not in step with the McNay’s co-collaboration process.”

Not a literal interpretation It’s unclear on what grounds the museum judged Fox’s work as having diverged from the show’s original thesis. Fox told the Current she followed the spirit of the original guidelines.

Fox explained that when she and the seven other artists were invited to participate in the exhibition in December 2020, officials told them their work should be inspired by a piece in Marion McNay’s original bequest. However, the

These puppets feature in the video commissioned by the McNay.

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museum noted that their work needn’t be a literal interpretation of the source material.

Fox went through McNay’s original bequest and found her inspiration: a print by a German artist Käthe Kollwitz of an older, tired-looking woman clutching her belly. “[Kollwitz] is a huge feminist,” Fox said. “It’s working in the same line — albeit very contemporary and in a different way — as the same kind of work she was making. She was super political.”

Fox and other artists also argue that museum representatives knew full well what they were getting with her work, which frequently explores sexual themes. In an early Zoom meeting with museum representatives, Fox offered to respond to the Kollwitz piece with one of three options: a lithograph print, a quilt or a puppet show.

“I showed them the last puppet show I had made, which was called Bad Bunny, and it was this rabbit chain smoksacurrent.com | March 9 - 22, 2022 | CURRENT

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CURRENT | March 9 - 22, 2022 | sacurrent.com

arts

ing and gyrating and twerking all by herself and getting blackout drunk and falling down,” Fox said. “I showed them that work, and they said, ‘We want you to do another puppet show.’”

So, she set about the arduous process of creating the show, building a character and recruiting other artists to participate. At a Zoom check-in, McNay representatives approved of drawings she made for the show, according to Fox. She thought the museum was excited about the piece.

However, six weeks before the exhibition was set to open — and after Fox’s extended family made plans to travel down from New Jersey for opening night — she found out that wasn’t the case.

No full explanation Fox and museum representatives went back and forth on proposals for how to keep the work in the exhibition.

The artist declined to make a new piece of work or show an old one, but said the museum declined her offer to show the work in a separate room with a content warning so viewers could decide for themselves whether they wanted to engage with it.

Shortly after, Fox announced that she’d been disinvited from the show — at which point, the five other artists dropped out as well. Some said they were stunned by the suddenness of the museum’s decision not to accept Fox’s video.

“The institution has shown work similar to that before, and they know what the artist’s work looks like and what they have done in the past,” interdisciplinary artist Gilmore said. “If that was a concern, it should have been made [clear] in the beginning.”

Datchuk said no one from the McNay tried to convince her or the other departing artists to stay. Nor did officials fully explain their decision to reject Fox’s piece.

“They had a line, which they were not comfortable showing Sarah’s work — which was news to us. Because if that was in the contract or part of the stipulation of showing, I would have said no from day one,” Datchuk said. “I think it shows very much that they don’t care about the community that they live and work in.”

The artists said the decision to remove Fox’s work reflects on the kind of content that ruffles feathers in the city’s often-conservative institutions.

“I think overall, the city kind of

Instagram / @foxsar2

enjoys more traditional forms of art — and by that, I mean things that look nice,” Gilmore said. “Work that is challenging isn’t always accepted.”

‘Supposed to start a dialogue’ Challenging work should be expected in a contemporary show that asks artists to interpret and reflect on a person’s existing work and legacy, Fox said. In contrast, the reimagined McNay exhibition will be more of a “historical show than a show about contemporary art,” she added.

“I think it does a disservice to San Antonio as a whole to assume that people are not going to get this and not spend the time to try to understand what the work is about,” Fox said. “And some people will get offended, but that’s OK! Art is supposed to start a dialogue.”

An accomplished artist whose work has been shown around the country, Datchuk questioned whether Fox’s

video would have been more upsetting than work already on display at the McNay. “I can’t help but point out the hypocrisy in this, in that … sexual themes and even violent themes are hung and shown in their work, but it seems the themes that often gets silenced or policed are dealing with women’s histories or stories,” she added.

Fox said that the fact that she’s a woman whose work deals with themes of gender, sexuality and class is relevant in understanding the museum’s decision.

“Society as a whole is terrified of women expressing their sexuality,” she said. “Women from the beginning of art have been displayed as objects of desire for male sexuality — museums are full of that — and I do think part of [the censorship] is because I’m a woman making work about sexuality.

They’re not used to that. And I think it scares them.”

Artist Sarah Fox said her willingness to explore themes of gender, sexuality and class is relevant in understanding the McNay’s decision.

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People interested in seeing the pieces originally commissioned for the show will still have their chance: the artists’ work will be on display starting Friday, April 1 at Blue Star Arts Complex’s C136 Blue Star space. An opening will run 6-10 p.m.

That show will stand in contrast to the exhibition at the McNay, Fox said.

“When the McNay does stuff like this, it holds us back from being a real, grown-up, contemporary arts city — which we are,” she added. “I think decisions like this to cancel out controversial work is a sort of a small-town thing to do.” sacurrent.com | March 9 - 22, 2022 | CURRENT

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DO NOT UNLEASH THE FURRY! Visit saacs.net for more information.

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CURRENT | March 9 - 22, 2022 | sacurrent.com

San Antonio high schoolers screening shorts at 2022 SXSW Film Festival

BY KIKO MARTINEZ

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he South by Southwest (SXSW) Film Festival, taking place March 11-19, is being held in person for the first time in two years. During this iteration, the fest has selected short films by five students from San Antonio-area campuses to screen as part of its Texas High School Shorts program. Here’s a look at those young directors who make up the next generation of Alamo City filmmakers.

William Herff

Saint Mary’s Hall senior William Herff thought he’d be thrilled if one of his short films was selected to screen at SXSW. Imagine his excitement when the festival accepted two.

His first, a thriller called Soles, is a home invasion story in which characters are only seen from their legs down. Think of Wes Craven’s The Last House on the Left but as a Tom & Jerry cartoon.

“I wanted to do something experimental and test some of the limits of storytelling,” Herff said. “I wanted to see if I could create tension and build suspense without showing faces.”

In the comedy Football, Herff follows a young outcast tasked with shooting a hype reel for his high school gridiron team. Instead of a conventional highlight video, the student gets creative and takes an art-house approach. It’s an idea Herff and his friends joked about when they, too, recorded their school’s varsity high school football games so the team could analyze its plays.

“We always wondered what would happen if we made this really artsy, convoluted video for the team,” Herff said. “In Texas, football is a big high school experience, but we were always on the outside looking in. So, we wanted to make a film from that perspective.”

Bella Muñoz

In filmmaker Bella Muñoz’s dark comedy Waiting for Divine Intervention, a demon named Carmilla takes human form and travels from Hell to New York City, where she cons her way into a young woman’s life. Lacking the self-confidence needed to land a big promotion at her job, Mary makes a deal with the entity to learn how to be more assertive.

Muñoz, a senior at Saint Mary’s Hall, was brainstorming ideas for a movie with a friend

screens

Students of Cinema

Courtesy Photo / Bella Muñoz

and thought the concept of a demonic diva could be fun. After pitching the story to her class, the group voted to work on Muñoz’s film and submit it to festivals. The class traveled to NYC to make the movie.

“It was very stressful, but we were all very happy with the film,” Muñoz said.

Angel Ruiz

In the experimental, stop-motion animated short Vegetable, filmmaker Angel Ruiz explores the psychological effects of medication relapse through the perspective of an oddly shaped clay creature shopping at the grocery store.

A senior at East Central High School, Ruiz describes herself as “creative or something.”

While not one to boast about herself, Ruiz’s A/V production teacher David McGinnis is more than willing to brag about his student’s work, which he describes as “wholly unique.”

“I’ve been blown away by Angel’s facility with mixed media, stop-motion and post-production effects to create work that is genuinely challenging and not just weird for its own sake,” McGinnis said. “If I knew where her creativity came from, I would bottle it because Angel is absolutely relentless.”

Kyle Ward

A junior at Marshall High School, Kyle Ward has always enjoyed watching documentaries because they’re “real and emo-

Waiting for Divine Intervention tells the story of a young woman who strikes a deal with a demon.

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tional stories.” In his doc Gone, the student took a trip to Pflugerville, Texas, to learn how the community has been affected by brisk development, including Tesla’s new manufacturing facility scheduled to open next month.

His family owns land near the factory. “[Gone] was a passion project,” Ward said.

“It hit me at the heart because it was personal to my family. I wanted to explore nature versus industry. What happens when all this farmland is gone?”

Ward remembers how different his family’s farmland looked when he was a child. He hopes his film reaches viewers who might be quick to accept a payout for their land from corporate interests.

“This is the same land where I would go out and play as a kid,” Ward said. “Now, there’s a Costco on it.”

Makayla Esparza

Warren High School senior Makayla Esparza’s animated short In Person Learning explores the feeling of isolation when a student goes back to school after staying home for a year because of the pandemic. Can she calm her nerves after she meets a new friend?

Find more film stories at sacurrent.com

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CURRENT | March 9 – 22, 2022 | sacurrent.com

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food

Satisfying in Southtown

Bar Loretta wins with its comfortable vibe and hand with familiar Texas flavors

BY NINA RANGEL

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he Current’s food writers first discussed reviewing Bar Loretta a year ago, as San Antonio diners began returning to local tables, thinking the pandemic was on the wane. That was before Omicron reared its ugly head.

My culinary cohort Ron Bechtol first visited the Southtown restaurant, which vies to put a modern take on Texas cuisine, around its summer 2021 opening. However, after he expressed concerns about the dining room’s COVID protocols at the time, we tabled a review for a later date. We wanted to ensure we were getting the full picture.

That later date has come.

As time passed between Ron’s first visit and now, the spot has solidified its place as a King William-area dining destination.

While our dining experiences differed greatly — Ron’s with a large group and mine as a solo guest at the bar top — we had two observations in common: the service offers comforting vibes reminiscent of a visit to an old friend’s home, and the food leaves you satisfied, in all senses of the word.

Ron and I both tried the griddled green onion polenta cake, served with balsamic-braised wild mushrooms and Texas goat cheese. The pillowy cake offered bold goat cheese funk — that’s a good thing — and the fresh green onion cut through the creamy texture perfectly. Ron found the balsamic wild mushrooms to be the dish’s true star.

We were both impressed greatly by chef Paul Petersen’s chili-glazed pork tenderloin.

Perfectly cooked and seasoned, it was nestled atop a sweet potato chorizo hash that made my taste buds sing. We agreed the chili heat wasn’t forthcoming, but in both cases, the succulent pork had a perfect char, and it cozied right up to its apple-bacon jus.

We both tried the French toast brûlée with vanilla bean ice cream, though Ron was given a spectacular bit of insight: one of the servers was responsible for making the banana nut bread used in the base of the dessert. Promote that woman immediately.

Here’s where our dining experiences diverged, however.

Ron’s assessment of the chicken livers — potentially one of the homiest options on the menu — was largely positive, though they lacked the look of the crusty grûyère gratinée they were advertised to be capped with. Even so, he finished the entire order.

Courtesy Photo / Bar Loretta

Continuing with the “homey” theme, Ron found that the summer-vegetable succotash served with the crispy brick chicken almost upstaged the bird with its crunchy corn and bright, tiny tomatoes. The sprightly lemon-thyme jus might have served to de-crisp the juicy chicken a tad, but it only reinforced the brilliant succotash.

Ron loved the idea of a salmon “al pastor” with charred pineapple crema, clearly inspired by the Mexican spitted-pork preparation. However, he found the dish could have been better executed. While the fish itself was cooked well, forcing it into a fried red tortilla cup did neither it nor the diner any favors, and the pineapple crema struggled to emerge.

On my visits, the butter-roasted scallops, served with a salad of shaved fennel and citrus, was a winner — if a pricey one. At $18, I felt no shame in asking Petersen to share his secret for the perfect pistou that accompanied the seafood. A pistou is much like a pesto, sans pine nuts, and for those wondering, Petersen swears that high-quality olive oil makes the difference.

I’d also order the crispy brussels sprouts again, which featured a balanced maple glaze, toasted pecans and queso fresco.

Though I generally dislike the texture of most Mexican cheeses, the mild queso fresco was needed in this dish since its understated salti-

ness helped the brussels shine.

For libations, Ron explored the wine list, but came away with this advice: if you’re planning on red with dinner, order a glass of white first so there’s time to chill the otherwise too-warm red.

I too stuck with wine, until dessert rolled around. At that point, I ordered my all-time favorite cocktail, a white Negroni, which was perfectly prepared. Loretta’s riff on the bracing Italian favorite features gin, pleasantly bitter Suze and soft, fruity Lillet Blanc. The preparation is equal parts light, bittersweet and floral — the perfect finisher to an epic meal.

As mentioned earlier, both Ron and I were enamored with the service at Bar Loretta, where the staff is knowledgeable, friendly and attentive. The service is some of the best we’ve had at a time when good restaurant staff is hard to come by.

The restaurant’s impossibly stylish space boasts rich color and texture, as well as gilded details that delight. Owner Roger Herr has taken a storied — if somewhat schizophrenic — historic building and gently transformed it into a welcoming restaurant where the feeling of being right at home is only reinforced by the food.

As mentioned above, Current food writer Ron Bechtol contributed to this review.

BAR LORETTA Bar Loretta | 320 Beauregard St. 78204 | (210) 757-3607 | barloretta.com Kitchen hours: Monday- Thursday 4-11 p.m., Friday-Saturday 4 p.m.-midnight, Sunday 4-10:00 p.m.

Bar hours: 4 p.m.-2 a.m. daily Entrée prices: $12-$32 Best bets: Butter-roasted scallops, chili glazed pork tenderloin, crispy brick chicken, French toast brûlée The skinny: Chef Paul Petersen has taken a menu that looks scattered at first glance and turned it into a tome that references both Texas and years of cooking experience. Dishes such as pan-roasted chicken livers and a smash burger with American cheese represent the down-home side of the document, crispy brick chicken with a sublime vegetable succotash takes “home” to new levels, and chili glazed pork tenderloin makes the most of its pairing with a chorizo and sweet potato hash.

Don’t leave without sampling the banana nut bread French toast brûlée.

Find more food & drink news at sacurrent.com

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CURRENT | March 9 – 22, 2022 | sacurrent.com

food Not a Dog in the Bunch

San Antonio’s sausage makers keep a venerable — and delicious — tradition alive

BY RON BECHTOL

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ausage looms large in the San Antonio area’s lore and legend.

The Germans, the Alsatians and the Poles all had a hand in creating and fostering the long-lived sausage-making tradition, with the Cajuns and Mexicans not far behind. Given our demographics, it should come as little surprise the hearty delicacy features in at least two local festivals — Wurstfest in New Braunfels and St. Louis Day in Castroville.

My first introduction to San Antonio’s love affair with links came at Shiloh’s (424 E. Commerce St., schilos.com) the city’s standard-bearer for German food since 1917 — and it was appropriate that the sausage of choice was a classic bratwurst. Over the years, I’ve enjoyed the sausage accompanied by Shiloh’s German potato salad, red cabbage and sauerkraut, all of which made perfect accompaniments.

Typical brats, whether of pork alone or mixed with veal, are fine-grained and subtly seasoned. They’re also usually cooked before any optional grilling. For those wanting courser grind, Shiloh’s offers Polskla kielbasa, “kielbasa” being the Polish word for sausage. Sometimes mixed with beef, and usually seasoned with garlic, this is a lustier link — especially after the customary smoking. Rounding out the list at Schilo’s is a summer sausage — think salami — spiked with jalapeño in a nod to South Texas tastes.

Jalapeño and various types of cheese have become common sausage components in San Antonio, a reflection of how German and Polish traditions adapted to a new environment over time. One of the best places to get a feel for this hybrid creation is at 2M Smokehouse (2731 S. WW White Road, 2msmokehouse.com), where the house-made pork link with serrano peppers and Oaxaca cheese is one of many must-haves.

But rather than running all over town in search of sausage satisfaction on a plate, I recently made just a few stops for the primary product and prepared my wurst for friends in a mini sausage fest — of the culinary kind, mind you. I cooked all links, where required, on a cast-iron grill pan and served them with German potato salad, sauerkraut and red cabbage.

We sourced a locally brewed German-style Black Kolsch, the newly released Lettie, from Highwheel Brewing.

Here’s the not-so skinny on the sausages we sampled: The modest butcher shop of Mertz Sausage Co. (619 Cupples Road, mertzsausage.com) belies its connection to retail giants such as Walmart, which

Ron Bechtol

carry its products. Polish sausage is the mainstay, followed by Italian, German on Thursdays and Mexican chorizo in bulk. I began with the fat, fine-grained and ready-to-eat summer sausage, a genre I frankly hadn’t thought much about. Mild and with a pleasingly uniform texture, it was a worthy appetizer. The smaller Polish-style link was of a finer grind than many and boasted a good snap once grilled. Still, I’d pick the variety labeled “Garlic” for the flavor boost it yields.

The Farmer’s Butcher (1602 E. Houston St., thefarmersbutcher.com) touts its direct links — as it were — to local suppliers. Usually, its retail outlet near Black Laboratory Brewing and Truth Pizzeria only offers a few of its many variations at one time. For our tasting, we tried the Farmer’s Butcher’s air-dried summer sausage. Studded with chunks of cheddar and chile, it was a more robust rendition than the one at Mertz.

Less assertive, though likely on-target traditionally, were the Cajun-inspired boudin links with a base of pork and rice. But the bomb of the evening came in the form of the establishment’s house-smoked bratwurst. It was burly, smoky, moist, grainy, herbal — in short, a sausage I’d snag whenever it popped up.

Wiatrek’s Meat Market (8517 Blanco Road, wiatreksmeatmarket.com) is based in Poth, but the outlet here is impressive for its array of traditional butcher shop offerings. The dried sausage, a typical 50-50 blend of pork and beef, is smoked 48 hours over post oak, rendering it just smoky and dense

The Farmer’s Butcher carries a variety of house-made sausages, including a killer smoked bratwurst.

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enough. The shop’s coiled smoked sausage gets far less time over wood, a technique that supports its basic meat flavors and peppery seasoning.

The website of the Smoke Shack Meat Market (3710 Broadway, smokeshackmeatmarket.com) lists 23 sausage options, though far fewer are on display daily. Of the four we tried, the house link, a 50-50 blend of beef and pork, was a winner, as was the subtly sudsy beer brat, infused with Shiner Bock. The Cubano was less convincing in its evocation of the traditional sandwich. However, a chile-and-cheese option with smoked poblanos made yet another good case for the evolution of a tradition. I won’t rush to try the market’s supreme pizza-inspired sausage, but its Thai green curry variety is on the radar.

Even after all that sausage sampling, we agreed that another one was in order. After all, we still hadn’t tasted wild game from Broken Arrow Ranch in Ingram, traditional links from the West Side’s Kiolbassa Smoked Meats, sausages from Pruski’s Market in Adkins, a couple of sources in New Braunfels and another in Castroville. You haven’t heard the end of this. sacurrent.com | March 9 – 22, 2022 | CURRENT

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Long Live Bongo Joe

Will the street musician who provided San Antonio’s downtown soundtrack for two decades be lost to obscurity?

BY BILL BAIRD

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and dancing in the street. ... He had the most amazing sk longtime San Antonians who recall tenor voice. An amazing tenor voice came out of such George “Bongo Joe” Coleman, the street a big man.” musician who was a downtown fixture for nearly two decades, and their eyes often light up. Across almost every social class and divide, ‘No real history’ Coleman was revered.

Yet, unlike our city’s military or colonial heroes, Despite his talent, Bongo Joe’s story can be hard to there’s no place to remember Bongo Joe — no monutrack, like wading through a swamp of half-truth and ment, no statue, no institutional archive. His legacy legend. His output is scarce: his one LP for Arhoolie, largely rests in the collective memory of the huntwo tracks on a Texas folk compilation released in the dreds of thousands he entertained in his decades in UK. Only a few scattered articles delve into his history. the Alamo City. He was at once an outsider artist and “Myths and apocrypha are the coin of the realm,” a virtuoso of his homemade instrument crafted from said Michael Mehl, a San Antonio composer and phodiscarded oil drums. tographer who created an archive for the musician.

“He had these metal pipes with various sizes of BB “Of everything I have read, everyone is relying on an shot inside,” recalled Quint Davis, director of the New information source other than Bongo Joe.” Orleans Jazz and Heritage Festival, in Coleman’s 1999 Among the myths to which Mehl refers were Express-News obituary. “They were taped onto his rumors that Bongo Joe performed for JFK the night drumsticks, and he also had soft heads on his drumbefore his assassination, that he lived in a cabin on sticks. He could hit the drums, which were 55-gallon the grounds of the San Antonio Museum of Art and oil drums, and maintain a maraca rhythm with the that Mohammed Ali once sought him out. The list pipes.” goes on.

Accompanying himself using this unconvenAuthor Rob Johnson, a literature professor at the tional percussion technique, Coleman improvised University of Texas Rio Grande Valley, spent five years songs fusing humor, philosophy and an ineffable chasing down the Bongo Joe mythology. His book Did spontaneity, all sung through a DIY PA system. His Beatniks Kill John F. Kennedy: Bongo Joe’s Requiem for the spontaneous compositions could President, released in 2018 by Beatbe withering critiques of hypocrisy, dom Press, collects almost all existing To hear Bongo Joe’s ruminations on human foibles or research and exposes a fascinating music visit our playlist at comments about random passersby. untold chapter: Bongo Joe’s time in bit.ly/34mCmZT They rang out from Alamo Plaza Fort Worth. and later, down the Riverwalk and on “There was no real history of him,” To see George Nelson’s the Commerce Street Bridge, from his said Johnson in a phone interview. “I 1972 film on the street arrival the city in 1968 until his retirewrote the book I wanted to read.” performer, go to ment from the street performances The book catalogs some facts we bit.ly/3hSQZqJ after a 1987 tangle with the law. know to be true. Coleman was born “I rap — but not that bullshit they’re in Florida in 1923 and, after being putting down now. I play fundaorphaned at an early age, traveled the mental beat music,” Bongo Joe told researcher Pat country during the Great Depression. Eventually, he McMullen in 1991. landed in Detroit, where he regularly performed with While primarily known as a street performer, it’s a a young, pre-fame Sammy Davis Jr. testament to his skill and accessibility that Coleman After serving in the Army Air Corps during World played New Orleans’ Jazz Fest nine times, including a War II, Coleman ended up in Houston. He split his performance with jazz legend Dizzy Gillespie. He also time between Houston and Galveston, working as recorded an album for revered roots label Arhoolie a street performer, eventually doing a stint in Fort Records that’s achieved cult status.

Worth before arriving in San Antonio in 1968. He “He was a real talent. He wasn’t just a curiosity,” lived here until his 1999 death due to complications Jazz Fest’s Davis said. “Since he was such an unusual from diabetes and kidney disease. character, I think people didn’t realize how good a “I probably spent more time with him, talking, musician he really was. Dizzy Gillespie obviously did. than anyone else he knew at that [later] stage in his Bongo Joe had this incredible drumming, incredible life, and perhaps years before that,” said Mehl, who social commentary and this weird whistling. It had a featured Bongo Joe in his KLRN-TV show Almost Live real quality and depth to it.”

From The Liberty Bar. San Antonio paper artist and conservation advo“The show was meant to shine a light on the more cate Kathy Trenchard remains equally dazzled with unusual, interesting people of San Antonio,” Mehl Bongo Joe and is a key advocate for remembering his said. “So, I hunted him up and found him. It was a life, music and contributions to the city’s culture. convoluted process, because he had moved in with “When I first heard him, I said, ‘Hey, this is New Helen Glau, a friend and partner of his. I had to do Orleans music,’” she said. “I was immediately smitten some sleuthing with assistance from Steve Henry,

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CURRENT | March 9 – 22, 2022 | sacurrent.com

who at the time was a writer [and later editor] for the Current. In a nutshell, I was able to convince Bongo Joe to be part of the show and started a friendship with him.”

Bongo Joe could be seen in Almost Live From The Liberty Bar’s opening credits, performing outside the storied drinking and dining spot’s original location on Josephine Street. The tantalizing glimpse only deepens the mystery.

But it wasn’t the only time Coleman’s magic was captured on camera.

In 1972, San Antonio filmmaker George Nelson shot Bongo Joe, a 22-minute 16mm short that won the Silver Award at the International Film and Television Festival in New York. Long presumed lost or damaged, the clip was recently unearthed from the Institute of Texan Cultures’ archives. The film shows Bongo Joe performing at the height of his powers and talking about his craft. During those discussions, he talks about his music’s connection with young children.

“One thing I take great pleasure in is entertaining children under 12,” Coleman explains in the film. “I get a great charge from them.”

Origin story As with many of Texas’ great folk musicians, Bongo Joe’s discovery began with iconic Texas folklorist Mack McCormick.

McCormick notoriously cut the power during Bob Dylan’s legendary electric set at the 1965 Newport Folk Festival — not Pete Seeger with an axe, as the legend went. Also flying in the face of legend, the decision stemmed not from Dylan’s decision to “go electric” but because the singer had exceeded his set time, carving into that of the following act — a group of Texas prison singers McCormick had assembled.

A correspondent for Downbeat Magazine, McCormick became enamored with Texas music, specifically its unique take on the blues. Alongside Pete Seeger, John Lomax Jr. and Ed Badeaux, McCormick formed the Houston Folklore Group, which helped fabled blues artists Lightnin’ Hopkins, Mance Lipscomb and others to a wider audience.

A Treasury of Field Recordings. Vol. 2: Regional and Personalised Song, released in 1960 on the UK’s 77 Records, compiles the Houston Folklore Group’s field recordings. It was there that Bongo Joe made his first recorded appearance, albeit under his birth name.

Review site AllMusic.com calls Coleman’s contribution to the album — the track “This Old World is in a Terrible Condition” — a field-recording masterpiece.

“An accidentally postmodern rant on the state of the world that would have made Rahsaan Roland Kirk proud, and the kind of neighborhood that Tom Waits has been renting a place in for years,” the reviewer gushed.

McCormick’s accompanying essay on Coleman, the first of its kind, avoids the reductive dismissals found in later profiles and proves as interesting as the recording itself, especially for those in search of the elusive Bongo Joe. “His manner defies any attempt to learn anything of his background,” McCormick wrote in that difficult-to-find essay. “He will hold out his arm, gaze at the black skin and say, ‘If you think I was ever a Negro, it is only because you are color-blind and do not see my true color.’ ... Or he will end all discussion of

music 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.

Courtesy Photo / Institute of Texan Cultures

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CURRENT | March 9 – 22, 2022 | sacurrent.com

music

music by saying, “Drums are a universal language — I can speak to anyone living or dead.”

McCormick added: “He is in suspicious retreat from the society around him, and his response to the world is anonymity mingled with exhibitionism. However much he encourages one to laugh at him, it is impossible to overlook the fact that his expression and his personality have a courageously sharp definition.”

“This Old World is in a Terrible Condition” was later reissued on a Document Records collection of Lomax field recordings, Field Recordings, Vol. 6: Texas (1933-1958), alongside “Late Night Improvisation,” featuring Coleman shredding on the piano, his trained instrument. The piece is Coleman’s only known piano recording and an enticing hint of the virtuosity that lay behind the persona.

The JFK connection While in Galveston, performing under the moniker “Calypso Joe,” Coleman caught the eye of Fort Worth businessman Pat Kirkwood, who’d opened Fort Worth venue The Cellar in 1959, purported to be the first selfstyled “beatnik” coffee shop outside San Francisco and New York City. From there, Coleman became The Cellar’s house musician.

At the time, Fort Worth retained a lawless, Wild West atmosphere, especially along Jacksboro Highway, where The Cellar was located. The establishment’s “coffee house” tag was partially a ruse to circumvent alcohol laws.

“We think of Fort Worth as a dusty cowtown, but at that time it had this subterranean population that had never existed before or since,” said Johnson, UT-Rio Grande Valley professor and Bongo Joe biographer. “And there was no more radical club anywhere in America than The Cellar.”

The Cellar became notorious for allnight debauchery, scantily clad waitresses and unusual décor that included black walls, graffiti and dim lighting.

A young George Carlin reportedly did stand-up there. Despite the club’s whites-only door policy, Coleman was allowed entry, as entertainment, under the racist moniker “Cannibal Joe.” In a wild twist that’s long deepened the Bongo Joe mystique, The Cellar — and, by proximity, Coleman himself — played a bit part in the history of the JFK assassination. According to accounts, the night before the presi-

Courtesy Photo / Arhoolie Foundation

dent’s shooting in Dallas, Secret Service agents took the night off and drank at The Cellar until 5 a.m., suggesting to some they might have been unprepared to fulfill their security duties.

One of the agent’s badges also reportedly went missing that night, fueling further conspiracy theories.

Though unconfirmed, Coleman himself has claimed that he was whisked to JFK’s room at the Hotel Texas for a private performance.

In another strange coincidence, The Cellar had previously opened a San Antonio branch at which Coleman provided musical entertainment. Future Kennedy assassin Lee Harvey Oswald was reported to have worked as a dishwasher at the establishment.

After his colorful time in Fort Worth, Coleman returned to perform in Galveston, only to be lured away by another businessman — this time to perform in Acapulco. The working papers he received from his new employer were forgeries, however, and the musician spent months in an Acapulco jail through no fault of his own, according to Johnson’s book.

The streets of San Antonio After his release, Coleman made his way to San Antonio in 1968, drawn by the crowds thronging to the city for Hemisfair. In an incident initially reported by longtime local music journalist Sam Kindrick, the performer was booted from the Hemisfair Grounds — ironically, he would end up playing a private party for Hemisfair President

Marshall Steves within a year.

From there, Coleman set up in front of the Alamo, where he found himself the subject of a noise complaint, according to Johnson.

“The responding officer said, ‘I don’t think he’s disturbing the peace. In fact, I think he’s pretty good!’” the author said, laughing. “It’s really a credit to San Antonio that, at that time, they embraced him.”

After his permanent relocation to the city, Coleman assumed the “Bongo Joe” moniker and connected with Arhoolie Records founder Chris Strachwitz.

“The first time I heard him, I’d heard that song ‘The World is in a Terrible Condition,’” said Strachwitz, now 90. “It was an amazing thing. I’ll never forget it. I was enamored.”

Strachwitz set about recording Bongo Joe live in his downtown element.

However, faced with a broken tape machine, Strachwitz called San Antonio folklorist Larry Skoog, who suggested a recording session in his home.

“He told me, ‘My kids are here, so at least there’ll be a small audience for him,’” Strachwitz recalled.

The resultant 1969 album Bongo Joe remains a cult classic and proof positive that compelling music doesn’t require fancy equipment. At the time, Broadside Magazine, the bible of the folk movement, praised the record. “What a satirical and social observer Bongo Joe is ... In ‘Innocent Little Doggie’ ... the ruthlessness and inhumanity of man to his fellow man is captured by the observant eye, quick wit and biting tongue of Mr. Coleman,” the reviewer

Bongo Joe shows off the tools of his trade to a young fan. The musician frequently performed in front of downtown landmarks such as the Alamo.

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noted.

Indeed, “Innocent Little Doggy” even became an unexpected radio hit, picking up airplay both on underground U.S. radio and the BBC. Subsequently, Bongo Joe found acceptance in San Antonio, even among its upper crust. He appeared in a 1978 TV ad with SA Symphony director Francois Huybrechts and was sought out by President Gerald Ford to perform for a 10-city stint during Ford’s 1976 reelection campaign.

“What has always been interesting to me is that it was the old families, the San Antonio Swells, the Heightsters, that more readily adopted him and hired him to perform at their private events,” composer and photographer Mehl said. “A more frequent occurrence than one would think.”

Relegated to a curiosity Despite his acceptance in some SA circles and the cult status of his recordings, Coleman’s stature never matched that of some of his contemporaries. For example, New York street musician Moondog, whose rhythmic, witty compositions occupy a similar musical space, found fame and respect in his lifetime. Composer Phillip Glass sacurrent.com | March 9 – 22, 2022 | CURRENT

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CURRENT | March 9 – 22, 2022 | sacurrent.com

music

became a notable devotee.

By and large, Bongo Joe’s creativity flew over the heads of the Alamo City’s musical establishment.

“Nobody took him seriously,” Arhoolie’s Strachwitz said. “He was just a street entertainer. But he was absolutely brilliant.”

To that point, street music has long been viewed as “low art,” and Bongo Joe, by that virtue, falls into the genre we now know as “outsider music.”

“It’s funny how societies will treat an individual that does not always fit in with the group or is different from the group,” Coleman said in the 1972 documentary focused on him.

For Mehl, Bongo Joe’s relative obscurity doesn’t detract from the enormity of his work. Indeed, outsider art forms are worthy of respect, he added.

“It’s a more honest endeavor, a truer expression. That’s why I don’t think he needs to be validated by someone saying that Bongo Joe performed with soand-so, or he performed for so-and-so,” Mehl said. “This completely negates the total of his formative experiences, however deep or shallow they may be.

The need to institutionalize something to afford it credibility is a huge mistake that is constantly perpetuated by academics with papers to publish. And the public buys it, which is a sad corollary.”

This outsider status is precisely what drew Johnson to write Bongo Joe’s biography.

“Post-modern history deals not with the senators, billionaires or war heroes but looking at history from the widest margins, bringing in those characters,” the professor said. “And Joe is about as extreme an outsider as you could imagine. After years of researching both JFK and Bongo Joe, I found, in my opinion, Bongo Joe way more fascinating. And that’s post-modern history — taking the margins and putting them at the center.”

Street performer no more In 1987, a violent confrontation forced Bongo Joe to retreat from downtown. Like much of the musician’s life, it too is shrouded in mystery. Every version of the story seems to be different.

During the incident, a heckler pulled a knife and Bongo Joe, in self-defense, shot the man in the shoulder, according to artist and conservationist Trenchard. “[Coleman] was released, claimed self-defense, but after that incident, police would not protect him,” she

added. “So, at the end of the day, after performing, thugs would gang up on him and take his money. He had to get off the street.”

Mehl remembers things differently, saying a friend on the San Antonio Police Department told him the charges were blown out of proportion — another part of the Bongo Joe myth.

Meanwhile, Johnson said his research suggests that Coleman was defending himself from a robbery.

Whatever the case, the damage was done. Bongo Joe stopped performing downtown.

“It was perceived as good as long as it was cute,” Mehl said.

The black hole of history Around the time of the shooting, Bongo Joe’s health faltered. Mehl sought to cement the performer’s legacy, assembling his archives and facilitating a 1992 special achievement award from the Current.

Other SA institutions weren’t as taken by Bongo Joe. Some saw his presence as a blight on downtown business and tourism, Mehl explained.

“In the later stages of his illness I tried to get both the Carver [Center] and UTSA to become repositories of his archives,” Mehl said. “At the time, the Carver folks were very clear that Bongo Joe was not the kind of person they would like to uphold as an example for the community, and the UTSA folks could not be bothered because there was no academic gravitas to his persona. I was dumbfounded.”

UTSA’s Institute of Texan Cultures did, however, stage a posthumous exhibit, “Bongo Joe: An Artist Before His Time,” featuring his painted oil drums and bicycle alongside photography, film and other contextual material. The 2003 exhibit was only temporary, however, and the Bongo Joe artifacts, on loan, were returned. As of this writing, their location is unclear.

Banging out a legacy After Bongo Joe’s 1999 death, Kathy Trenchard fought to keep his memory alive, creating Day of the Dead altars in his memory, one of which even included Nelson’s Bongo Joe documentary.

Trenchard didn’t stop there. She created a tribute to Coleman in a piece that was on permanent display at the AT&T Center. However, she was frustrated that city officials didn’t seize on a 2011 proposal she created for a public

Courtesy Photo / Institute of Texan Cultures

works project honoring Bongo Joe. “Put his drums up, or a simulation, play his music and let people pretend they’re Bongo Joe!” she said of the proposal. “The city never did anything with it. I proposed this with children in mind, so they could grow up knowing about this icon. ... Children adored him.”

The city’s disinterest frustrated Trenchard, who’s also advocated a return of street performances to enliven downtown.

“I think that Bongo Joe was the last gasp of performance artists in San Antonio,” she said. “I went to a city meeting and said, ‘It’s dead, downtown is dead.’ We were talking about the need for public performance, to liven things up. And the city didn’t want it.

They wanted nothing to do with it. But [they have] no problems with evangelicals lecturing folks with a megaphone in front of the Alamo.”

To Trenchard’s point, busking is allowed in San Antonio, just not on the grounds of the River Walk, Alamo Plaza, Main Plaza, the Convention Center, Alamodome, City Hall, Market Square, La Villita or Commerce Street Bridge. In other words: downtown spaces where

Bongo Joe was a figure whose backstory is shrouded in mystery and a considerable amount of mythology.

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people are most likely to congregate.

“He was the centerpiece of downtown for a couple of decades. He gave a soundtrack to the Alamo,” Johnson said of Bongo Joe’s downtown presence.

“He really was the soundtrack of San Antonio for all that time. And I don’t know why he hasn’t been honored, given a statue or a plaque or ... anything.”

Without institutional support for the preservation of Bongo Joe’s legacy, San Antonio residents must rely on the musician’s scant recordings, his few interviews and the memories of those who knew him best.

At its core, Bongo Joe’s message was about embracing life.

“If a thing is not elevating or progressing, it ain’t alive,” Coleman said the 1972 film. “You ain’t living if you ain’t doing ... and if you ain’t progressing, you ain’t living. And, of course, if you ain’t doing, you’re dead. You’d be surprised at the walking dead we stumble across daily.” sacurrent.com | March 9 – 22, 2022 | CURRENT

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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 38

CURRENT | March 9 – 22, 2022 | sacurrent.com

music

J.A. Dunbar / Shutterstock.com

Call for the Priest

Catching up with Judas Priest ahead of the San Antonio stop on its 50 Heavy Metal Years tour

BY SANFORD NOWLIN

N

obody said logging 50 years as an iconic rock band would be easy.

English heavy metal mainstay Judas Priest’s 50 Heavy Metal Years tour will thunder into San Antonio’s Freeman Coliseum on Monday, March 21. But not before being sidetracked a few times.

Originally scheduled for 2020, the tour was first pushed back by the pandemic. Then the Alamo City show and two dozen other North American dates were postponed again last September when guitarist Richie Faulkner’s aorta ruptured while playing onstage. He underwent life-saving surgery and months of recovery.

The band finally kicked off the rescheduled leg of its tour early this month, weeks after it endured a torrent of fan criticism for announcing the dates would only feature Faulkner on guitar, eschewing the twin-ax attack that defined its sound. Days later, it

reversed course, saying touring guitarist Andy Sneap would be part of the lineup.

Meanwhile, Priest has faced repeated potshots in the media from longtime guitarist K.K. Downing, who left the band in 2011 and has complained about being left on the sidelines ever since. The band’s other original guitarist, Glenn Tipton, stepped back from touring in 2018 after being diagnosed with Parkinson’s but still takes part in recordings.

We caught up with Judas Priest bassist Ian Hill, who alongside singer Rob Halford, remains one of its two original touring members.

Over Zoom, we asked Hill to talk about the tour, the band’s 50th-anniversary box set and its ties to San Antonio, one of the first U.S. markets where it made headway thanks to pioneering KISS-FM DJ Joe Anthony.

To read a longer version of this interview, visit SACurrent.com.

San Antonio was one of the first U.S. cities where Priest got radio airplay, and it was also the first U.S. city where you played as a headliner. Talk a little about what you remember from those early days in the Alamo City.

It was all down to the great Joe Anthony, wasn’t it? I forget the name of the radio station he worked for. Well, I think he opened the station, actually.

He was great to us, but it wasn’t just us. He went out of his way to find the more obscure acts and give them a bit of a leg up. And it worked. It was really a very, very pleasant surprise to drive into San Antonio the first time and hear your songs on the radio. ... But when we got to talk to Joe, and we got to know about all the times he’d been playing our records and what have you, it wasn’t surprising at all. As a result, San Antonio was one of the first places in the States that picked up on Judas Priest, so we owe him a great debt of gratitude, really. He did break us there.

So, yeah, good old Joe.

How important was that support in San Antonio to helping you break big in the rest of the United States?

It did a great deal of good for us in the long run. If Joe hadn’t been so great with playing our material, things might have been different in Texas,

Vocalist Rob Halford (left) and bassist Ian Hill (right) are the only original members of Judas Priest that remain in the band’s touring lineup.

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maybe elsewhere too.

You guys recently released a 50-year box set, a monster retrospective that spans 42 CDs. Did going back over all that material make you consider bringing some obscurities into this tour’s setlist?

We hadn’t listened to some of that material for years. And, yeah, you do think, “Ah, we could really, really do a number on that one now,” and what have you. But the trouble is that you can’t do too many of them in a stage set, because then you’d have to start dropping people’s favorites. You have a finite amount of time to fit in. You’ve also got new material that you’re trying to get across. And there’s quite a small window there for any unusual songs.

There’s a hell of a lot of fans favorites.

And when you go mucking about, you start to piss people off.

There’s been some whiplash in the media recently about what this touring lineup of Priest would look sacurrent.com | March 9 – 22, 2022 | CURRENT

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CURRENT | March 9 – 22, 2022 | sacurrent.com

music like, whether it would be a four-piece or five-piece band. What happened there? And how much of the decision to tour with Andy back on board was a result of the response from fans?

I think it’s [doing a four-piece lineup] is something that’s been bubbling in Rob’s head for a while. When it became apparent that Glenn wasn’t going to be able to do the Firepower Tour, the first thing Rob says is, “Oh, we’ll carry on as a four piece. We started out as a four piece. We can do it. We’ve done it before.” And we all thought, “Yeah. OK, we can do it.” But I think with what we’d just done with Firepower, you needed the two guitars anyway. So, we decided to include Andy. He was the perfect choice. He was there: a right-on-thedoorstep thing. He’d just produced the new record, so he was familiar with the material. And he’s a fan of the band and he knew all the old material as well. So, he was a perfect choice.

So, going out on this 50th anniversary thing, obviously Glenn can’t make it, and Ken’s not there for well-documented reasons. Then Rob just thought, “Well, let’s give it a go again.” And he called Andy up and explained it to him. Andy understood. Andy’s a fan of the band, like everybody else. But after that, we put our thinking caps on and thought, well, maybe it’s not the way to go. The vast majority — in fact, all — of our success really was gained as a five piece, regardless of how it all started out. We never recorded anything as a four piece. So, we decided to pull the plug on that one and do a U-turn — a screeching, handbrake turn there.

Had Rob let you know he was going to have that conversation with Andy beforehand? Or did that come as a surprise?

It was very much a surprise. I know that he was talking about it. My thought was maybe, get the 50-year thing out of the way and then do it. But I’m a pragmatist, so I can see positives in most things. And Rob came along [with the idea], and I said, “Yeah, I can see it working.” But like I say, we had a rethink on it and changed course.

When you hit the half century mark, did it force any conversations about how much longer you’re going to be able to continue doing Priest?

If either you or Rob retreats to the sidelines, would it still be Priest at that point?

I think it’d probably grind to a halt, es-

James Jeffrey Taylor / Shutterstock.com

pecially if it was Rob. You can’t replace Rob. So, for the rest of us to carry on at Priest, it wouldn’t make any sense at all.

But hey, we’re realists, and we know the clock’s ticking. And we’re just going to try and get as much in as we can, while we can. If you can still go out there and give a quality performance, there’s no reason not to do it. But if you’re going out there and you’re faking it, well no.

And that’s going to be the time I think, when, it’s probably going to be Rob or myself, when one of us breaks down.

So, we’ll play it by ear. And like I say, we’ll continue for as long as we can. For as long as it’s sensible to do so, shall we say?

On that note, it was a little surprising to see that Richie, as the relative youngster in the band, was the one who had the most recent health crisis. Could you talk a little bit about how serious that was and how frightening it was?

At the time, we didn’t know just how serious it was. So many stars lined up for him on that night. It’s unbelievable, really. We were special guesting with Metallica for a start. So, we got an early set. It was a short set. We got two days off after that. And we were flying on to Denver that night, and we were going

to spend the two days off in Denver.

And Richie’s wife was there, and he was going to go home for two days. He only lived an hour or so down the road. And it was the last chord of the last song, and he sort of grabbed his chest like that. (Clutches chest.) So, we all bowed around the stage. We did the bows and what have you. And by the time he’s at the side of the stage, he already had a paramedic there putting a face mask on him, the oxygen going in.

It was brilliant that they were there on the case right away. They had the ECG image machine in the ambulance.

And they said, “We suggest you go get your blood pressure checked, because it’s off the charts.” So, he comes back, he gets in the dressing room, he gets changed. He’s still going — his aorta has burst, and it’s leaking inside him — and he said, “I think I feel all right now, I think I’ll come with you guys. I think I’ll go back home.” And the tour manager said, “You’re going to get your flipping heart checked if I have to drag you there.”

So, off he went. It was just, “See you, Richie. See you in a couple of days.”

And of course, we get to Denver, we land and everybody’s phone lights up.

That’s when we figured out what had happened to him. Because nobody

Priest’s San Antonio show was delayed after guitarist Richie Faulkner suffered a ruptured aorta onstage and required lifesaving surgery.

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knew at that point. It’s amazing there was a dedicated heart hospital just four miles down the road. And the surgeon was there. An hour from when we left, he was in the operating theater with his chest open, people working on him.

And I think it took about 13 hours — something like that — of surgery to put him back together again.

But yeah, very, very lucky man. If any one of those things hadn’t have happened. If it had been a longer set, or if it would’ve happened halfway way through the set and he’d have carried on. Knowing Richie, he’d have carried on. “Oh, I’ll be OK.” He would’ve carried on to the end of the set, just to die, you know? Those things all lined up for him. Really, I think he’s used up his lifetime supply of luck. No point in doing the lottery anymore. $49-$129, Monday, March 21, 8 p.m., Freeman Coliseum, 3201 E. Houston St., (210) 226-1177, freemancoliseum.com. sacurrent.com | March 9 – 22, 2022 | CURRENT

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CURRENT | March 9 – 22, 2022 | sacurrent.com

music

Courtesy Photo / Mammoth WVH

Family Affair

Don’t expect Wolfgang Van Halen’s Mammoth WVH to be a retread of his late father’s legendary band

BY MIKE MCMAHAN

W

hen a musician’s first touring gig involves playing bass for his dad’s rock band — a little group called Van Halen — it’s safe to assume his subsequent projects are saddled with expectations that he follow in his late father’s footsteps.

While Wolfgang Van Halen continues to play it hard and heavy, his band Mammoth WVH reflects a conscious decision to move away from the sound pioneered by his father Eddie Van Halen. The younger Van Halen’s band incorporates elements of prog metal and ’90s hard rock, and it covers Alice In Chains’ “Would?” live, a hint of where some of its inspirations lie.

The group, which features Van Halen on guitar and vocals, is touring in support of its self-titled debut and will perform Thursday, March 10 at San Antonio’s Aztec Theatre. LA’s Dirty Honey, a blues-based outfit with a clear nod to ’70 hard rock, is co-headlining.

While Mammoth WVH is a full band experience live, Mammoth WVH is a solo album in all but name. Wolfgang Van Halen played all the instruments, sang all the vocals and wrote all the songs.

“The live experience is very fun because you get to work off each other,” Van Halen said on a Zoom call with the Current. “But at the same time, it’s also fun to make it super tight and work off of yourself [in the studio].”

Dirty Honey, which released its

self-titled debut in 2021, first met Mammoth WVH after playing radio festivals together. The groups eventually developed a kinship.

“We play all of our own music,” said Van Halen, in a mock whisper. “We don’t use [backing] tracks.”

That’s a point of pride for Van Halen after accusations that he relied on pre-recorded vocals on Van Halen tours. He replaced longtime bassist Michael Anthony, who served as the band’s primary backup singer. “[My father and I] worked on those vocals for months,” Van Halen said, adding that questions about his live vocals “were a huge compliment, when you think about it.”

Despite having a virtuoso father as a musical coach, touring with the legendary rock act wasn’t exactly easy for Van Halen. He explained that he suffers from anxiety.

However, he pulled through “with a ton of practice and knowing I was there for a reason. My dad and Al and Dave wouldn’t have had me there if they didn’t know I could do it.”

While Van Halen has faced his share of criticism that Mammoth WVH wouldn’t be where it is now without his family connections, he takes the criticism in stride.

“I’m not good at anything else,” he said. “This is what I do.” $32-$45, 6:30 p.m., Aztec Theatre, 104 N. St. Mary’s, (210) 812-4355, theaztectheatre.com.

MARCH 3-17

*

IN-STORE & ONLINE

*Irish Whiskey Sale runs 3/3/2022 - 3/17/2022. Valid on featured products. Sale items can be shopped in-store and online at www.twinliquors.com. Selection varies by store. Items and prices subject to change without notice. No further discount on Sale Items, Final Few, or Closeouts. Some exclusions apply. Please drink responsibly.

sacurrent.com | March 9 – 22, 2022 | CURRENT

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CURRENT | March 9 – 22, 2022 | sacurrent.com

music listings Wednesday, March 5

Seth Walker At various times, Seth Walker has lived in Austin, Nashville and New Orleans, which explains a lot. He seems to have absorbed a bit of each of these well-known music locales into his sound, rooted in electric blues and Americana. Walker’s 2009 LP Leap Of Faith is his most successful to date, though the name of his most recent, 2019’s Are You Open?, took on a whole new meaning around March 2020. $15-$69, 7 p.m., Sam’s Burger Joint, 330 E. Grayson St., (210) 223-2830, samsburgerjoint.com. — Mike McMahan

Thursday, March 10 Glassjaw Regarded as one of the most influential bands in the post-hardcore genre, Glassjaw will celebrate 20 years as a band on this tour by playing its first two albums in their entirety. Sounds like the makings of must-see show for diehard fans. $45, 8 p.m., Vibes Event Center, 1123 E. Houston St., (210) 255-3833, facebook.com/VIBESEventCenter. — Enrique Bonilla

$59.50-$375, 8 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-3333, majesticempire.com. — MM

Tuesday, March 15 R.A.P. Ferreira Indie hip-hop artist R.A.P. Ferreira owns both the Ruby Yacht record label and his own record store. Beyond that, he’s a blues guitar aficionado. His catalog is deep with low-fi beats and nonchalant rap verses that remind one of nighttime drives through the city. $8, 8 p.m., 502 Bar, 502 Embassy Oaks, (210) 257-8125, 502bar.com. — BE

Wednesday, March 16

The Regrettes Courtesy Photo The Regrettes

Plague Years Death-thrash crossover act Plague Years understands contrast.

The group’s trademark seems be starting songs with slower, weighty openings that build into breakneck riffing by the second half. In that sense, Plague Years seems to understand to a wide array of metal enthusiasts. Fans of Power Trip are likely to find reason to jump onstage for this band. $14-$16, 7:30 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — BE

Thursday, March 17 - Saturday, March 19

TWRP TWRP’s name, pronounced “twerp” is an acronym for Tupper Ware Remix Party. Which seems as good a name as any for an ensemble whose presentation appears to be a heretofore unknown mix of Devo and GWAR. For certain musical mutants, that info alone may be a sufficient lure. For the reluctant, the music itself includes elements of funk, electronic, vaporwave and related genres. TWRP even appeared on Conan backing up Ninja Sex Party. That’s what the kids call a resume. 7 p.m., $20-$85, Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — MM

Thursday, March 17

Sunday, March 19

The Regrettes What’s this? Another young band that romanticizes the early 2000s? While frequently labeled a punk rock, the Regrettes seems more like a pop group with the volume turned up on their guitars. After getting a start while its members were teenagers, the band can now play its songs legally at bars. Celebration time! $20, 8 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — BE

Santa Fe Klan Mexican rapper Santa Fe Klan frequently rhymes about that “turnt up” life within his songs, “Edgar cut” and all. His true south-of-the-border origins really shine when the chain-clad rapper slows down the pace in his songs and adds a Mexican flair. $307-$1,033, 8 p.m., Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, the aztecheatre.com. — Brianna Espinoza

Cannibal Corpse With a name like Cannibal Corpse, you know what you’re getting, even you’re unsure what the name means in a literal sense.

Zombies eating other zombies? Even the band doesn’t know.

Linguistic quibbles aside, expect death metal with the vilest lyrics you can imagine. Cannibal Corpse is the all-time top-selling band in its genre and has been around long enough to have been targeted by Republican fuddy duddy Bob Dole. You know, back in the days when the most urgent problem facing the nation was raunchy rock lyrics. To be fair, titles like “I Cum Blood” are going to stir up trouble no matter the era. $28-$30, 6:30 p.m., Vibes Event Center, 1223 E. Houston St., (210) 255-3833, vibeseventcenter.com. — MM

Blackberry Smoke After coming together in Atlanta over 20 years ago, Blackberry Smoke has proved to have appeal that cuts across genres and have shared the stage with everyone from Guns ’n’ Roses to Zac Brown Band to Tedeschi Trucks Band. Given their Southern roots, it’s not surprising that their basic sound pulls from, well, Southern rock, but also includes elements of country and blues.

Blackberry Smoke is among the most successful independent bands ever to ascend Billboard charts, and you know it’s a good sign when a band manages to hold onto four of five original members for over two decades. $30-$150, 7 p.m., John T. Floore’s Country Store, 14492 Old Bandera Road, (210) 6958827, liveatfloores.com. — MM

Friday, March 11

Saturday, March 12 Grandson Grandson is the pseudonym of Canadian American artist Jordan Benjamin, who’s toured the globe earning hundreds of millions of streams with a sound that’s covered alt-rock, alternative hip-hop and EDM, often with politically charged lyrics. Queens, New York-based Oxymorrons open the show. $22, 7 p.m., Paper Tiger, 2410 N. St. Mary’s Street, papertigersatx.com. — EB

Sunday, March 13 and Monday, March 14 Bob Dylan Though he’s now 80 years old, legendary troubadour Bob Dylan shows exactly zero signs of slowing down. He dropped his 39th album, the acclaimed Rough and Rowdy Ways, in the middle of the pandemic but wasted no time going on the road to support it. While musicians half his age are content to crank out the hits, Dylan has been playing eight of ten tracks on the record every night on this tour. If you admire artists who continue to grow, Dylan is just that. However, if you expect him to croak out his classics just like they sounded on the albums, you’re setting yourself up for disappointment. Dylan has never been an audience pleaser, going all the way back to his legendary 1965 gig at Newport Folk Festival, when he debuted a new, electric sound.

Friday, March 18 Ritt Momney With 17 million monthly listeners, Salt Lake City’s Ritt Momney is blazing his way to the top of the streaming charts. Known for a signature lo-fi keyboard sound combined with vocoders, his got his big boost after his version of “Put Your Records On” became a surprise TikTok hit. Bedroom pop artist Hannah Jadagu and indie songwriter Shane T round out the bill. $18, 7 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — EB

Sunday, March 19 Drowning Pool, Ill Niño, (hed) PE After its 2001 debut Sinner became a smash hit, Dallas-based Drowning Pool dominated the alt-metal world of the early 2000s. The band’s Brothers in Arms tour pairs it with likeminded outfits Ill Niño and (hed) PE. This is a rescheduled show. $31, 7 p.m., Rock Box, 1223 E. Houston St., therockboxsa.com. — EB

Tejano Riverwalk Festival In the first of what they hope will be an annual event to promote Tejano music and culture, Tejano Loko will present three days of music. Multiple acts will perform each day, and include Shevi Love and Friends, Grupo Lozano, Virginia y Valor, and DJ Smoke.

Free, 3 p.m., VFW Post #76, 10 10th St., tejanoloko.com. – MM

Sunday, March 20 Clutch This long-running outfit has traveled long and hard on a mix of hard-rock riffing mixed with deep vocals and occasional funk flourishes. Even though there’s a Southern swing to much of what Clutch does, the band still hails from Germantown, Maryland. $35-$80, 8 p.m., Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre.com. — BE Tino Drima It’s hard to make sense of the low viewership numbers on Tino Drima’s YouTube videos. The San Francisco band’s echoing vocal effects and classic-sounding song compositions are reminiscent of lost love ballads and old school doo-wop, only with an indie twist. Seems like this music would be a breath of fresh air appreciated by a wider audience. $15, 8 p.m., Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. — BE

Tuesday, March 22 Surfbort Artsy pop rockers Surfbort hail from Brooklyn, and along with extensive touring and appearances in notable fests, they’ve also appeared in a Gucci commercial. So, they’ve got that going for them. Pussy Gillette and Mz Neon bring their own spins to a quirky bill. $16, 8 p.m., Vibes Event Center, 1123 E Houston St., facebook.com/VIBESEventCenter. — EB sacurrent.com | March 9 – 22, 2022 | CURRENT

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