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in this issue San Antonio Current

Issue 19_09 /// April 24-May 7, 2019

Publisher: Michael Wagner Editor-in-Chief: Sanford Nowlin

Editorial

Senior Editor: Bryan Rindfuss Food & Nightlife Editor: Lea Thompson Art Director: Carlos Aguilar Staff Writer: Chris Conde Digital Content Editor: Sarah Martinez Contributors: Ron Bechtol, Daniel Conrad, James Courtney, Jade Esteban Estrada, Dan R. Goddard, Lance Higdon, Steven G. Kellman, Hannah Lorence, Kiko Martinez, Kelly Merka Nelson, M. Solis, Gary Sweeney, Erin Winch Editorial Interns: Zach Alaniz, Clarence Beal, Louis Q. Iverson, Lori Salazar

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Creative Services

Creative Services Manager: Tina Corbeil Graphic Designer: Samantha Serna Graphic Design Interns: Pedro Macias, Michelle Moreno, Noemi Solis, McKenzie Stewart

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Circulation Manager: Justin Giles

Business

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Euclid Media Group

Chief Executive Officer: Andrew Zelman Chief Operating Officers: Chris Keating, Michael Wagner VP of Digital Services: Stacy Volhein Creative Director: Tom Carlson Digital Operations Coordinator: Jaime Monzon Senior Marketing and Events Director: Cassandra Yardeni Director of Digital Sales: Fran DiCarlo www.euclidmediagroup.com National Advertising: Voice Media Group (888) 278-9866, vmgadvertising.com San Antonio Current 915 Dallas San Antonio, Texas 78215 sacurrent.com Editorial: (210) 227-0044 / Fax - (210) 227-7755 Display Advertising: (210) 227-0044 Fax: (210) 227-7733 Classified: (210) 227-CLAS / Fax - (210) 227-7733 The San Antonio Current is published by Euclid Media Group Verified Audit Member San Antonio Distribution – The Current is available free of charge, limited to one copy per reader.

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Lea Thompson

44 Urban Oasis

Eco Centro’s project to bring agriculture to a downtown college campus shows how cities can sustainably feed their populations

BY L E A T H O M P SO N

07 News

sparks a conversation on race and representation

Phoning Home

A City on Sale Isn’t Necessarily a City Building a Prosperous Economy

Camptastic!

CBD stores and products grow more abundant now that Texas cleared up legal issues

Laws on CBD Getting Clearer in the U.S. and Texas

16 Calendar

Our top picks for the week

26 Arts

Costume Drama

A flood of social media scandals

Outsider Art

Creative hermit KOKOFREAKBEAN is creating some of San Antonio’s most challenging visual art and music

Music Top Picks

Councilwoman Ana Sandoval Wants to Change the Climate at City Hall

Sprouting Up

53 Music

62 Etc

Savage Love, Crossword Puzzle

After a successful Netflix series, San Antonio-born actor Henry Thomas branches out into fantasy fiction Cultural institutions rise to the occasion with summer sessions geared for creative kids

41 Screens

Fake It Till You Make It JT Leroy is a knotty narrative with effortless performances by Laura Dern and Kristen Stewart

Resident Evil

I Trapped the Devil sets up a curious quandary, but its script amounts to eternal damnation

44 Food

Island Fare

Jamaican classics gets “cheffed up” at Jerk Shack

On The Cover: Eco Centro is all about sustainability — and that starts with making sure a community can provide its own food.

Art Direction: Tracie Louck sacurrent.com | April 24-May 7, 2019 | CURRENT

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6 CURRENT | April 24-May 7, 2019 | sacurrent.com

Councilwoman Ana Sandoval Wants to Change the Climate at City Hall

BY JADE ESTEBAN ESTRADA

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round 2002, Ana Sandoval was on the cusp of a life-changing decision. She was living what might appear to be a perfect life in San Francisco, complete with a postcard view of the Golden Gate Bridge from outside her apartment building. Opposite, she could see cable cars coasting by the famously crooked Lombard Street.

Though she remembers that her surroundings felt “a lot like Disneyland,” she couldn’t see a future for herself in the Bay Area. But what she did see was an opportunity to bring her education and experience in climate science, public health and chemical engineering back to her hometown of San Antonio to help make it the best city it could possibly be.

Seventeen years later, I’m sitting across from Sandoval, who’s now in the final weeks of her first term as San Antonio City Councilwoman for District 7, at the Koffee Kup Company on Donaldson Road.

The pop art on the walls seems to complement the artistry that Sandoval, who’s also a gifted mariachi singer, brings to an already-kaleidoscopic council.

Still relatively new to public office, Sandoval, now 44, is seeking a second term, and she’s doing so as an emissary of a new generation of local leadership. This will be the first local election to take place without the guidance or influence of late Democratic Party organizer Choco Meza, late County Commissioner Paul Elizondo and former

Bexar County Democratic Party Chairman Manuel Medina — a political trinity whose absence, in the eyes of some, signals the end of an old order.

Some traditions, however, keep well. Sandoval says there’s an apparent magic to her wide-ranging district, which she describes as “a microcosm of the city.” With predecessors that include former San Antonio Mayor Ed Garza, County Commissioner Justin Rodriguez and former Mayor — and Democratic presidential candidate — Julián Castro, some already see great potential for her political trajectory.

Not unlike former Mayor Ivy Taylor, the self-proclaimed “accidental politician,” Sandoval once saw herself as more of an advisor or researcher than someone steering the ship. But during her two-year stint at VIA Metropolitan Transit, she took note of the “minimal investment the city was making in transportation” and decided a role in public service could change that.

Though soft-spoken and gentle in style, Sandoval radiates confidence — a much-needed quality on the dais. A vivid reminder of how necessary that confidence is came during last year’s SAWS trustee appointment process, when Councilwoman Shirley Gonzales accused District 6 Councilman and current mayoral candidate Greg Brockhouse of singling out Amy Hardberger in his questioning.

“For me, it was actually very exciting, because there were a lot of undercurrents happening during this appointment process,” Sandoval says.

news

Jade Esteban Estrada

GLITTER POLITICAL

“Instead of just blowing them off, I think Councilwoman [Shirley] Gonzales and myself really expressed how we interpreted them.”

She remembers sharing some mariachi wisdom with Hardberger that day.

“I told her that one of my directors told me, ‘To be a woman in a mariachi group, you have to be twice as good as a man,’” Sandoval says. “‘I’m sorry, but that’s what’s happening to you today. And I don’t want to be a part of that. I want to treat you fairly.’ But it is a very interesting time to serve, because the community is hyper-vigilant to women’s equality issues.

Right now, there’s this peak because of the #MeToo movement. Even I am more aware of things I hadn’t been aware of before. I just notice things more.”

When it comes to #MeToo, this writer’s also taking notes.

A few weeks ago, I saw Sandoval in the hallway at Plaza de Armas. After a brief, first-time exchange about our upcoming interview, I said, “Thank you, dear,” as we parted. The subcultural privilege of gay men of my generation calling a straight woman “dear” suddenly seemed to carry too much of an assumption of familiarity. I asked the female council aide next to me, “Was that sexist?”

For a good ten minutes, I was mortified that I might have offended Sandoval in light of the new normal. Fortunately, she laughs when I tell her about the incident and assures me that she doesn’t remember hearing me say that. Fortunately, Sandoval laughs when I tell her about the incident.

For a good 10 minutes, I was mortified that I might have offended her in light of the new normal. Finally, she assures me that she doesn’t remember hearing me say that.

“I don’t think I would have been offended, but maybe you would have called me that but not a councilman that...” She nods thoughtfully, then adds that she finds the times “interesting because there’s a spectrum of ages on our council.”

Sandoval’s partner is Mario Bravo, an environmental activist who ran for county commissioner last year. Knowing the inherent challenges of political couplehood, I ask Sandoval to share some of the intricacies of being in this kind of relationship.

“There are the logistics of what you say in public, and if your policy priorities align, and somehow maintaining two different personas when you’re in another realm, [while] you’re also one unit,” she says. “The hard part is having quality time with one another and continuing to nurture the relationship. Because if you’re not helping the relationship, you’re hurting it.”

Three weeks later, I meet Sandoval at District 7’s Woodlawn Lake Park for a morning stroll. The last time I visited the park in a similar capacity was with former City Councilwoman Elena Guajardo in 2011. I point out that the park has had many council reps since then.

“It sure has,” Sandoval says, adding that when she blockwalks in the area, constituents tell her stories of previous District 7 council members.

“How does that make you feel?” I ask.

“I feel like I’m getting little gems of history,” she replies over the sound of geese quacking in the distance. “It’s insightful what people remember.”

The history of magical District 7.

For Sandoval, it’s much better than Disneyland.

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

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Larry D. Moore/Wikicommons

CITYSCRAPES

A City on Sale Isn’t Necessarily a City Building a Prosperous Economy

BY HEYWOOD SANDERS

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arkets are tough things.

Make a product the public doesn’t want, and it’s likely to sit in a warehouse collecting dust. In the retail business, if you’re selling something that people aren’t buying, you only have a limited set of choices. You can consider it a marketing problem, one potentially solved by pouring more money into advertising or perhaps changing your sales pitch. Or you can have a sale, lowering the price until at least some people find it worth buying.

So it is with cities. For some places, the people simply don’t come. The new firms and businesses that local boosters and civic leaders desire aren’t interested in coming. Or the building 8

CURRENT | April 24-May 7, 2019 | sacurrent.com

and development that folks want is going on in some parts of town but not in others. And just like the department store that isn’t selling furry winter coats or the appliance store that can’t compete with Amazon, cities often try marketing and promotion.

And then they have sales.

For cities, putting things on sale means subsidies. Here in San Antonio, we give tax abatements to particular businesses, often with the argument that they will create high-wage jobs and lead to further employment growth in desirable new industries. Or we sign non-annexation agreements, promising firms or developers that their new plant or project will remain outside the city limits — and thus free

from paying city taxes — for years or decades. Starting in the late 1980s, we’ve doled out tax abatements for things like SeaWorld and Fiesta Texas, Bausch & Lomb, Golden Aluminum, American Airlines, Solo Serve and Sony Microelectronics. Some, like SeaWorld and Fiesta Texas, are still here and in business, although often with fewer jobs than promised. Others — Golden Aluminum, American Airlines, Sony — have long since departed, perhaps leaving behind only a building. Sony, for example, is memorialized by Sony Place, the street that leads to what is now the National Security Agency’s Texas Cryptology Center on the West Side. We literally put the city on sale for them, making it cheaper for firms to develop with the promise of new jobs.

There have also been a number of tax abatement deals for hotels during the 1990s, including the Hyatt Hill Country Resort by SeaWorld, the Westin Riverwalk and the Adam’s Mark (now Wyndham Riverwalk) hotels downtown, as well as the La Cantera Resort Hotel near Fiesta Texas. The hotels, and their jobs, are still here, although the logic for subsidizing hotels in this tourism-centric city is open to question.

Then there have been non-annex-

ation deals, most notably the 29-year non-annexation agreement with Lumbermen’s Investment that keeps the JW Marriott Hotel and Golf Resort off the city’s tax rolls until 2034. At the time, Chamber of Commerce leaders promised the Marriott and PGA project would be the first in a series of new resort developments to make San Antonio the equal of Phoenix as a golf destination. The five-year non-annexation agreement for Maruchan’s manufacturing plant involves less time and subsidy, but of course all it got us has been some jobs making ramen noodles. And then there’s the 2017 non-annexation agreement — lasting until 2034 — for Marmaxx Operating Corp. to build a warehouse and distribution center for T.J. Maxx and Marshall’s stores. The city has been quite willing to spare these projects from property and sales taxes, even as the rest of us have to pay our share.

The city has also subsidized businesses by directly investing in them through the San Antonio Economic Development Corporation, particularly where city council and city manager saw those investments as way to boost our lagging tech sector. So it was that in 2010 the city invested $6 million in InCube Labs together with another $4 million from the county, the Texas Research and Technology Foundation and UTSA. When InCube failed to meet its job creation promises in 2015, council obligingly extended the deadline for seeing a return on the public’s investment to August 2020, by which time InCube was supposed to produce 50 jobs.

Council has also employed the city’s Economic Development Corporation to make investments in a number of other small tech startups, including Innovative Trauma Care, StemBioSys, ParLevel and HelpSocial, all with the promise of new job creation and a boost to the local tech economy.

Add to this litany of abatements and non-annexations the millions of dollars in fee waivers and subsidies for new center city housing, subsidies for airlines to expand service and add nonstop routes and public spending on projects that reshape land value and development prospects. But putting the city on sale doesn’t necessarily make it prosper or its economy truly develop. And the history of investments in firms like InCube, Sony Microelectronics and American Airlines should raise real questions about the ability of city council to assess the reality of private markets.

news

Sprouting Up

CBD stores and products grow more abundant now that Texas cleared up legal issues

BY TRAVIS E. POLING

O

n a recent afternoon in Balcones Heights, new customers enter a CBD specialty shop with tales of nausea, headaches, back pain and a litany of other ailments they hope to treat with cannabidiol extracted from Montana and Kentucky hemp crops.

“Do you have anything that will take care of these varicose veins?” asked one new customer as she settled into a chair to rest her swollen feet and ankles.

An employee tells her they can’t make any claims as to which extracts can provide which remedy.

“Well, what do you have?” she pleads.

There are now more than 50 CBD retailers in San Antonio and more opening every week as state law become a little more clearly defined. The outlets are selling more than water-soluble oils, tinctures, gummies, bath bombs, waxes, lotions and sprays — they’re selling hope.

Because there haven’t been the kind of high-dollar, time-intensive studies required by the U.S. Food and Drug Administration, CBD sellers can’t say their products will help with particular afflictions. They use hedges like “may” and “customers say” when talking about possible outcomes.

Conversations with several CBD users brought personal stories of taking away the pain and other

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CURRENT | April 24-May 7, 2019 | sacurrent.com

Carolyn Leeper of the Farmacy Botanical Shop discusses her product line at an outdoor market on the South Side. a Kansas City-based retailer and manufacturer of CBD hemp products — opened, businesses already were gearing up after Congress passed the 2018 Farm Bill, making hemp a viable crop with fewer legal ambiguities.

“That brought people out of the woodwork,” Gabriel said.

When it comes to the CBD business, a rising tide lifts all ships, Gabriel added. However, he points out that buyers need to look for quality suppliers.

Wendy Gabriel offered each customer walking in the door a chance to look at the lab results on any of the 120 product lines the shop carries. A thick binder shows tests for numerous impurities and even harmful bugs such as salmonella and E. coli.

The data also show what regulators are most interested in: THC levels. Hemp is not a significant source of THC, the psychoactive compound most commonly associated with marijuana. Still, the oils need to test at less than 0.3% to be legal.

Even though CBD products are generally considered safe, Vincent Gabriel advises customers to listen Sanford Nowlin to their physicians: “Don’t do anything your doctor tells you not to do.” symptoms of degenerative disc disease, mitigation Ben Leeper, who started the Farmacy Botanical Shop of migraines and quieting the complaints of aching with his wife Carolyn early this year, is opening a CBD joints. Some researchers, based on studies in mice, store in May across from Blossom Athletic Center after have found some positive impact on spinal discs three months of selling at markets and doing local because of the anti-inflammatory aspect of CBD. deliveries.

While the science isn’t there yet, the demands of the He knows the field will be crowded soon, but he desperate are driving a boom in CBD and other holistic hopes getting in fairly early products. will help them develop a CBD is often sold alongsolid client base that they side essential oils and Key Hemp and CBD Legislation can build on. other natural wellness “They’re already popping products or in vape shops, up like nail salons on every where nicotine addicts go • 2014: U.S. Congress passes Farm Bill to allow corner,” Leeper said of CBD to wean themselves from some hemp production for limited uses. sellers. cigarettes. An exception is Even so, he hopes to stand a shop in New Braunfels • 2016: Texas passes law allowing CBD oil preapart by introducing custhat covers both ends of the scriptions for children with epileptic seizures. tomers to more than just the spectrum by selling CBD hemp-based oils. oils — thought by some to • 2018: U.S. Congress passes Farm Bill legalizing “CBD is a gateway to the help with the side effects of hemp containing less than 0.3 percent THC. natural wellness world,” he cancer treatments — next to added. discount cigarettes scientifi• March 7, 2019: Texas SB 1240 regulating hemp Leeper said he’s personcally proven to cause cancer production goes to Senate Business and Comally replaced prescription and other diseases. merce Committee, where it is stalled. pills with CBD for pain relief Vincent Gabriel — who, after back surgery and he’s with his wife Wendy, owns • April 5, 2019: Texas Department of State Health seen his cat’s cancer sympCBD American Shaman in Services remove hemp from Schedule 1 drugs toms dissipate with CBD oil.

Balcones Heights — said the list, which includes cocaine and LSD. However, he cautions that, declassification of hemp as like many supplements and an illegal crop in Texas and • April 17, 2019: The Texas House Public Health medications, results vary for other laws in the works have Committee approved HB 4508 exempting CBD different people. helped remove the stigma oil from the Texas Controlled Substances Act. “While it has helped a lot that surrounds the marijuaof people and there have na-related plant. (See story • April 23, 2019: Texas HB 1325, aligning Texas been a lot of miraculous on facing page.) hemp laws with federal regulations, scheduled results, it is not a miracle When CBD American to go to a reading in the full House. drug,” Leeper said.

Shaman — a franchisee of

news

Laws on CBD Getting Clearer in the U.S. and Texas

BY TRAVIS E. POLING

I

n 2014, the U.S. Congress let the cat out of the sustainably farmed hemp bag by allowing the cannabis plant of the hemp variety to be classified as a legal crop. It had to contain less than 0.3 percent of the psychoactive THC, found in higher levels in the related marijuana plants, and was only for limited applications such as industrial fibers.

The demand for CBD oils, however, meant that hemp was coming in from Mexico and spending a lot of time clearing ports of entry and inspections at the border. Although the legality of CBD has been variously interpreted by state and local governments, even Texas lawmakers were on board with limited medical use

Sanford Nowlin

such as to treat children suffering from epileptic seizures.

Now, with the 2018 Farm Bill pushed through Congress and across the U.S. President’s desk in December, hemp is about to become a domestic cash crop.

And even holdout states, like Texas, are moving toward legalizing and regulating hemp production to include varieties used for everything from clothing to building materials — and those specially grown for CBD oil.

In Texas, hemp production is getting closer to official legalization in keeping with federal laws. The bi-partisan Texas House Bill 1325 passed out of committee this session with nary a nay, as did HB 4508, which would officially decriminalize CBD oils that meet the THC limits.

While there seems to be little opposition to the bills in the Texas House or Senate, as yet, Lege watchers know not to hold their breath waiting for their final passage. Procedural bombs have been dropped before at the 11th hour to stop

unrelated bills, effectively killing everything waiting for a vote.

Texas hemp industry groups argue that the bills’ passage would create farm and hemp-processing jobs in the Lone Star State that are now going to places such as Kentucky, Montana, Kansas and northern neighbor Oklahoma.

At an early April hearing for HB 1325, there were no speakers or signers opposing the measure.

The growing acceptance of hemp and CBD ultimately could be an impetus for a referendum on legal marijuana in Texas, observers add. That could help explain both the prevalence of new CBD stores and special greenhouses popping up around the state to grow crops such as hops or other plants that benefit from lots of light and hydroponics.

Ben Leeper, co-owner of Farmacy Botanical Shoppe in San Antonio, said his current plan isn’t to embrace the marijuana business. That’s partly because attitudes against it remain fairly strong in Texas, compared to his native state of Colorado, where it is legal for recreational use.

Still, “I’ve talked to some other CBD businesses and [legal marijuana] is absolutely in their plans,” he added.

Advertising Content

Weighing In Owners of CBD businesses say the future is bright — whether or not it includes legal marijuana

W

hat do local CBD shop owners and managers think the future holds for the state’s botanicals industry? The merchants we interviewed have different views — some taking a wider perspective involving marijuana legalization. Others see the industry finding even more benefits linked to CBD.

Brady Wilshire, owner, Blyss Botanicals “I definitely see two completely separated sides of the industry. I see the recreational side, where people just want to get high, and you have the medicinal side — and that’s where CBD comes into play: they don’t want to get high but they want all the medicinal benefits.

Politically, other states are legalizing marijuana already; Texas will probably be one of the later ones. I probably want to stay more on the medicinal side.”

John Gomez, co-founder/CEO, Natural Heights “As regulators catch up with the industry, statewide and nationwide, that’s going to be a huge factor. The main reason is going to be quality control and regulating the process of how all of these products are made. That’s a good thing. It’s better for consumers, distributors, everyone. That is catching up with demand. Right now, regulators are slow to catch up. The market is exploding with customers, young to 90 years old. People are using CBD products and they are coming back because they see results.”

Jacqueline Martinez, manager, Texas Best Botanicals “I know a lot of people who are interested in what will happen when marijuana becomes legal. When it does, that will help a lot of people, but I think that CBD will be important to people who can’t have THC because of their job, medical reasons or personal reasons. CBD has done so many amazing things that I think the industry will just continue to grow.”

Adil Ali, owner, Alien Smokeshop/ Alien Botanicals “I think it’s going to help the recreational side more, because a lot of people don’t want to get too high, or they want to be able to work without worrying over the anxiety of work. People deal with some sort of anxiety, whether it’s school, work, personal, family stuff. I think it’ll help the medicinal side, too.

Not that many people want to take regular medicine that’s prescribed to them that’s damaging their liver, or they’re not able to deal with the reality of life. CBD helps them to live their life.”

Brenda Jordan, co-owner, Simple Leaf Botanicals “I think the future of CBD in Texas looks very bright, just based on

experiences we’ve had the last six months we’ve been in business.

It seems to help a lot of people with multiple maladies, and we just think there will be more CBD out there for medicinal purposes. We’re waiting to see what will happen with laws in Texas. Right now, we feel like everything is a green light. There are also things happening with the [U.S. Food and Drug Administration], how they will regulate the industry. We feel some regulation is coming in the near future, but we feel that future is bright. We only see CBD growing more and more, and you’ll start seeing it as an everyday thing on every street corner.”

Randy Hurst, owner, Your CBD Store “I think the future will absolutely be medicinal. Legislation is going to relax on all fronts. It’s already trending that way. It’s why we opened a shop here. As far as recreational use goes, a lot of people deal with anxiety and depression, and I think that is what more people will tend to use CBD for. It will help them with their anxiety and sleeping at night. I’ve got customers who are currently doing that.”

sacurrent.com | April 24-May 7, 2019 | CURRENT

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CIDER Y’ALL

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THURSDAY, APRIL 11 30 Poems for the Tricentennial Poetry Reading | 6:30 – 8:30 p.m.

Culture Commons Gallery | 115 Plaza de Armas | 210.207.1436 stephanie.torres@sanantonio.gov

SUNDAY, APRIL 14 This City is a Poem | 2 p.m.

Central Library, Latino Collection and Resource Room | 600 Soledad Street 210.207.9090 | Karen.sebesta@sanantonio.gov

Poets will read selected poems featured in this exhibition which combines poetry with graphic design to commemorate the more than 300 year history of San Antonio from the Pre-Columbian Era to the present day.

Follow This City is a Poem on Facebook for your daily prompts and then join us for an open mic reading of your resulting poems. This year, we especially encourage all female-identifying poets to come forward and present your unique voices, but all are welcome to read and to support those reading.

SATURDAY, APRIL 13 Writers Take a Walk along San Pedro Creek | 10 a.m .– 12 p.m.

San Pedro Creek Culture Park | 715 Camaron Street dondon213@hotmail.com | www.spcculturepark.com Poets, writers, and journalists are invited to explore art and nature at the new San Pedro Creek Culture Park in downtown San Antonio. Participants will receive a guided tour of the park, including a sneak peek at the next segment of the project which is currently under construction. Light refreshments will be provided and prizes will be awarded for poems created during this free event. Bring your smart device or paper and pen and be ready to be inspired!

For a full calendar of National Poetry Month events, visit www.GetCreativeSanAntonio.com.

WEDNESDAY, APRIL 24 SAY Sí Youth Open Mic Night | 5:30 – 7:30 p.m.

SAY Sí | 1518 S. Alamo | 210.212.8666 | www.saysi.org SAY Sí welcomes all youth poets and performers to its Black Box Theatre for a special Open Mic Night. Hosted by the ALAS Youth Theatre Company, the evening will showcase featured poets and highlight the talents of San Antonio’s youth-artists. Performances include poetry, music, movement, and more!

SUNDAY, APRIL 28 Stone in Stream’s Nature Writing Workshop and Annual Words for Birds Reading 12 – 3 p.m. | Mitchell Lake Audubon Center | 10750 Pleasanton Road 210.628.1639 | sbeesely@audubon.org Join us for the a Noon poetry workshop – Writing about Nature with Mobi Warren and Marisol Cortez (at Noon) followed by Words for Birds reading at 1:00 PM featuring readers: Mobi Warren, Jim LaVilla-Havelin, Kamala Platt, Laurel Bodinus, Jeanie sanders, and Marisol Cortez.

TUESDAY, APRIL 30 Poets & Photographers Looking at Photographs | 6:30 p.m.

San Antonio Museum of Art | 200 West Jones Ave. | www.samuseum.org A program in conjunction with the exhibition Capturing the Moment, poets and photographers respond to images in the exhibition. Poets include Natalia Trevino, Jenny Brown, and Jim LaVilla-Havelin; photographers include Carra Garza, Scott Martin, and Kathy Vargas.

sacurrent.com | April 24-May 7, 2019 | CURRENT 13

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CURRENT | April 24-May 7, 2019 | sacurrent.com

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sacurrent.com | April 24-May 7, 2019 | CURRENT 15

FRI | 4/26

Battle of Flowers Association FI ESTA

BATTLE OF FLOWERS PARADE

Ask any expert where Fiesta would be without the Battle of Flowers Parade and you’ll likely get “nowhere.” Sprung from the eccentric roots of an 1891 ceremony in which participants pelted one another with flowers in tribute to “the fallen heroes of the Alamo and Battle of San Jacinto,” the Battle of Flowers is not only the germinating seed for San Antonio’s signature celebration — it’s an unsinkable icon, an impossibly bedazzled spectacle, a movable feast for the senses that essentially shuts the city down so that all can partake in a hyperlocal holiday dubbed “Fiesta Friday.” Proudly produced “entirely by women, all of whom are volunteers” (400 of them to be exact), the Battle of Flowers this year adopted a broad parade theme of “For the Love of Texas” that invited participants to draw creative inspiration from festivals, flora and fauna; traditions like tubing the Guadalupe and hiking Big Bend; Texas in music and movies; iconic Texan women such as Barbara Jordan and Emma Tenayuca; and Lone Star legends and lore — from the Ghost Tracks to the Dancing Devil. Grand marshaled by country star and San Antonio native Pat Green, the 128th annual event extends beyond the parade with the Battle of Flowers Band Festival, which brings together 30-plus high school marching bands for a competitive showcase that culminates in a collaborative performance complete with fireworks ($7-$19.50, 6:30-9:30pm Thu, Apr. 25, Alamo Stadium, 110 Tuleta Dr.) and unofficial after-parties at Pearl (12:30-5pm Fri, Apr. 26, Pearl Park, 303 Pearl Pkwy.) and the Bonham Exchange ($5-$15, free for adults before 8pm, 10am-4am, Bonham Exchange, 411 Bonham St.). $15-$30 for reserved bleacher seating, 9:30am-2:30pm, visit battleofflowers.org for details and the parade route. — Bryan Rindfuss

Courtesy of Monty Python’s Spamalot

WED | 4/24 TH EATER

SPAMALOT L

Of all the movies to be adapted into a stage musical, Monty Python and the Holy Grail is certainly one of the more deserving. Spamalot’s extended send-up of all things Arthurian features famous songs from the original film like “Brave Sir Robin,” plus a full slate of new satirical music written by Monty Python alum Eric Idle and composer John Du Prez, including “He Is Not Dead Yet,” “You Won’t Succeed on Broadway” and the endlessly modulating schlocky love ballad

“The Song That Goes Like This.” Idle’s stage adaptation hits all of the Holy Grail’s famous beats — from the shrubbery-demanding Knights Who Say Ni to the infamous killer rabbit — with a plot expansion that lampoons Broadway tropes whilst enacting them onstage. It premiered on Broadway in 2005 with a legendary cast featuring the inimitable Tim Curry as King Arthur, and was an instant hit that handily won that year’s Tony Award for Best Musical. After Spamalot’s one-night engagement at the Tobin, the cast will return to the stage for a post-show Q&A to answer all your questions about spiteful Frenchmen, the dismembered Black Knight, the velocity of an unladen swallow and more! $46.50-99.50, 7:30pm, Tobin Center for the Performing Arts, H-E-B Performance Hall, 100 Auditorium Circle, (210) 223-8624, sasymphony.org.

— Kelly Merka Nelson

WED | 4/24 - TUE | 5/7 ART

‘AMERICA ON STAGE’ 5

Arguably one of the most overlooked aspects of the McNay is the the museum’s impressive Tobin Collection of Theatre Arts, which boasts more than 12,00o objects spanning from the 1500s to the present day.

Built around a sprawling gift from late collector,

philanthropist, theater patron and design enthusiast Robert L.B. Tobin and expanded by curators Linda Hardberger and Jody Blake, the collection encompasses rare books, small-scale models, costume illustrations and stage designs created by modern masters such as Pablo Picasso and Henri Matisse.

Organized by Head of Curatorial Affairs René Paul Barilleaux and Curatorial Assistant Timothy Retzloff, the recently opened exhibition “America on Stage” aims to celebrate “the vision of the nation’s 20thand 21st-century master designers on stages across the U.S. and around the world.” Exploring four key themes — Broadway, Nostalgia, Breaking Tradition, and Social Justice — the show combines maquettes from productions of Cabaret, In the Heights, West Side Story and You’re a Good Man, Charlie Brown; a pop-up theater where guests can view scenes from a conceptual revival of Spring Awakening; and interactive areas that invite museum-goers to “take center stage in a recreated stage set — and even tap dance.” $15-$20, 10am-6pm Wed, 10am-9pm Thu, 10am-6pm Fri, 10am5pm Sat, noon-5pm Sun through June 30, McNay Art Museum, 6000 N. New Braunfels Ave., (210) 824-5368, mcnayart.org. — BR

FRI | 4/26 FI LM

HARD BOILED E

Planet X Cinema fanatics Blair and Drew Hicks unequivocally declare John Woo’s Hard Boiled (1992) to be “the greatest action movie ever filmed,” and it’s hard to disagree. Woo’s swan song to Asian cinema before moving on to Hollywood, Hard Boiled centers on Hong Kong Police Inspector “Tequila” Yuen (Chow Yun Fat), who finds himself way over his head when he accidentally steps into the midst of a gang war. It’s hard to describe Hard Boiled’s high-energy

calendar

San Antonio Symphony

Golden Princess Film Production

plot and massive action showpieces without spoiling the fun, so just trust me when I say that the picture of the cop holding a baby on the movie poster totally pays off. Woo followed up Hard Boiled with Jean Claude Van Damme vehicle Hard Target (1993), followed soon after by the Nic Cage vs. John Travolta body-morphing action extravaganza Face/ Off (1997) and Mission: Impossible II (2000), cementing himself as an international auteur of action. The Hicks bros will kick off the night with a pre-show intro that will prime the audience with some Woo factoids, but this isn’t going to be some kind of film school lecture — once it starts rolling, Hard Boiled will speak for itself. Free, 8pm Fri, Künstler Brewing, 302 E. Lachapelle, (210) 688-4519, planetxcinema.com. — KMN

FRI | 4/26 WORDS

KALI FAJARDO-ANSTINE p

Kali Fajardo-Anstine is a Chicana author from Denver whose debut short story collection, Sabrina & Corina, was published by One World/Penguin Random House on April 2. In the collection’s 11 emotionally electric stories, part autobiographical, part fictional, part culled from the lives of family and friends, Fajardo-Anstine explores the complicated quest for identity, cultural/physical displacement, indigeneity, gender roles, and, through it all, the contemporary American West. Over the phone last week, the author told the Current that, more precisely, “every story comes from a different running theme in [her] life, basically.” After a number of years getting stories published only sporadically, with folks often claiming her work was “too dark or too strange,” Fajardo-Anstine’s breakthrough moment has finally arrived. She said that so far her greatest joy in publishing has been

receiving feedback from readers that have (understandably) been deeply impacted by her stories. “The fact that people can identify with these girls in my stories makes me feel a lot less lonely,” she said. Early critical reception for Sabrina & Corina has been deservedly favorable, even glowing. Fajardo-Anstine, whose stories prominently center on strong if tormented female characters navigating various stages of growing up, said that, above all else, she wants “people to feel seen in [her] work,” particularly people who have experienced alienation from mainstream American society. As for the disarming yet refreshingly unflinching way that her stories tend to deal with death and loss, the author attributes that to growing up as “a part of a big family in a culture that is not afraid of confronting death.” This weekend, Fajardo-Anstine will be in town to read from her works and sign copies of her book. On Saturday, she will also be teaching a course for writers called “Writing Place: Homelands in Literature” at Gemini Ink. Visit the website below for more details on both the reading and the course. Free, 6:30-8:30pm Fri, Our Lady of the Lake University, Sister Ann Sueltenfuss Library, Room L100, 411 SW 24th St., (210) 734-9673, geminiink.org.

– James Courtney

FRI | 4/26 SUN | 4/28 MUSIC

FIESTA POPS L

McNay Art Museum

Courtesy of Kali Fajardo-Anstine

For its annual Fiesta celebration, the San Antonio Symphony welcomes guest conductor Andrés Lopera to lead the ensemble through an evening of Mexican and Latin American music. In addition to Arturo Márquez’s Conga del Fuego Nuevo and Morton Gould’s Guaracha (from his Latin American Symphonette), the ensemble will perform an array of traditional folk tunes arranged for full orchestra. Doubling down on the Fiesta spirit, the Symphony will be joined by preeminent mariachi ensemble Campanas de América as well as the folklórico and flamenco dancers of the Guadalupe Dance Company, who will bring an authentic and colorful flourish to the performance. $10-$96, 8pm Fri-Sat, 2pm Sun, Tobin Center for the Performing Arts, H-E-B Performance Hall, 100 Auditorium Circle, (210) 223-8624, sasymphony.org. — KMN

VICTORIA’S BLACK SWAN INN PRESENTS

The Beltane Fire Festival & The Wicked Fairies and Witches Ball SAT. APR 27TH | 4PM - MIDNIGHT

Kara Stevens

Recruiting for

promo team

PLAYING AT THE BELTANE FIRE FESTIVAL & WICKED FAIRIES AND WITCHES BALL

STARTING AT 8 PM JOIN US FOR THIS INCREDIBLE EVENT FEATURING:

MARKET ARTISANS • HANDCRAFTED JEWELRY TRADESMEN • FOOD TRUCKS • MUSIC & MORE! THEMED ATTIRE IS GREATLY ENCOURAGED!

PHOTOGRAPHERS |STREET TEAM | BRAND AMBASSADORS

TICKETS $25

-markets every first and third weekend of every month-

www.victoriasblackswaninn.com | 1006 Holbrook Rd, SATX 78212

at the McNay!

May 9 | 6 - 9 pm

6000 North New Braunfels San Antonio | mcnayart.org

MUSIC BY: Bombasta Real Ale Brewing Co. available for purchase

JOIN NOW! SEND RESUME TO:

S A M A R K E T I N G @ S A C U R R E N T. C O M 18

CURRENT | April 24-May 7, 2019 | sacurrent.com

FREE SHUTTLE SERVICE Park in the Sunset Ridge Church lot @ Brees and Emporia

FREE & OPEN TO THE PUBLIC

calendar

TUE | 4/30 FILM

DR. NO 5

King William Association

SAT 4/27 FI ESTA

KING WILLIAM FAIR L

A perennial favorite that appeals to Fiesta fanatics and naysayers alike, the King William Fair blends the flavors of the season into a whimsical block party set against the backdrop of one of San Antonio’s most picturesque neighborhoods. Launched as an artsy, one-block affair back in 1968, the fair supports the nonprofit King William Association’s mission to preserve and promote the historic ’hood and also benefits area youth via grants and scholarships to creative development programs. An amusing reflection of the area’s eclectic spirit, KWF kicks off bright and early with a funky, irreverent parade that this year follows a theme of “Who Is King William?” and pays tribute to the descendant of Pedro Huízar, the Spanish architect and sculptor who created the rose window at Mission San José. In addition to festival fare and adult beverages from 60 booths, carts and food trucks, the fair boasts more than 200 vendors offering jewelry, ceramics, paintings and other handcrafted wares; a designated Kid’s Kingdom with games, rides and entertainment; roving street performers and live music on five stages featuring the sounds of indie Latin orchestra Volcán, singer-songwriter Azul Barrientos, Chicano roots fusionists Los Nahuatlatos, lederhosen-wearing polka quartet the TubaMeisters, Alamo City originals Los #3 Dinners and many more. $15 (free for kids 12 and under), 9am-6pm Sat, King William Historic District, 122 Madison St., (210) 271-3247, kwfair.org. — BR

While relatively few moviegoers nowadays are aware of the 12 novels that inspired the wildly successful James Bond movie franchise, fewer still can tell you much about their author Ian Fleming, whose life experiences helped shape his iconic protagonist. Born in London in 1908, Fleming evolved from a rebellious youth to a womanizer before entering the workforce as a reporter for Reuters, which sent him to Russia to cover an espionage case. At the onset of WWII, Fleming got tapped by the Royal Navy to assist Naval Intelligence Director John Godfrey, a position that took him to the U.S., Portugal and, perhaps most importantly, Jamaica, where he later built a vacation home he named Goldeneye.

After the war, Fleming returned to journalism — managing overseas correspondents for the Kemsley News, launching the niche quarterly The Book Collector, managing the publishing house Queen Anne Press and even penning a society gossip column under the pseudonym Atticus — but managed to set aside the first two months of every year (from 1952 until his death in 1964) to write novels surrounding the worldly adventures of hedonistic British secret service operative James Bond — code name: 007. In 1953, Fleming introduced Bond to the world via Casino Royale, a well-received debut based chiefly on the author’s Naval Intelligence years. As Fleming developed the series, he shifted away from memory-based writing to build storylines from research and imagination.

Although Casino Royale inspired the TV adaptation Climax! in 1954, Bond didn’t reach the silver screen until the release of 1962’s Dr. No, starring relatively unknown Sottish actor Sean Connery.

Although Fleming was reportedly appalled by the casting of a working-class former sailor as his mysterious man of the world, audiences embraced Connery, and Fleming eventually warmed up to him as well.

Based on Fleming’s 1958 novel, Dr. No follows Bond to Jamaica to investigate the murder of a fellow British agent who fell victim to the titular villain — a mad scientist whose experiment du jour is diverting rockets launched from Cape Canaveral. After surviving several attempts on his life (via kidnapping, a murderous temptress and a

United Artists

tarantula), 007 encounters bikini-clad sexpot Honey Ryder (Ursula Andress in a defining role) hunting shells on Crab Key and subsequently finds himself trapped alongside her in Dr. No’s island fortress. A box-office success that garnered mixed reviews, Dr. No did more than just bring Fleming’s most-beloved creation (sorry, Chitty Chitty Bang Bang) into the realm of Hollywood as it established stylistic hallmarks including dramatic theme music and stylized opening credits. An enticing follow-up to last year’s multi-venue, outdoor Wes Anderson film festival, Slab Cinema’s new summer series “Six of 007” sets up shop in Hemisfair for a string of outdoor screenings accompanied by

pre-show entertainment and food and beverages available for purchase from Dough, Con Safos and Paletería San Antonio. After kicking off on April 30 with Dr. No, the fest highlights the history of actors who’ve portrayed Bond over the years via revivals of On Her Majesty’s Secret Service starring George Lazenby (May 7), The Spy Who Loved Me starring Roger Moore (May 14), The Living Daylights starring Timothy Dalton (May 21), GoldenEye staring Pierce Brosnan (May 28) and Skyfall starring Daniel Craig (June 4). Free, pre-show entertainment with Brie & Anthony Acoustic Duets at 7pm, Dr. No at 8:15pm Tue, Hemisfair, 434 S. Alamo St., (210) 212-9373, slabcinema.com. — BR sacurrent.com | April 24-May 7, 2019 | CURRENT

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CURRENT | April 24-May 7, 2019 | sacurrent.com

calendar 8pm Tue, the Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre.com. — Enrique Lopetegui

FRI | 5/3 SUN | 5/5 TH EATER Courtesy of Los Amigos Invisibles

TUE | 4/30 MUSIC

ATERCIOPELADOS & LOS AMIGOS INVISIBLES L

Colombia’s three-time Latin Grammy winners Aterciopelados (“The Velvety Ones”) and Venezuela’s Latin Grammy winners Los Amigos Invisibles couldn’t be more different, yet this bill makes perfect sense and features two bands that came back with a vengeance after seemingly out or on the way out. The Colombians (Andrea Echeverri on vocals and guitar, Héctor Buitrago on bass) are the closest things to an environmentally friendly, hippie-punk duo with zero reservations when it comes to jumping from pop to bolero and from cumbia and champeta to about any electrified thing you can think of. Echeverri has the voice of a socially conscious feminist whose “pensar bonito” (thinking pretty) philosophy gives light to the music without sacrificing any of its edge. Los Amigos, as accurately self-described in the excellent The New Sound of the Venezuelan Gozadera (their second album, released in 1998 on David Byrne’s Luaka Bop label), are an irresistible funky blend of “Latin dance and sex culture” with an Esquivel! attitude and an insatiable thirst to make people dance. Last year’s Claroscura (their first album of originals in a decade) earned the band their third Latin

Courtesy of Aterciopelados

Grammy and confirmed their status as evergreen rockero heavyweights. Even though only three members from the original six remain in the band (singer Julio Briceño, bassist José Rafael Torres and drummer Juan Manuel Roura), the Venezuelans haven’t lost an ounce of power and are still arguably the ultimate Latin party band. Technically speaking, they’re both co-headliners, but we suspect Aterciopelados will close the show, so check out “Bolero Falaz” (the song that put them on the map back in 1995), the glorious cover of “Baracunátana” (a classic vallenato) and “Florecita Rockera,” three hits that represent the extremes in Aterciopelados’ music. The Aztec has positioned itself as the center of Latin alternative music in town, and they’re bringing the best. So stop bitching about rockeros not coming to SA and show up to this one — it deserves a full house. $30-$63,

FILM

CLOAK & DAGGER

THE LITTLE FOXES 5

Drawing from a verse in the Song of Solomon, The Little Foxes relays the tale of the Hubbards, a set of wealthy siblings whose extreme avarice and small-mindedness “spoil the vines.”

Regina Hubbard Gibbens, ineligible to inherit a proper chunk of her family’s estate by virtue of her gender, faces mounting frustration with her timid husband, whose lack of business acumen has denied her the level of wealth and success that her brothers, who split the inheritance, have enjoyed. In a bid to finally take what’s hers, Regina schemes with her brothers Hubbard to invest in a cotton mill that is sure to make them money hand over fist. The problem?

Both her husband Horace and daughter Alexandra are against the plan. A role originated by none other than Tallulah Bankhead and immortalized on film

by Bette Davis, Regina’s single-minded obsession tears apart her family, leaving

Siggi Ragnar

her alone with the only thing she ever truly loved: money. The Classic’s production is directed by Melissa Utley and stars Kelly Hilliard Rousch, Byrd Bonner, Anthony Ciaravino and Christie Eanes. $18-$33, 8pm Fri-Sat, 3pm Sun through May 26, the Classic Theatre of San Antonio, 1924 Fredericksburg Rd., (210) 589-8450, classictheatre.org. — KMN

FRI | 5/3

For this Friday screening, things will kick off a bit differently than other Slab Cinema events — the San Antonio Film Commission will give a special presentation on this year’s FilmSA contest, which features a slate of films created by young San Antonians that celebrate the many unique aspects of the city. The presentation will pair nicely with the night’s film, 1984’s Cloak and Dagger, which stars San Antonio native Henry Thomas of E.T. fame and was filmed locally, including scenes shot on-location on the River Walk and outside the Alamo. The fourth film adaptation of midcentury author Cornell Woolrich’s short story “The Boy Cried Murder,” Cloak & Dagger follows Davey Osbourne (Thomas), an inventive young boy who has conjured up an imaginary friend in the form of Jack Flack (Dabney Coleman), the enigmatic protagonist of his favorite video game. Fantasy and reality collide when Davey becomes

Universal Pictures

wrapped up in a murder plot and ends up with a video game-cartridgeturned-MacGuffin in his hands. Chased by spies, Davey is armed only with his wits and the advice of the visible-only-to-him Jack, and must find a way to keep state secrets out of the hands of the bad guys, not to mention stay alive. Free, 7pm Fri, Mission Marquee Plaza, 3100 Roosevelt Ave., (210) 212-9373, slabcinema.com. — KMN

sacurrent.com | April 24-May 7, 2019 | CURRENT

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Two week camps at two locations!

DEVELOP ORIGINAL PLAYS, SHARPEN ACTING AND IMPROVISATIONAL SKILLS, AND REHEARSE SHOW-STOPPING MUSICAL NUMBERS.

Magiktheatre.org/campshowbiz

be the star of your story

Two Week Camps at Two Locations!

June 10 - August 23 | Ages 3 - 17

magiktheatre.org/campshowbiz 210.227.2751 or education@magiktheatre.org

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CURRENT | April 24-May 7, 2019 | sacurrent.com

calendar

Siggi Ragnar

Joan Marcus

SAT | 5/4 FI LM

MOONLIGHT

Known to many only for the Best Picture announcement snafu that briefly crowned La La Land the winner in its stead, Barry Jenkins’ lyrical film Moonlight is a tragic meditation on black queer identity. Jenkins worked with playwright Tarell Alvin McCraney to adapt his unpublished, semi-autobiographical play In the Moonlight Black Boys Look Blue into a film, casting Alex Hibbert, Ashton Sanders and Trevante Rhodes as three iterations of the character Chiron, whose coming of age is marred by addiction, violence and toxic masculinity. Moonlight made history as the first LGBTQ film as well as the first film with an all-black cast to win the coveted Best Picture award, and Mahershala Ali became the first Muslim actor to take home an Oscar for his role as Juan. A fitting counterpart to Ruby City’s current exhibition of Issac Julien’s dreamlike docudrama Looking for Langston, which explores black and queer identities through the lens of Harlem Renaissance author Langston Hughes, this screening of Moonlight launches The Contemporary Film Series, a twice-annual screening presented by Ruby City and

A24

Blue Star Contemporary with the goal of “providing access to compelling films that galvanize meaningful conversations within the San Antonio community and beyond.” Free, 7pm Sat, Ruby City, 111 Camp St., (210) 227-8400, rubycity.org. — KMN

TUE | 5/7 THEATER

HAMILTON

The 2015 hit Broadway musical and cultural phenomenon Hamilton is finally making its way to San Antonio for a three-week run at the Majestic. Inspired

by Ron Chernow’s 2004 Alexander Hamilton biography, Lin-Manuel Miranda’s re-telling of the life of America’s first treasury secretary, Hamilton became a theatrical benchmark the moment it debuted off-Broadway at the Public Theatre. What makes the musical so unique is both the musical style and its casting choices. Miranda infuses his Revolutionary War musical with the contemporary sounds of hip-hop, R&B, soul and even some traditional musical theater. The cast is comprised of a racially diverse group of performers portraying the founding fathers. The end result is a story steeped in our cultural history, with enough contemporary resonance to attract audiences of all generations. Trust us, it works.

Winner of 11 Tony awards, including Best New Musical, Hamilton is the most unlikely pop phenomenon of the 21st century, and as Jefferson says to Washington in one of the rapped Cabinet Battles, “if you don’t know, now ya know!” $119-$571.50, 7:30pm Tue (through May 26), Majestic Theatre, 224 E. Houston St., (210) 226-3333, majesticempire.com. — Nathan Stith sacurrent.com | April 24-May 7, 2019 | CURRENT

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Lorem

Crawfish Plate $11.00

Credit Cards Accepted

EVENTS are FREE 24

9333 Southwest Loop 410 @ Old Pearsall Road • 210 -623- 8383 • TradersVillage.com

CURRENT | April 24-May 7, 2019 | sacurrent.com

PARKING only $4

Remix Magik May 4, 2019 | 6-9 p.m. | Adults 21+ Only

Relive your childhood and see a show at The Magik Theatre - but leave the kids at home.

Snack on bites from Grayze on Grayson and sample sweet treats from Chocollazzo and Cereal Killer Sweets.

Shop vintage styles from Canela Vintage and Free Rose Studio.

Two lucky attendees will even win golden tickets with scrumdiddlyumptious prizes.

General Admission: $25 VIP Admission: $35 Includes premium seating and a VIP swag bag All admission includes 2 complimentary drink tickets.

magiktheatre.org/remixmagik

THE MAGIK THEATRE . 420 South ALamo . 210.227.2751

sacurrent.com | April 24-May 7, 2019 | CURRENT

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art

Shutterstock

Costume Drama

A flood of social media scandals sparks a conversation on race and representation

BY MARCO AQUINO

L

Find more artsnews coverage Find more day at everyevery day at sacurrent.com sacurrent.com

ast fall, talk show host Megyn Kelly was fired from NBC after saying on-air that she believes it’s OK to wear blackface for Halloween. In February, Virginia Governor Ralph Northam dominated national headlines when a photo that appears to be him wearing blackface emerged online. The photo had been published in a medical school yearbook 30 years prior and only recently resurfaced in the digital age. Not to be outdone, the state’s Attorney General Mark Herring also admitted to wearing blackface at a party when he was an undergraduate at the University of Virginia. The same week, the luxury brand Gucci faced backlash when a sweater mimicking blackface appeared in its online store.

It’s baffling to think that in 2019 so many public figures would have such embarrassing gaffes that threaten to topple their careers. After years of witnessing the struggle for diversity and inclusion, haven’t white people learned anything?

Even in the melting pot of Texas, the list of people donning insensitive costumes on social media ranges from city council members and educators to students and even an editor from the Hous-

ton-based online arts publication Glasstire. While most of these incidents only make the local news, hastily reported and soon forgotten, they reflect a larger issue stirring debate across the country.

When it was announced that Brandon Zech, one of Glasstire’s senior editors, would be taking over as publisher in June, many from San Antonio’s artistic community were quick to point out that in October of 2016, Zech dressed as the border wall in a photograph posted to Glasstire’s Instagram account.

In the photo, Zech wears what appears to be a stack of bricks around his upper body. An unidentified female wearing a dark mustache and two tiny sombreros on the end of antennas (maybe a reference to her “alien” status?) is clinging to Zech’s shoulders. Both individuals are plastered with ear-to-ear smiles. “They will pay for the wall!” reads the caption. One commenter responds with “fun times!” before a number of familiar artists start tearing into the post and putting its offensive nature in perspective.

Among those commenters was Raul Gonzalez, a San Antonio-based artist known for his paintings

of construction workers and laborers. A son of Mexican immigrants, Gonzalez is keenly aware of representations of Mexican-Americans in popular culture. His own work could be described as dignified depictions of Mexican-Americans and their domestic spaces.

“I was really surprised that Glasstire didn’t have the sense to think this would be offensive to a large pool of their patrons,” Gonzalez told the Current.

“I mean, shit, we’re in fuckin’ Texas! A professional group should have the better judgement to stop the post before it happened.”

Indeed, Glasstire’s Instagram post seems especially jarring coming from a fine arts publication whose writers are expected to discern meaning in symbols and visuals more-so than the general public. As one of the few statewide publications dedicated to visual arts, artists, students and the general public alike rely on Glasstire to promote their events or keep them informed about local art news. For 18 years, Glasstire has served this purpose, and this summer its founder and current publisher, Rainey Knudson, is handing over the reins to Zech.

Kristel Orta-Puente, a San Antonio-based Chicana artist and photographer, says she was “completely disappointed” by Glasstire’s border wall photo and that, beyond an apology, she would like to see Glasstire hire a more diverse staff so that mistakes like this don’t happen again.

“Obviously, [the Instagram post] wasn’t something that they just did randomly,” she said. “They literally thought about that. They put that together 29 6 and nobody there said ‘Hey, that could

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CURRENT | April 24-May 7, 2019 | sacurrent.com

arts

An illustration referencing a costume worn by Jennifer Staubach Gates

Shutterstock

6 26 possibly be offensive.’”

Although the post was removed shortly after being made public, a screenshot circulated on Facebook, drawing more criticism from the community. A few days later, Knudson posted an apology to the Glasstire site: “This week there was an unfortunate post on the Glasstire Instagram account.

An image meant to ridicule Donald Trump’s rhetoric of ‘bad hombres’ and building a wall along the border with Mexico was received by some viewers not as a satire of Trump, but as an insensitive commentary on Mexicans and Latino immigrants crossing the border. That was not our intention in the least. I removed the post from Instagram and apologized for it. I’m very sorry to have fanned the fires of this terrible election cycle.”

The apology did not go over well. In the comments section, visitors voiced their displeasure while Knudson responded to each comment with awkward and defensive statements. It was clear that the artistic community across the state had been hurt and that Glasstire could not pinpoint where things took a dive.

While Knudson claims the costume was meant as a satire that ridicules President Trump’s rhetoric, the focus of the costume, and the image itself, was solely on the stereotypical depiction of a Mexican and not Trump. Like many other Halloween costumes gone wrong, the costume was a coordinated effort requiring two people to complete the getup. The photo depicts not just two people in costume but two people in the midst of action, a sort of performance showing how undocumented immigrants climb over a wall. With so much thought going into the costume, it’s difficult to understand the lack of consideration for how it would be received by the public.

After the announcement of his new role was made public back in February, the Current reached out to Zech in hopes of doing an interview to discuss the future of Glasstire. Zech politely declined, citing his busy schedule.

Over the past few weeks, Knudson has been on a farewell lecture tour, making stops at museums and universities across the state, including the University of Texas at San Antonio on March 21. In her lecture titled “Art, Media, and the Digital Dumpster Fire,” Knudson talked about the evolution of Glasstire as a “scrappy start-up” in 2001 to its current status as a regionally recognized online arts publication. This writer asked Knudson to comment on the criticism she has received for posting the border wall costume photo and how that experience has shaped the future of Glasstire.

“As a result of that, we realized that we had really fucked up,” Knudson responded to a room full of UTSA students. “I was the one who posted that image. I thought it was funny. ... It was right before the election and, to be honest with you, it had never entered my mind that Donald Trump would win the election.”

While it seems Knudson is still hung up on the idea that the costume was a critique of Trump and his “rhetoric,” she did say that Glasstire has made a specific and conscious effort to address the work of Latino artists across Texas. She also revealed that the publication has begun raising funds to start publishing bilingual articles, a process that has been a year and a half in the making.

“We don’t want to feel like we’re ticking boxes, and we don’t want to feel like we’re just looking to fill certain ratios,” Knudson added. “But the fact of the matter is if you want to be diverse, then you need to think about it. We have to think, ‘Well, wait a minute, who are we not paying attention to?’ ...

If that means that a white guy doesn’t get coverage then that means that a white guy doesn’t get coverage. We made an explicit effort to try to make sure we have diverse authors and try to make sure we cover diverse artists.”

In the two years since the photo was first posted to Instagram, public outrage has waned and business has gone on as usual for Glasstire.

“What I have noticed since the incident [and] failed apology is that San Antonio’s presence on Glasstire has grown, more so than any other city in Texas,” local artist Gonzalez said. “More artists from San Antonio have appeared as guest artists on their Weekly Top 5 videos.”

While Glasstire has mostly managed to overcome its PR crisis, and perhaps even some good has come from the controversy, a quick Google search on the topic of insensitive costumes reveals that similar incidents continue to play out every year across the state. Call it a case of “same script, different cast.”

Despite newspapers and magazines warning people about potentially offensive costumes every Halloween, people apparently aren’t getting the message. In 2016, the University of Texas at Austin issued a guide to help students avoid offensive costumes, but it was largely seen as a joke. In previous years, some fraternities had been known to throw off-campus “Border Patrol” parties where students come dressed in sombreros, serapes or construction gear.

Last October in College Station, Amanda Green, at the time a candidate for the College Station Independent School District board, made headlines when a year-old photo of her and her husband made the rounds on social media. Much like Glasstire’s Instagram photo, Green’s shot brought accusations of racism. In the photo, Green is seen dressed as the American flag, while her husband, who is down on one knee, is dressed as the football player Colin Kaepernick with an Afro wig and red jersey.

Both individuals are smiling at the camera, proudly displaying their costumes at what appears to be a Halloween party.

In an interview with KBTX news, an apologetic and teary-eyed Green said her intentions were never to offend anyone.

“Honestly, our costume choice was solely based on that it was the pop culture phenomenon of the moment,” she said. “There was no racial motivation, there was no other motivation other than it was literally

what was on every headline and every story and one of the most popular costumes of 2017, and that’s why we chose to wear that. … By no way were we disparaging a cause, and if anyone is offended by that, we are deeply sorry.”

While Green claimed in the interview that she doesn’t believe in kneeling for the flag, she didn’t address why she chose to ignore the United States Flag Code, which explicitly states the flag should never be used as apparel. She also dismissed the fact that Kaepernick kneels to protest police brutality and racial injustice.

“I believe in the American flag,” Green said. “I don’t believe in kneeling for the National Anthem or the American flag and that’s my right as freedom of speech, but in no way was I trying to denigrate his cause by doing that.”

Following the scandal, Green, a first-time candidate, was eventually elected to the College Station school board Place 2 seat.

Last October, Dallas City Council member Jennifer Staubach Gates displayed a lapse in judgement when she posted a picture of herself to Facebook wearing a thick mustache and a sombrero at a Halloween party.

The photo reveals that Gates and two other friends are supposed to be the “ingredients” of a margarita. Gates, who had been touted as a possible mayoral candidate, received backlash when the Dallas Observer published the photo on its website.

“I posted a picture on my private personal page of my colleagues and I dressed as a lime in a margarita,” Gates wrote in a statement to TV station NBCDFW. “I am sorry if I offended anyone for being a lime in a margarita.”

A lime with a thick, black mustache, a serape and sombrero to be exact.

Gates’ photo prompted a Dallas Observer columnist to write, “Do white people dress up like other ethnic groups as a way to make friends with them? Like, if they get invited to a black wedding, do they show up in blackface? Nope.”

To be fair, Gates’ costume was not the racist 1960s cartoon character known as the Frito Bandito, as several Dallas newspapers reported, but it came pretty close. (All she was missing was the bullet belt.)

Between 1967 and 1971, the Frito Lay company used the Frito Bandito as its official mascot. The mascot had an exaggerated Mexican accent and would steal your Fritos.

Funny, right? The character perpetuated the idea of the Mexican bandit, a common stereotype from the Mexican Revolution and early 20th Century. In 1971, Frito Lay stopped using the character after receiving pressure from advocacy groups, including 30 6 the Involvement of Mexican-Amerisacurrent.com | April 24-May 7, 2019 | CURRENT

29

arts 6 29

cans in Gainful Endeavors (IMAGE), based in San Antonio.

Although Latinos are the largest minority group in the U.S., they are still severely under-represented in popular media. Negative stereotypes or one-dimensional representations of Latinos like the heavily accented and naughty domestic workers on Will and Grace, Flipping Out and Family Guy persist.

On late-night television, Jimmy Kimmel ridicules his mustachioed Mexican-American security guard, Guillermo Rodriguez, on a nightly basis.

Let’s be real for a moment. It’s not really the costumes that people find most offensive. It’s the complete disregard for the issues and people that each individual mentioned here is embodying.

In each of the examples mentioned above, white people are seen laughing and smiling, seemingly finding joy in the ability to mock people of color.

What a privilege it is to not know what it feels like to cross the U.S.-Mexico border in hopes of finding a better life. What a privilege it is to not have to fear sending your black children out into the world where they’ll be pegged as thugs or criminals. And what a privilege it is to be so far detached from these realities that you would even consider it as inspiration for a Halloween costume.

Some people will continue to ask what’s wrong with dressing up like a Mexican or your favorite athlete who protests racial injustice. After all, there is nothing to see here, just good people having fun. But it feels like a remnant of a not-too-distant past when white people, in the most extreme cases, gathered in lynch mobs and participated in the killings of thousands of African Americans and Mexicans.

In the 19th century and first half of the 20th century, before the existence of social media, postcards often served a similar purpose, allowing people to share photos of their vacation spots and keep updated with the “status” of their friends. And it was on postcards that lynching imagery was often shared with the public and used to intimidate, mock and ridicule communities of color throughout the South and Southwest parts of the country. And in these photos, white people sneered and smirked, some smiling ear-to-ear, as they proudly displayed the bodies of African Americans or Mexicans like wild game. The message here was clear: white people are the victors, blacks and Mexicans are the conquered.

There is power and meaning in visuals.

Let’s use these tools for the advancement of our communities and not to disparage poor people, or immigrants, or people of color.

“In many cases, we’re talking about the way in which struggle, or protest, or the

30

CURRENT | April 24-May 7, 2019 | sacurrent.com

From the Frito Bandito to Family Guy, advertising and media have been sources of characters that propagate offensive cultural stereotypes.

histories of racism and injustice are mocked and made into a joke, or made into a source of pleasure,” said David J. Leonard, a professor of comparative ethnic studies and American studies at Washington State University and author of the book Playing While White: Privilege and Power on and off the Field.

“Yes, the history of blackface is unique

given its connection to the history of slavery, or Jim Crow and lynching,” he said. “But someone dressing up as the wall, given not only what the wall symbolizes, but also the way that the wall injures … to see someone chanting about the wall at a sporting event or to dress up as the wall is to make light of, to find pleasure in someone else’s pain.

Ultimately, if the costume is about mocking or dehumanizing and not caring about someone else’s experience, then it’s doing the work of racism.”

He adds that while communities of color have always been mocked, there are certain periods throughout history where these sort of acts become more common. Clearly, social media is partly to blame, but so is the current political climate, in which whites perceive a certain loss of power to communities of color or immigrants.

When it comes to the question of intent, Leonard said there are a couple of things we must consider.

“If two people are walking by, and one person steps on your foot accidentally and the other purposely steps on your foot, yes, there are differences in how we interpret them, and intent matters, but they both cause pain and they will both leave a mark,” he said. “We should talk about what we need to do to not leave a mark that continues the pain and inequality that’s central to racism.”

He believes that each one of these costumes is advancing a particular narrative. The Kaepernick costume advances a narrative that imagines him and those who demand racial justice as unpatriotic.

A border wall costume imagines Mexicans as undesirable.

“We need to determine what sort of narratives are there and we need to determine what sort of lies we are telling ourselves so that we don’t have to confront the realities of racism,” he said.

Most importantly, Leonard argued that we can’t make it exclusively about individuals but that we should instead focus on the root causes of institutional racism, which in turn lead to individual expressions of racism.

“We have to reckon with a history of harm, a history of perpetuating harm,” he said. “So, when I hear people say, ‘I didn’t know this history,’ my immediate response is, ‘What are you doing to change that history?’ Are you demanding that our K-through-12 curriculums address these histories? Are you demanding that we develop racial literacy among our communities? Are we investing in things like ethnic studies that teach these histories or are you opposing them? Are you pushing for divestment from the very tools that will foster change? ... Are you having conversations between the connections between individual acts of racism and institutional racism? If we simply punish individuals and we don’t deal with the root causes and consequences, then we’re engaging in an exercise that one, lets white Americans off the hook. And, two, we’re engaging in a practice that will invariably lead us to the same place.”

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arts

coming up, [laughs] and I kind of nodded my head and said, “OK, thanks a lot.” I fully expected it to be a … you know, a Hollywood promise. And then he really proved me wrong and cast me in everything, and it’s been a great collaboration.

I know this crew really well because we’ve worked together four times now.

You were excellent in … well, all of them. You know, it’s difficult to find a sequel that’s so much better than the original, but you really accomplished that with Ouija: Origin of Evil.

Yeah, I appreciate it. Mike didn’t really want to work in that world unless he could turn it on its head and make it his own.

Phoning Home

Rare Bird Books

After a successful Netflix series, San Antonio-born actor Henry Thomas branches out into fantasy fiction

BY MAX BOOTH III

M

ost people know who Henry Thomas is even if they don’t immediately recognize the name.

Back in 1982, the San Antonio-born actor won over movie audiences as Elliott in Steven Spielberg’s E.T. More recently, filmmaker Mike Flanagan brought him back to the spotlight with the Netflix series The Haunting of Hill House. Longtime Flanagan fans will also have also spotted Thomas in the director’s Gerald’s Game and Ouija: Origin of Evil.

Following the recent success of The Haunting of Hill House, Thomas is also making his literary debut. His fantasy novel The Window and the Mirror, released through Los Angeles-based publisher Rare Bird Books, will hit bookstores April 30.

Given the recent developments, it seemed like a good time to get on the phone with Thomas and interrogate him on what he’s been up to since harboring a space traveler in his closet all those years ago.

So, whereabout in San Antonio did you grow up?

I grew up outside of San Antonio, sort of in the Elmendorf area. I started keeping an apartment in L.A. off-and-on in my early 20s, leaving San Antonio in my late 20s.

I read that you were in a local band back in the ’90s. What can you tell us about that?

Our band was called the Blue Heelers, like the dog. We were sort of a folk-rock band.

We had a bluegrass instrumentation, but we played kind of … folksy tunes, with guitar and fiddle and mandolin and drums and bass. We used to play on the St. Mary’s Strip back in the ’90s and a few other towns in Texas. We had an album. We had a little following. We mostly played at this coffee house called Zoe’s Coffeehouse. That’s kind of where we started out, and that was over off of Broadway, around Alamo Heights.

Do you do much with music nowadays, or nah?

Well, I had another band called Farspeaker that I still play with out in L.A. We recorded an album last year. So, yeah, I still do music, but I’ve given up trying to monetize it in any way. I just kind of do it for fun.

You’ve been working with director Mike Flanagan a lot lately. How did you two meet?

I met Mike at a meeting for the sequel to Ouija. He said that he’d been a fan of my work, and he wanted to work with me on all of his films and projects that he had

Well, he made the right choice. Let’s talk about your novel The Window and the Mirror now. Have you always been interested in writing, or is this something new?

I’ve always been interested in writing, and I’ve always written things. I didn’t really ever think I’d commit to writing a novel. But I wanted to, I wanted to for a long time, and I wanted to write a fantasy story because I was a big fan of the genre.

As an actor, when you work, there tends to be a lot of downtime. I decided, when I was working on a job in Romania, that I would use my off-time to do something worthwhile and not just hang out at the hotel bar — have something to show for it at the end. So, I started working on what became this book.

What attracted you about the fantasy genre? What did you grow up reading?

Well, you know, of course the Lord of the Rings trilogy, but also — when I was a kid — C.S. Lewis and The Lion, The Witch and The Wardrobe. Also: Lloyd Alexander and The Chronicles of Prydain. All of these things, plus as I got older Robert Jordan, George R.R. Martin.

All of these fantasy worlds that were these huge sprawling world-building platforms. That gave me the idea that this was something I could do and would like to try my hand at.

According to your author bio, you’ve also been a sword instructor. Please explain.

Well, yeah, I was part of a martial arts school for four years in Los Angeles.

Some fellow students and I, after we left one school, we started our own chapter together. I was an instructor. We were a non-profit volunteer-based martial arts academy specializing in medieval German swordsmanship.

Seems like the perfect profession for someone writing fantasy.

[Laughs.] Yeah, well, it informed a lot of things in my writing. I was trying to make my sword fight scenes in the book as realistic and plausible as possible.

Did you ever, like, walk around your living room with a sword, trying to map out each scene?

At that point, I was teaching probably four to six hours a week, so I could just envision it in my head pretty easily.

[Laughs.]

The subtitle on The Window and the Mirror says, ‘Book One’. Is this a planned ongoing series, or a tight trilogy, or what do you intend on doing with it?

Yeah, it’s going to be at least three books.

I have three books outlined. I’ve been working on the second book already, and it’s kind of taking me in a direction I didn’t expect. So, I’m now considering a possibility of four books. But we’ll see at the end of this if there are going to be three or not.

Best of luck to you, man. This is awesome. I’m glad this is coming out.

Thank you so much. I’m excited, myself. I didn’t know it would happen. It was, you know, a few years of being out with publishers before the good people of Rare Bird Books took it on, and it’s just been great. It’s been a dream come true to know that this thing I’ve worked on so long is going to have a possibility of being read by people other than my circle of friends. [Laughs.] sacurrent.com | April 24-May 7, 2019 | CURRENT

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arts

Courtesy of Magik Theatre

Camptastic!

Cultural institutions rise to the occasion with summer sessions geared for creative kids

BY KELLY MERKA NELSON & BRYAN RINDFUSS

W

e’ve got no complaints about summer vacays of the mindless variety — but what’s better than coming back from break energized by a new discovery? While far from a comprehensive list of summer camps in San Antonio, our roundup abounds with unique programs for the aspiring young artists, actors, gamers and DJs in your life.

CARVER COMMUNITY CULTURAL CENTER: SUMMER CAMPS

East Side landmark the Carver invites kiddos to “articipate” in one of three camp experiences built around the disciplines of theater, dance and music production. Led by industry pros, the programs encompass everything from ballet and hip-hop dancing (Dance Intensive) to digital audio mixing (DJ Camp) and a production of the scrumdidilyumptious musical Willy Wonka Jr. $80-$260, June 10 - August 2, registration ongoing, Carver Community Cultural Center, 226 N. Hackberry St., (210) 207-7211, thecarver.org.

THE CLASSIC THEATRE: CAMP CLASSIC

The Classic Theatre doubles down on its name with Camp Classic, a set of four weeklong programs that cover stories from a variety of folkloric traditions, including Greek Mythology (Jul 15-19 and 22-26), Mexican Folklore (Jul 29-Aug 2) and European Fairytales (Aug 5-9). Campers in three age groups (5-7, 8-10 and 11-13) will be given the tools to create their own performances from scratch, including

characters, costumes, props and sets. Camp fees are discounted for everyone who registers prior to May 1, but registration is accepted all the way until the first day of each session. $135$150, Jul 15-Aug 9, early registration deadline May 1, session registration deadlines vary, the Classic Theatre, 1924 Fredericksburg Rd., (210) 589-8450, classictheatre.org.

THE DOSEUM: SUMMER CAMPS & MASTER CAMPS

Unsurprisingly, San Antonio’s STEM-focused children’s museum boasts a brainy assortment of summer-camp options custom-crafted for kids between the ages of 3 and 11. In weeklong sessions spread across the summer, curious youngsters can immerse themselves in engineering, transportation, digital media, museology, water conservation, sound science, robotic submersibles or gardening — or maybe tinker with the recipe for Play-Doh or create works of art from recyclables. Aiming to “promote continued learning long after the camp is over,” the DoSeum’s new Master Camps beckon to tomorrow’s programmers, modelers and developers with deep dives into the worlds of tech, gaming, vlogging and 3D printing. $210$830, June 3 - August 16, registration open until all slots are filled, the DoSeum, 2800 Broadway, (210) 212-4453, thedoseum.org.

THE MAGIK THEATRE: CAMP SHOWBIZ L

The Magik Theatre isn’t messing around: sessions of Camp Showbiz stretch across the entire summer and take place on two separate

campuses, with the option to register for up to four weeks of non-stop theatrical fun. The Magik starts ’em young — toddlers as young as 3.5 can attend the Imagination Station halfday camps — but has programs suited for all ages. Theatrical productions for the summer include The Cat in the Hat (ages 5-7), A Series of Unfortunate Events (ages 7-11), Mamma Mia and Into the Woods (ages 12 and up), and the camp’s classes allow younger participants to dive deep into theatrical specialties such as stage makeup, filmmaking, musical theater and creative writing. Registration for each session extends until the Sunday prior to the start date (space allowing), but if your kiddos are in it for the long haul, it’d be in your best interest to grab the Early Bird discount before it expires on May 1. $190-$695, Jun 10 - Aug 23, early registration deadline May 1, session registration deadlines vary, the Magik Theatre (420 S. Alamo St.) and Magik Performing Arts Center (5359 Casa Bella), (210) 227-2751, magiktheatre.org.

MCNAY ART MUSEUM: SUMMER ART CAMP

The Lone Star State’s first modern art museum welcomes young artists in the making with four diverse summer sessions designed for kids between kindergarten and fifth grade.

Balancing exhibit exploration, creative play and hands-on studio time, the programs explore representational painting (Pop Portraits), sculptures rendered in upcycled materials (Eco-Build), photography, serigraphy and cyanotypes (Say Cheese) and stop-motion animation (Animation Creation) — and all culminate in young artist showcases. $320$340, July 15 - August 9, registration open until all slots are filled, McNay Art Museum, 6000 N. New Braunfels Ave., (210) 824-5368, mcnayart.org.

NORTH EAST SCHOOL OF THE ARTS: ARTS EXTRAVAGANZA

NESA, San Antonio’s famed arts magnet high school, is hosting an Arts Extravaganza camp for local 6th through 9th graders taught by NESA faculty as well as professionals in the arts. The weeklong camp gives middle-grade students a chance to immerse themselves in their area of choice, be it visual art, cinema or creative writing. $285, July 22-26, registration deadline June 25, LEE High School, 1400 Jackson Keller Rd., (210) 356-1034, neisd.net/nesa.

THE PUBLIC THEATER: HONK JR. SUMMER INTENSIVE

While most camps run for one to two-week sessions, the Public Theater pulls out all the stops for its six-week Summer Intensive, which starts in May with evening sessions then switches to a full day camp from June 10 onward. Participants ages 7 to 14 will join forces to put together a musical performance, learning everything from song and dance to behind-the-scenes theater techniques. This

year’s production is Honk Jr., a musical retelling of the age-old fable of the ugly duckling. $475, May 20 - June 30, registration open until all slots are filled, the Public Prep, 7551 N. McCullough Ave., (210) 733-7258, thepublicsa.org.

Courtesy of Southwest School of Art

SOUTHWEST SCHOOL OF ART: SUMMER ART STUDIOS L

Billed as the “most comprehensive and largest summer arts experience for students in San Antonio,” the Southwest School of Art’s Summer Art Studios program encompasses foundation courses such as drawing, painting and ceramics as well as fine-tuned classes focused on photography, stop-motion animation, papermaking, architectural modeling and even pet portraiture. In addition to weeklong programs geared for two age groups — Kids Studio for ages 5 to 14 and Teens Studio for ages 14 to 18 — the school caters to outdoorsy creatives with The Nature of Art (a collaboration with the San Antonio River Foundation hosted at Confluence Park) and also offers a wide range of summer programs for adults. $50-$285, June 3 - August 9, registration open until all slots are filled, Southwest School of Art, 300 Augusta St., (210) 200-8200, swschool.org.

WOODLAWN THEATRE: SUMMER CAMPS

The Woodlawn Theatre’s educational wing, the Woodlawn Academy, doesn’t waste time getting down to business. It’s kicking off summer camp season with a full production of Frozen Jr., a musical based on Disney’s 2013 mega-hit film. The musical will feature two casts (ages 7 to 12 and 13 to 18), and requires prospective campers to audition for one of the 60 available slots on May 12 and 13. Other camps include Musical Theatre Boot Camp, as well as fairytale-focused Happily, Ever After and Beauty and the Beast, the latter of which will tie in with the Woodlawn’s July production of the Disney musical. Campers more interested in behind-the-scenes work can participate in tech theater and stage makeup camps that tie in with the summer’s productions, and for participants with specialized interests, the Woodlawn is also hosting three single-day camps that focus on dance, special FX makeup and stage combat. $55-$475, Jun 10 - Aug 9, registration open until all slots are filled, Woodlawn Theatre, 1920 Fredericksburg Rd., (210) 267-8388, woodlawntheatre.org. sacurrent.com | April 24-May 7, 2019 | CURRENT

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screens

Fake It Till You Make It

JT Leroy is a knotty narrative with effortless performances by Laura Dern and Kristen Stewart

BY KIKO MARTINEZ

W

hen reflecting on the 20-year career of actress Kristen Stewart, if the only films that come to mind are the five corny movies that make up the Twilight franchise she starred in from 2008 to 2012, someone needs to brush up on their Stewart filmography stat. After cashing her checks for the handful of supernatural tween dramas, Stewart has become somewhat of an indie darling with fantastic performances in films like Clouds of Sils Maria, Certain Women and Personal Shopper. If those don’t sound familiar, search them out as quickly as possible.

In her newest indie drama JT Leroy, Stewart isn’t given as much to work with in character as the aforementioned films, but it’s still another example of her continued success in shaking off the labels and expectations Hollywood tried to attach to her a decade ago. While the films she’s making now aren’t affording her invitations to the MTV Movie Awards any longer (insert eye roll here), Stewart is assembling an impressive post-Twilight catalog any actress in the industry would kill (or at least fall in love with a vampire) to have.

Based on a strange, real-life story, JT Leroy is further proof that Stewart is making solid decisions as an actress. She stars as Savannah Knoop, a shy, young introvert who leaves home and moves to San Francisco to be closer to her brother Geoffrey (Jim Sturgess) and sister-in-law Laura (Laura Dern), both trying to make it as musicians on the West Coast. Writing lyrics, however, isn’t all Laura does. She also writes novels under the pseudonym JT Leroy, a fictional author she fools readers and the media into believing is publishing personal stories about his sobering

Universal Pictures Home Entertainment

experiences traveling on the road with his prostitute mother.

Laura persuades Savannah to join her game of deception when she asks her to play the notoriously elusive JT during a photo shoot for a magazine. Soon, photo shoots turn into interviews and press conferences and trips to Europe to meet with people, including Eva (Diane Kruger), an actress and director who wants the rights to adapt JT’s book into a movie.

As Savannah and Laura, who pretends to be JT’s British handler Speedy, get deeper into the insane lies they are creating to sustain their celebrity status, JT Leroy writer and director Justin Kelly (I Am Michael) does his best to keep the knotty narrative from twisting in too many directions. Stewart plays to her strengths as the awkward and androgynous title character and the initially reluctant Savannah who portrays him, but it’s Dern’s double-duty endeavor as the carefree and conniving Laura and JT’s overprotective manager who gives the film its true identity.

JT Leroy hits VOD platforms April 26.

IFC Midnight

Resident Evil

I Trapped the Devil sets up a curious quandary, but its script amounts to eternal damnation

T

he Devil has taken countless forms in cinematic history — from a voluptuous British vixen in the 2000 comedy remake of Bedazzled to a dead-eyed, black goat in the 2015 horror folktale The Witch. In I Trapped the Devil, first-time writer and director Josh Lobo conceals the incarnation of Satan and challenges audiences to decide for themselves whether or not the Devil is actually part of the narrative. It’s a curious setup for a morality test that might’ve been more effective as a less-than-half-hour Twilight Zone episode, especially since Lobo put so

much stock into the film’s final twist.

I Trapped the Devil introduces viewers to married couple Matt (AJ Bowen) and Karen (Susan Burke), who have decided to surprise Matt’s reclusive brother Steve (Scott Poythress) with a stop at his house for Christmas. The unexpected company, of course, freaks out the anxious Steve, which, in turn, rattles Matt who becomes uneasy about whatever situation he and Karen have stepped into. “Mentally, I’m not sure where he is,” a concerned Matt says.

After way too much circular conversation and sulking, Steve finally shows his cards. He tells Matt

and Karen that he has captured the Devil — in the form of a man — in his basement. He also points his guests to a room where he has made a diagram (the cliché kind with red string seen in many movies about serial killers and conspiracy theorists) and keeps an ancient book he says proves the man in his basement is really the proprietor of Hell.

Although Lobo offers some interesting framework for conflict, he can’t get past the illogical behaviors of his characters and the screenplay’s big-picture ideas that are never expanded in a broader sense. Matt and Karen have a decision to make when they find out Steve thinks he’s trapped the Devil, but somehow avoid asking him anything that could get them closer to the answer. How did you catch the Devil, Steve? Where did you find him? Why do you think he is the Devil? Also, what in the hell kind of knot did you use to tie up the all-powerful Devil with anyway? Instead, Matt goes with the vague “What have you done?”

What Lobo himself has done is lay out all the set pieces — a wooden crucifix hanging on the cellar door, flickering Christmas lights strung throughout the house, the vintage set design — but none of it really matters when the script doesn’t explore some of its deeper themes (autonomy, for example) or simply embark on a creepy and fun-filled evening with a deranged family member. Either way, with a title like I Trapped the Devil, the horror movie needed to be much more stimulating than this.

I Trapped the Devil hits VOD platforms April 26.

— Kiko Martinez

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food Eco Centro’s project to bring agriculture to a downtown college campus shows how cities can sustainably feed their populations

BY LEA THOMPSON

O

ur current food system exists on borrowed time.

Growth of global food production will need to increase by 25 to 70 percent by 2050 to meet population increases projected by the United Nations. And, for San Antonio, a city with some of the highest food insecurity rates in the nation, according to federal statistics, that means changing our food production methods and perhaps even our cultural identity.

The William R. Sinkin Eco Centro, a sustainability center located on the San Antonio College campus, is determined to make urban agriculture part of local culture, potentially helping meet the city’s food-access problems.

The issue hits especially close to home for the center. It’s estimated that one in two community college students will experience food insecurity during a semester, and that rate is even higher among SAC students.

“Imagine passing fruit trees on your way to class and being able to pick [fresh fruit],” Eco Centro Director Meredith Miller said of the scenario she’s trying to cultivate. “You’d have your snack on your way to class, and then after class there’s a produce box available for you to take home, with recipes and nutrition information, and access to a public-health nurse if you need it.”

Lea Thompson

A New Mission Since its 2014 inception, Eco Centro has become a San Antonio community resource like no other. The center, funded in part by a federal seed grant, regularly hosts free gardening events, offers meeting space for local organizations and invites students to connect with its mission to grow native plants and food. However, its goal of bringing sustainable farming to the urban core is in step with other initiatives around the nation.

Similar to the Sustainable Food Center in Austin, Eco Centro wants to establish itself as a core part of the regional food system.

SFC partners with local farmers and federal food programs such as Women, Infants and Children and Supplemental Nutrition Assistance Program, or food stamps, to expand access to nutritional education and healthy, affordable food.

Institutions such as Rutgers University have also introduced agriculture to college campuses. The student-run farm at the New Jersey school offers interdisciplinary study opportunities while delivering community sourced agriculture to surrounding areas, said Clayton Leadbetter, Rutgers’ plant breeding coordinator. The university has also partnered with area food banks, community kitchens and garden networks to bringing

fresh produce to needy students.

Eco Centro’s aims are no less ambitious.

Within the next five years, the center plans to transform 75 percent of SAC’s campus landscaping to include native plants and habitats for wildlife and pollinator species such as bees and butterflies. What’s more, it wants on-site gardens to be productive enough to feed students, faculty and staff.

Around 10 percent of the project has been completed to date, and the team is putting together the research, strategies and partnerships to meet its full goal.

Eco Centro has already cultivated a total of 8,500 square feet of garden space that includes vegetable patches, native plants and an urban farm. Some of the areas are child-friendly.

In addition, the campus now includes so-called food forests, or areas that offer multiple layers of food production. Passersby might see a cluster of trees, bushes and a manicured garden, but together the same mini-ecosystem can yield citrus varieties, black berries and herbs. It also offers space for the birds, bees and butterflies that help pollinate vegetation. Planted fruit trees are expected to begin producing by late spring.

“We wanted a space where people and classes could come and sit, where people can come and study — and a space for the bees, the birds,” Miller said. “A food forest allows 47 6

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6 45 us to [do] that… the idea is that there are many spots all around campus so that wherever you go, there’s food production happening.”

Changing Landscape On a walk across campus, it’s hard to miss the changes the program has already brought to the landscape.

The Arroyo, a 3,500-square-foot green space once prone to flooding, now offers a community garden and food forest with low-impact stormwater landscaping. A nearby greenhouse allows staff and students to grow sensitive plants like succulents and tomatoes.

A garden near the Loftin Student Center features 1,800 square feet of pollinator habitats and herbs like sage, thyme and chives, while the 1,150-squarefoot garden outside the Victory Center includes native and water-wise plants along with another pollinator area. Plans are in the works to expand the latter garden by several hundred feet.

Surrounding signage helps visitors identify the plants. Eventually, they’ll also let students know what they can pick and eat.

Cecile Parrish, Eco Centro’s urban farm manager, said putting fresh produce in the hands of students is vital because so many don’t have access to it elsewhere.

“The true cost of food is such a mess,” she said.

“For how amazing and wonderful it is that we do have these farmers markets, those aren’t accessible spaces. We’re [discussing how we can] support community agriculture so that people that might not be able to afford [healthy foods] can access them.

Farmers all want to feed people, they’re not trying to make it exclusive to the Pearl demographic, but they’re not getting the money they need, so they have to charge more.”

To that end, Eco Centro will launch a market at SAC later this year, providing campus-grown foods and flowers to benefit the center and help it add programming.

“The food will be free to students and at low-cost for faculty,” said Ariana Fuentes, Eco Centro’s farm and garden manager. “That’s what I’m most excited about. There’s so many more possibilities with this.”

Learning Lab Just as Eco Centro benefits from its centralized location within San Antonio, SAC students said they benefit from their proximity to the burgeoning outdoor classroom.

Eco Centro staff use the garden areas to teach early education classes and host community education events, from agricultural talks to yoga and meditation classes. The center has also begun building relationships with campus departments, seeing hands-on research opportunities for students in the nutritional health and pre-medical fields.

And SAC is part of the Alamo Colleges District, which makes the gardens ripe for potential partnerships with other campuses. Palo Alto College

offers landscape and horticultural sciences, for example, while St. Philip’s College boasts a renown culinary program.

“It’s been amazing to see the growth, just in the time I’ve been working here,” said Francisco Hernandez, a SAC student who’s spent a year with Eco Centro’s work-study program.

Community Connections Beyond its Alamo Colleges reach, Eco Centro is scaling up its local impact through partnerships.

The center has become a meeting hub for organizations including the Food Policy Council of San Antonio (FPCSA). Other regional stakeholders — farmers, food producers, business owners and political groups — also meet there to discuss sustainability issues, including how to address climate change and eradicate food deserts.

“Eco Centro’s [impact goes] far beyond San Antonio College,” said Mitch Hagney, president of FPCSA, an organization devoted to improving food affordability and access. “If you were curious about permaculture, rainwater harvesting or solar energy, the Eco Centro space and its staff function as a liaison point to connect you to all of the other resources in the city.”

Parrish, the center’s urban farm director, said the center can help local organizations expand their reach.

“There’s a lot of cool stuff happening in the city, it just tends to happen in silos,” she said. “So, we’re trying to be one of those connectors for the community.”

The Eco Centro team began with Miller, the director, but has since grown to include four full-time employees, six part-timers and a handful of student employees and contractors. Staffers also work alongside community, student and military volunteers to break ground, plant new crops and develop campus gardens.

The team is shaped by the staff’s diverse health and agricultural experiences, Miller said. While the

Above: Eco Centro staff and volunteers plant new crops. Previous page: Cecille Parrish waters plants in a campus greenhouse. group has created partnerships as far away as Mexico, its primary focus is on meeting the needs of the San Antonio area.

“We’ve been so busy identifying and addressing local needs, that we haven’t been able to think really big yet,” she added. “It’ll come as we get rooted.”

Outward Growth However, there are already signs that those roots are spreading beyond the SAC campus.

The San Antonio Housing Authority (SAHA) is expected to break ground on a new SAHA urban garden and farm on the East Side this spring. Eco Centro is among the partners in the project, which is designed to improve food access and education.

The new farm will help make up for the dearth of fresh produce available in some East Side neighborhoods. It will also offer an incubator space that pairs expert farmers with residents of all ages to improve food knowledge and inspire new sources of production.

Miller said she hopes Eco Centro can continue to play a part as similar projects sprout up around the community. Local food production, protected natural resources and agricultural gathering spaces help define a city and its cultural identity, she added.

“Anytime people try to talk about tacos in Austin, we laugh hysterically because we know what’s [existing] in San Antonio,” Miller said. “We need our community to have just as strong [an identity] when it comes to urban food production. [If we are part of those] centers in every neighborhood and every part of San Antonio, we create sustainability, we create community and create culture.” sacurrent.com | April 24-May 7, 2019 | CURRENT

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Ron Bechtol

Island Fare

Jamaican classics gets “cheffed up” at Jerk Shack

BY RON BECHTOL

S

omewhat long ago and reasonably far away, there was Jamaica. I’ll spare you the details of the couples-only, all-inclusive tourist resort trip, but it’s sufficient to know that I complained my way onto an automobile island tour. Traveling from Ocho Rios to Kingston and back, we sampled a culture closer to the real thing — stopping at ramshackle jerk joints along the coast and the roadside stands serving fish “tea” and “mannish” goat soup in the Blue Mountains. But the sounds, flavors and images linger to this day.

It would be impossible for any single restaurant outside of the Caribbean to recreate that experience — its romance has grown with time. Aromatic wood

from the allspice-producing pimento tree is indispensable to the Jamaican jerk-cooking process, and I doubt most mainlanders cook in a pit covered by a warped sheet of corrugated tin roofing.

But San Antonio’s own Jerk Shack gives it a good go, regardless. Grab a bottle of frosty ginger beer and let the breezes blowing through the covered outdoor patio lull you into a reggae reverie. The bouncy, toe-tapping house soundtrack already gets you half way there.

Keep the vibe going with an order of jerk chicken to start; it’s the test of the true thing. Jamaican-born chef Lattoia Massey, a Culinary Institute of America-San Antonio grad, has finely-tuned her rub to make this moist and herby bird sing like a canary. Allspice, cin-

namon and nutmeg join forces with thyme, scallion and a bite, assumedly from Scotch bonnet chilies, to give the coating its clout. BYO Red Stripe, however, if you need a drink that can duke it out with the jerk.

The restaurant offers tacos, but the house jerk chicken takes another form here: winged and breaded. Meaty, ample wings are fried and served in a burnished coating where the main spices reside. You won’t find tongue-tingling heat here, but you can amp up the experience with the two sauces — one spicy-sweet and BBQ-like, the other smoky and herby.

There is an around-the-world Ron Bechtol tradition of using dough-wrapped are likely to think little of paying that pockets. Jamaica’s are “patties”, which are filled with beef and usually same $18 for a shrimp dish in coconut curry sauce — shrimp being fancier spiced with curry powder and Scotch than tail in the minds of most — but I’d bonnets. They’re savory, with an aptake the tail any day. Yes, the shrimp pealing and tender crust. But spicy? are beautifully sautéed, and colorful At Jerk Shack, not so much. pieces of blistered bell pepper contrast Yet trigger warnings about spice handsomely with the brilliant yellow abound on Massey’s menu. Braised sauce. But about oxtails, for examthat sauce. There’s ple, are served The Jerk Shack a little heat from in “spicy brown 117 Matyear St. 78237 rings of habanero, sauce,” but the but it otherwise heat is more of a (210) 776-7780 tastes almost sneaky undertow Tues-Sat, 11 a.m.-4 p.m. entirely of curry than the main Credit cards powder, with event. The crossan emphasis on cut segments of Main dishes: $8-$18 turmeric, while tail, in a syrupy the coconut milk glaze, are blissfulBest bets: seems to have ly tender; broad Jerk chicken, braised oxtails, jerk-fried little mellowing beans, almost chicken wings, pineapple habanero slaw effect. meaty in their An object lesson own right, are a in ingredients mellow counterThe Skinny: working well topoint, along with Lattoia Massey, a Jamaican-born, gether is found in traditional rice CIA-trained chef has taken Caribbean one of the menu’s with pigeon peas. classics and cheffed them up only a simplest offerings, Like many orders, little for service at her open-air “shack” the pineapple a lightly sautéed on the city’s West Side. Simple but habanero slaw. cabbage and caressential jerk chicken may be the star This dish has it all: rot complete the — it’s herby and subtly spicy. Braised fruit, heat, crunch $18 plate. Yes, $18 oxtail is another classic only lightly from the cabbage seems pretty exadapted. You won’t find it elsewhere, — as there is no pensive for a dish so go for it despite the price. Battered goat on the menu served on plastic chicken wings are less obligatory, but — and it’s essential and decorated they work regardless. Patties of doughto a Jerk Shack orwith the southern wrapped ground beef are worth trying, der. Pair it with a view of a steer if less spicy than expected. A simple slaw with pineapple, cabbage and half-pound of jerk headed north. But habanero chilies sings. BYOB or snag a chicken, and take maybe that’s not ginger beer to ease it all on down. it home to serve the point: If we’re on a real plate if paying for skill, plastic offends the cost of the proyou. Or just eat it there and hope for a tein shouldn’t matter, the setting and cooling breeze. No trip to Jamaica reservice even less. Apparently, Massey’s quired. (Word to the wise: arrive early. many fans agree.

Many dishes sell out.)

To push the point even more, diners sacurrent.com | April 24-May 7, 2019 | CURRENT

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CURRENT | April 24-May 7, 2019 | sacurrent.com

RIVERTINI AWARD WINNER 600 N. Presa St. Inside the Maverick Building 210.267.9885 THELOCALBARSA.COM LIKE US ON FB: THELOCALBARSA

Creative hermit KOKOFREAKBEAN is creating some of San Antonio’s most challenging visual art and music

BY CHRIS CONDE

S

an Antonio artist KOKOFREAKBEAN is best summed up in three words: What. The. Fuck?

In the most complimentary use of the term, KOKOFREAKBEAN is a 32-year-old weirdo who makes dense and challenging computer animation and avant-garde music. If for no other reason than to challenge his own creative boundaries and attempt to push the entire art realm into new territories, both are absolutely deserving of wider attention.

The artist’s visual work is primarily delivered in the form of bright and intense digital animation made up of what looks like random shapes from video games.

Taken together, they seem to convey a statement the constant barrage of information that humans must contend with daily.

They’ve also regularly shown up on Adult Swim, Cartoon Network’s nighttime programming block.

KOKOFREAKBEAN’s musical projects Super Buff and Computer Refrigerator Jesus offer a similar sense of overload, combining spastic-sounding patterns of percussion, guitar and electronic noises that teeter between noise rock and boundary-pushing sonic experiments.

Kind of a Hermit Born and raised in the Alamo City, Michael Vasquez came up with his strange pseudonym in his teens because of its phonetic appeal, and it seems to suit the offbeat images and sounds he creates.

But the handle isn’t the only odd thing about KOKOFREAKBEAN. The artist not only refuses to show his face in interviews, photos or videos, he even wishes he could remain so anonymous that his gender remains a mystery.

The only reason he hasn’t gone that far is because

Courtesy of KOKOFREAKBEAN

he’s afraid people might attribute his art to someone else.

“I’m kind of a hermit and I’ve always been a hermit, and I don’t really like people, and that’s one of the reasons I don’t like showing my face in anything,” he said in a phone interview.

Growing up, KOKOFREAKBEAN drew cartoons as an artistic outlet. But it was in the early 2000s, while attending Clark High School, that he was first introduced to Photoshop and saw the unlimited potential of digital manipulation.

“That whole year I just learned how to use Photoshop, and that’s where I started making these collages,” he said. “Then, when I learned about [video graphics program] After Effects, it blew my mind that I could create these movements, environments and people.

“I realized that I could be completely omnipotent.”

In 2012, KOKOFREAKBEAN took a semester off from UTSA to finish an animation project called “God Knox,” on which he’d already toiled for eight months. He decided it would be worth sacrificing a semester of school to finish.

Turns out, he was right.

“The first day it was released [on YouTube], it didn’t really do much, and I was like, ‘Fuck,’ and that really hurt,” he said.

However, the next morning, KOKOFREAKBEAN woke up to hundreds of subscriptions on his YouTube account and even more views of the roughly two-minute video.

He attributes the attention to Cyriak, a famous UK animator, who reposted the work.

Dave Hughes, who runs Off the Air, a show on Adult Swim, also caught wind of “God Knox” and licensed

music

Outsider Art

the piece for his program.

KOKOFREAKBEAN has since been providing work to Adult Swim on an on-and-off basis. As a result, he was able to stop delivering pizzas and selling solar door-to-door and live primarily off his art. He never returned to UTSA. “To me, creating art is refining your ability to determine what appeals to you,” he said. “And that level of refinement determines the level of quality you’re trying to create.”

That philosophy explains a lot about the complexity and intricacies not of only KOKOFREAKBEAN’s visual art but also the music he creates — some of which serves as the audio backdrop for his animation.

The aforementioned experimental rock duo Super Buff is his main musical focus right now, having released its first EP in February.

Drawing influence from sources as diverse as math rock band Hella, death metal giants Cryptopsy and glitch producer Aphex Twin, Super Buff is an accurate audio reflection of the genius that is KOKOFREAKBEAN. Calling himself Zlod the Demultiplexer for the project and arming himself with a guitar, the artist and drummer Ethan Campa bash out harsh, charging music that veers between metal, noise rock and the avant-garde. While the violent blows they exchange may seem random, they’re actually carefully crafted and executed with precise intent.

His project Computer Jesus Refrigerator, started in the early 2000s and now on hiatus, specializes in experimental, often harsh-sounding pieces making use of synth and 16-bit noises. Adding to the complexity are its dense, sometimes-absurd time signatures.

KOKOFREAKBEAN said much of the music being made today pays homage to work that’s already been created. He’s more concerned with pushing the artform into undiscovered territory.

“I’ve always been interested in esoteric, noisy, complicated music,” he said. “I want my life to have been in service to the enrichment of art culture. My goal has always been to make something undeniable, because I want a legacy. I want something to live beyond me.”

KOKOFREAKBEAN added that he’s yet to create his best work. His ultimate goal is to get hired to work on a film that would make use of all his skill sets — something he said he’s working toward with his contributions to Adult Swim.

“I just want to make something truly different and transcendent,” he said.

Find more music coverage every day at sacurrent.com

sacurrent.com | April 24-May 7, 2019 | CURRENT

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AT & T C E N T E R

music | music Picks

on Matador Records whose current roster includes Yo la Tengo, Snail Mail and Ice Age — all bands who most likely will never get mainstream radio airplay. $25-$30, 8pm, Paper Tiger, 2410, N. St. Mary’s St., papertigersatx.com. — CC

THE DRUMS 5

Saturday, April 27 Shimmery, sparkly and bright, the Drums are your quintessential indie-pop act. The band headlined Maverick Music Festival back in 2016, where a lot of San Antonians first fell in love with their endearing blend of dance pop. Back again in support of a newly released record called Brutalism, the Drums just may change your life if you let them. $22-$25, 9pm, Paper Tiger, 2410 N. St. Mary’s St., (210) 841-3771, papertigersatx.com.

— CC Pirch Perfect PR

BEACH FOSSILS L

Nicholas Moore

straddling post-hardcore and the thennew subgenre of djent. Now, coming to San Antonio as part of a package tour with Intervals, Strawberry Girls and Cryptodira, Veil of Maya return as veterans of the metalcore game. $20-$22, Doors 5:30pm, Rock Box, 1223 E. Houston St., (210) 677-9453, therockboxsa.com. — CC

Wednesday, April 24 Beach Fossils’ songs sound like they were made for dancing out of a bad day. Lo-fi, atmospheric, sad and poppy, the band’s electronic beats and shimmery post-punk guitars are reminiscent of early ’80s icons like the Smiths and Joy Division. And while the Fossils may draw some comparison to the aforementioned bands, the Brooklyn-based act still managed to retain its own sound and identity. $18-$20, 8pm, Paper Tiger, 2410 N. St. Mary’s St., (210) 841-3771, papertigersatx.com. — Chris Conde

WE CAME AS ROMANS

BOZ SCAGGS p

Sunday, April 28 If you can get over Yngwie Malmsteen’s problematic past of shouting gay slurs and calling a woman the “c” word on a plane, then you may be stoked to find out he’s heading to San Antonio. Yup, the legendary, ’80s neo-classical shredder is gearing up for a performance at the Vibes center that’s sure to “release the fucking fury.” $27.50, 7:30 pm, Vibes Event Center, 1211 E. Houston St., (210) 255-3833. — CC

Sunday, April 28 Even as metalcore grew stale through the 2010s, Michigan’s We Came as Romans managed to add fresh dynamics to the genre’s paint-by-number riffs, screams and breakdowns. If anyone’s going to survive the genre’s current doldrums, I’d place my bet on these dudes. With Crown the Empire, Erra and Shvpes. $23, 7pm, Paper Tiger, 2410 N. St. Mary’s St., (210) 841-3771, papertigersatx.com. — CC

YNGWIE MALMSTEEN p

Wednesday, April 24 Releasing around 20 albums since the mid-’60s, including one with the session musicians who would end up forming Toto, guitarist Boz Scaggs built a formidable resume. Along the way, he’s won a Grammy for the song “Lowdown,” lasted a couple albums as a member of Steve Miller Band and

Elizabeth Weinberg

collaborated with Duane Allman, among others. On tour in support of his latest album, Out of the Blues, it’s apparent Scaggs hasn’t lost his chops. $85 (Sold Out), 8pm, Gruene Hall, 1281 Gruene Rd, New Braunfels, (830) 606-1281, gruenehall.com. — CC

LIZ PHAIR L

Press Here

Friday, April 26 It’s weird when an indie artist breaks into the pop mainstream. What’s even weirder is when said artist goes back into the indie world. Liz Phair did the former when she scored a mainstream hit with “Why Can’t I” after building a following with her critically lauded work on indie-rock label Matador.

Reportedly working on new music, Phair recently released The Girly Sound Tapes. The tapes in question were originally released

VEIL OF MAYA p

Saturday, April 27 Along with bands like Born of Osiris and the Acacia Strain, Veil of Maya showed up in the metalcore scene at the tail end of the aughts. The band’s blend of grooveheavy breakdowns and technical guitar riffs helped it stand out from the pack by

Sumerian Records

Courtesy of Yngwie Malmsteen

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music | music Picks

so much of our beloved alternative music has grown. If you’ve never caught the band live, you owe this one to yourself. Check out 2001’s Beautiful Chaos: Greatest Hits Live for a taste of what you can expect. $30-$33, 8pm, Paper Tiger, 2410 N. St. Mary’s St., (210) 8413771, papertigersatx.com. — James Courtney

KINKY FRIEDMAN \

Courtesy of Kinky Friedman

Sumerian Records

ANIMALS AS LEADERS L

Wednesday, May 1 The sheer technicality and musicianship of Animals as Leaders is enough to make anyone anyone — even non-metalheads.

And while, sure, the band is heavy as fuck and play the furthest thing from pop, it’s also capable of weaving together dizzying compositions and not making it sound like a bunch of nonsense. With guitarist Tosin Abasi at the helm, the trio combines elements of technical metal and progressive, polyrhythmic rock for combination that’s just breathtaking. And if the compositional complexity of Animals as Leaders’ music isn’t impressive enough for you, Abasi shreds on an eight-string guitar, because, well, he’s a badass and he can. $25, 8pm, Aztec Theatre, 104 N. St. Mary’s St., (210) 8124355, theaztectheatre.com. — CC

PSYCHEDELIC FURS y

Friday, May 3 Britain’s Psychedelic Furs has been ahead of the alt-rock curve since way before there was even a name for alt-rock. Staring with its 1980 debut, the band has been successful in a fringe or indie kind of way, often as critical darlings that sometimes eluded an audience that was playing catch up.

But make no mistake: much of what rock would become in the 1990s owes a debt to what the Psychedelic Furs did in the 1980s.

From 1980 to 1991, the band dropped seven albums and rose to considerable acclaim.

Now, out on what amounts to a legacy tour, the Furs are coming to San Antonio to remind us of the fertile soil from whence

Friday, May 3 The thing about firebrand, gadfly, Texan-transplant, musician, actor, author, cigar maker and sometimes-political figure Kinky Friedman is that he’s talented enough at everything that he can make you forget about the fact that he could have had a fine career as a career singer-songwriter if he’d felt like it. I mean, to be fair, he has. Since his 1973 debut album, the Kinkster has released a boatload of records and played to all kinds of audiences. If only the man could sit still long enough to fully deliver on his promise.

But that’s just Kinky: he doesn’t care. He’s content to follow his folly, wherever it lead him. And, that’s what makes him so damn magnetic as a person and as a performer. Circus of Life, his first new album of original material in four decades came out last summer and serves to show us all just what a dynamic music man he can be when he is feeling in the mood. $25-$50, 9pm, John T. Floore Country Store, 14492 Old Bandera Rd., Helotes, (210) 695-8827, liveatfloores.com. — JC

SICK CITY DAGGERS, SATURDAY NIGHT SHOCKERS, REBEL FLESH

Saturday, May 4 Fans of the messy macabre, devotees of the decadent deadpan and seekers of a solid shtick should find plenty to be excited about with the triple threat of this Saturday night bill. For starters, local psychobilly freaks Sick City Daggers, known for putting on high-energy shows full of an abandon charged with alienation, will be celebrating a return from something of a hiatus. The veteran band, active since the mid-aughts, will be joined on a rowdy bill by fellow San Antonio purveyor of darkness Saturday Night Shockers — a newer horror rock outfit. Rounding things out is Rebel Flesh, a crew of like-minded malcontents from

Courtesy of Carrie Underwood

Austin that make punk rock music full of horror movie vibes and references. This show seems ideal for all of you — yes, we see you — who are gearing up to stubbornly wear black clothes all the way though the hellish Central Texas summer. Free, 10pm, Amp Room, 2407 N. St. Mary’s St., (210) 3202122, theamproom.com. — JC

CARRIE UNDERWOOD L

Monday, May 6 Carrie Underwood is as ubiquitous, as hot, as prolific as any country artist working today. Since winning the fourth season of American Idol back in 2005, Underwood has recorded and toured relentlessly, cementing her status as one of the titans of contemporary country. The Grand Ole Opry inductee and seven-time Grammy winner has put out six LPs and a greatest hits compilation thus far in her sure-to-be long-lasting career and her fire-meets-honey voice continues to delight her legions of fans. Underwood’s most recent effort, 2018’s Cry Pretty — the tour for which brings her to the AT&T Center — continues her critical and commercial dominance of country music, having landed atop the Billboard 200 based on first-week sales.

It’s also worth noting that Underwood, not one to rest on her laurels, continues to take more and more control of her music. This newest album, her first on new label Capitol

Raul Umenes

Records Nashville, also marks the gifted singer-songwriter’s foray into the control booth as a co-producer. $44-$94, 7pm, AT&T Center, One AT&T Center Pkwy, (210) 4445000, attcenter.com. — JC

GUNNA p

Tuesday, May 7 One of the cool things about hip-hop is that when a particular rapper makes it big, they often elevate others in their orbit to the mainstream. Such is the case with the young Georgia rapper Gunna, who has burst into the limelight as a member of the YSL roster. YSL, of course, is the imprint of the game-changing — and hip-hop norm-challenging — rapper Young Thug, who has exploded in popularity over the past few years. Now, Gunna is out on his own tour in support of a proper debut album, Drip or Drown 2, which was executive produced

by Young Thug and dropped in February.

Fans of that woozy, new school Southern rap sound will not want to miss Gunna as he comes to town supporting his excellent and well-received debut. $25-$128, 8pm, Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre.com. — JC

Courtesy of Gunna

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CURRENT | April 24-May 7, 2019 | sacurrent.com

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BY SHANNON SWEET FRIDAY, APRIL 26

METAL CHURCH

Just as the band’s name implies, Metal Church is devoted to all the headbanging things in life. Formed in the 1980s, and a key influence on the thrash metal subgenre, Washington-based Metal Church has been devotees to the gods of rock for three decades and judging by the consistency of their gospels — um, albums — its faith remains unwavering. $20, Rock Box, 7pm

FREDSTOCK MUSIC FEST

An official Fiesta San Antonio extravaganza, FredStock is now in its tenth year and has something for everyone, from engaging games for the kids to an array of party food for the adults. But, as the name suggest, FredStock above all celebrates the sounds of San Antonio, with a lineup consisting of both local mainstays — Los #3 Dinners, Henry Brun and the Latin Playerz, Funkasaurus Tex — and newer arrivals — The Buddy System, Blue Sundries, Bad Boys. For music fans, it’s like a Whitman’s Sampler of what makes Fiesta, well, a fiesta. Free, San Antonio College, 12pm

SUNDAY, APRIL 28

ROBIN TROWER

A musician’s musician, innovative guitarist Robin Trower’s music never climbed the charts. Instead, it inspired a whole generation of ax-slingers since the ’60s, from Robert Fripp of King Crimson to Andy Summers of the Police. And as many who have seen him lately can attest, he’s only improved with age. $45-$88, The Aztec Theatre, 7pm

TUESDAY, APRIL 30

CELTIC WOMAN: ANCIENT LAND

A rotating group of female Irish performers,

Celtic Woman serenade audiences with a combination of classic Irish folk songs and reimagined pop hits. For the Ancient Land tour, named after the group’s latest studio release, Celtic Woman do what they do best — travel to the past to introduce an unfamiliar style to present-day music fans. $49.50$154.50, Majestic Theatre, 7pm

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THE PIANO GUYS

Despite the group’s name, it’s not four dudes seated at baby grands, dueling each other over the title of who gets to be the Piano Man. Instead, this duo performs on piano and cello, executing music that weaves between classical music, contemporary and rock. $46.50-$165, The Tobin Center, 7:30pm

THURSDAY, MAY 2

JOHNNY MATHIS

Romancing the airwaves since 1956 and inspiring the creation of a lot of babies in the process, this Texas-born Casanova of song, has left a legacy of love ballads during his expansive — and still-vibrant — career. Johnny Mathis also wears the crown of being the third best-selling artist of the 20th century, moving more than 360 million albums. $59.50$139.50, Majestic Theatre, 7:30pm

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STEEVEN SANDOVAL: A CINCO DE MAYO CELEBRATION L

Famed vocalist Steeven Sandoval will help San Antonio celebrate Cinco de Mayo through his powerful presentation of the culturally rich tradition of the mariachi. For those truly after the essence of Mexico, Sandoval offers a more authentic way to celebrate our southern neighbor’s day of independence than tipping back margaritas at the bar. $25-$85, Charline McCombs Empire Theatre, 7:30pm

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When I first started dating my girlfriend, I asked her about past boyfriends and she said she hadn’t met the right guy yet. After dating for nine years, I found out about a past boyfriend and looked through her e-mails. I found out she dated her married boss for three years.

She broke up with me for looking and for judging her. I feel like she lied, and she thinks it was none of my business. We’ve been broken up for five months. She’s reached out, but I can’t get over my anger or disgust that she was someone’s mistress. Am I a bad person?

—Still Angry And Disgusted Yup. “Haven’t met the right guy yet” ≠ “Haven’t met any guys ever.”

Almost everyone has done something and/ or someone they regret doing — although it’s possible your ex-girlfriend doesn’t regret fucking her married boss for three years, SAAD, and it’s possible there’s no need for regret.

Sometimes people have affairs for all the right reasons. Sometimes abandoning a spouse and/ or breaking up a home with kids in it, aka “doing the right thing” and divorcing, is the worse choice. Life is long and complicated, and it’s possible for a person to demonstrate loyalty and commitment with something other than their genitals. Sometimes people do what they must to stay married and stay sane, and their affair partners are doing good by being “bad.”

It’s also possible — and perhaps likelier — that your ex-girlfriend made an impulsive, shitty, selfish choice to fuck someone else’s husband. It’s possible he’s a serial philanderer, a cheating piece of shit, and then, after fucking him that one time, your girlfriend felt pressured to keep fucking him and wound up having a years-long affair with her married boss. And then, when it was all over, she stuffed it down the memory hole because she wasn’t proud of it and wanted to forget it.

It’s also possible she didn’t tell you about this relationship when you asked because she intuited — correctly, as it turned out — that you are, in your own words, a bad person, i.e., the kind of guy who would punish his girlfriend for having a sexual history, for making her fair share of mistakes, and for deciding to keep some things private. (Not secret, SAAD. Private.) In other words, she correctly intuited that you would punish her for being human.

Finding out about a past boyfriend doesn’t give you the right to invade your partner’s privacy and dig through their ancient e-mails.

Your girlfriend was right to break up with you for snooping through her e-mails and judging

her so harshly. And she didn’t even lie to you, dude! Her boss clearly wasn’t “the right guy,” seeing as he was married and her boss, and the relationship ended before you two even first laid thighs on each other nine years ago.

And from where I’m sitting, SAAD, it looks like she still hasn’t met the right guy.

To be perfectly frank, I don’t want to help you get over your anger and disgust—not that you asked me to help you get past those feelings. It kind of sounds like you want your anger and disgust affirmed… and I’m going to go with that and affirm the shit out of those feelings: Stay angry! Stay disgusted! Not because those feeling are valid — they’re not — but because those feelings prevented you from taking your ex back when she reached out. She may not know it yet, but she’s better off without you, SAAD, and here’s hoping you stay angry and disgusted long enough for her to realize it.

I’m a few months into OkCupid dating, and it’s going well! I’ve stuck to two “automatic pass” rules: anyone who mentions my looks and nothing else in the first message and anyone with no face pic. It’s worked out great so far. But I’ve noticed that most kinksters on OKC don’t post face pics. I can understand this. I once came across a coworker on the site — didn’t look, passed immediately — and I can imagine nobody wants their boss or coworkers to know they’re looking for puppy play and CBT. Not everyone has the luxury of taking a risk like that. So I’m tempted to drop my “no face pic = pass” rule for kinksters. But then I imagine how that would go: “Chat, chat, chat. ‘Hey, can I see a face pic?’ Oh no, I’m not physically attracted to this person!” Then I have to awkwardly un-match and feel terribly shallow and guilty for a while. So do I keep my rule and pass on some very promising profiles without face pics to avoid hurting someone’s feelings? Or do I bend the rules? I’m just not looking to hurt anyone in a bad way.

—Not That Kind Of Sadist Lead with your truth, NTKOS: “Hey, we share a lot of common interests — BDSM, CBT, TT — but I usually require face pics before I chat. I understand why you may not be able to post your pics and why you would want to chat for a bit and establish trust before sharing pics with me privately. So I’m happy to chat so long as you’re okay with the risk that I might pass after seeing your face pic. Still, even if we’re not ultimately a sexual or romantic match, every kinkster needs some kinky friends!

mail@savagelove.net @FakeDanSavage on Twitter www.ITMFA.org

,

E M P LOY M E N T J O N E S I N ’ C R OS S W O R D BY M AT T J O N E S

Adelantus, Inc. is seeking a Commercial Project Coordinator in San Antonio, TX to Design and coordinate construction and/or remodeling of commercial technological development facilities. Send resume via email to adrian.evertsz@ adelantus.com and reference job for Commercial Project Coordinator.

H-E-B Grocery Company, LP seeks Lead Developer (Database Administrator).

Requires related degree, experience, and skills. Work location: San Antonio, TX. Mail resumes to: Marisa Alcorta, 646 South Flores St., San Antonio, TX 78204.

Management Consultant (San Antonio, TX) Conduct organizational studies & evaluations, conduct work simplifications & optimize operations in order to operate more efficiently & effectively. Analyze business, mgmt, & operating procedures to devise most efficient methods of accomplishing set mgmt, operational, & performance goals. Utilize a high deg of qualitative & quantitative analytical skills in analyzing, evaluating, & improving the efficiency of admin operations, organizations, or mgmt. Doc findings of study & prep recommendations for implmtn of new systems, procedures, or organizational changes. Reqmts are: Bach’s deg in Mgmt, Statistics or Business Admin, + 24 months of exp in job offered or closely related. Must be fluent in Spanish language (read/write/speak). Mail resume to: Premium Support Services Inc., Attn: Ms. Flores, VP, 9901 IH 10 West, Ste 777, San Antonio, TX 78230.

Marathon Refining Logistics Services LLC in San Antonio, TX is hiring for the following: Staff Mechanical Engineer (Works collaboratively with refining organization to develop, implement, and maintain mechanical standards and specifications incorporating industry and professional-engineering best practices.); Staff Engineer, Rotating Equipment (Works collaboratively with

refining organization to develop, implement, and maintain rotating equipment standards and specifications,incorporating best practices and lessons learned.)

Please visit our career website at https://jobs.marathonpetroleum.com/ and apply online. EOE: Veteran/Disability 10 positions - Temporary/seasonal work driving/servicing semi tractor-trailer trucks, from 5/13/2019 to 9/30/2019 at Lone Star Growers, LLC & Altman Specialty Plants, LLC in San Antonio, TX in Bexar county. This job requires a minimum of 3 months of prior experience driving/servicing tractor trailer trucks. Saturday work required. Must be able to lift/carry 60 lbs. Post-hire employer-paid motor vehicle records, background check, motor vehicle records check, road test and drug testing required. Valid driver’s license, Class A CDL or equivalent, required. Proficiency in English required to communicate, read and comprehend traffic signage, interact with roadway officials and complete paperwork/electronic log books. $16/hr or current applicable AEWR. Raise/ bonus at employer discretion. Workers are guaranteed 3/4 of work hours of total period. Work tools, supplies, equipment supplied by employer without charge to worker. Housing with kitchen facilities provided at no cost to only those workers who are not reasonably able to return same day to their place of residence at time of recruitment. Transportation and subsistence expenses to work site will be paid to nonresident workers not later than upon completion of 50% of the job contract. Interviews required. Apply for this job at nearest State Workforce Agency in state in which this ad appears, or Texas Workforce Commission, 4405 Springdale Rd, Room 202T , Austin, TX 78723. Ph: (512) 475-2571. Provide copy of this ad. TX Job Order #6721150.

Hookups = “E’s Here!”— grid only, though.

ACROSS

1 ___ out a living (got by) 5 KFC drumsticks, basically 9 Half a cartoon duo with a platypus 13 Matt’s “Wild Things” costar 14 Didn’t do it right 16 Actor Omar of “Almost Christmas” 17 Form an opinion 18 Pupil, in Paris 19 Handbook info 20 “Finding Dory” star 23 “Dr. Mario” and “Duck Hunt” platform 24 Quattro minus uno 25 School tasks using Scantrons 28 Big buy for suds 31 K-pop group with a 2019 Grammy nomination 33 “Lucky Man” prog rock trio, for short 34 “Tommy” song on day two of Woodstock 39 “___ Griffin’s Crosswords” (20072008 show) 41 Gallup poll finding 42 TV cook Paula 43 HOF Brooklyn shortstop with uniform no. 1 46 Physics unit of work 47 “Chicago” lyricist 48 Promgoing kids, for short 49 Poly finish

51 21___ (Shaq’s foot stat) 53 180∞ from WSW 54 Hashtag post that’s always apt 62 WWF’s “Hitman” Hart 63 War of 1812 pact city 64 Raison d’___ 65 “Wordplay” and “Simpsons” crossword guy with Will 66 Bob who did “Hollywood Nights” 67 Russo of “Tin Cup” 68 “Comp·s” point 69 In ___ (actually) 70 Toboggan

DOWN

1 Conclusion, in Koln 2 Boat bottom 3 Bus-jumping stunt cyclist, casually 4 Folk/country musician Iris 5 City not far from Kingston upon Hull 6 Oil tycoon Halliburton 7 “Diary of a Wimpy Kid” kid 8 Golf pro who won post-Fuzzy 9 Dug around, with “out” 10 Olympics sword 11 D&D and similar campaign pursuits 12 Flimflams, for short 15 Auto body flaw 21 Loch for cryptozoologists 22 Kathryn of “Oz” and “L&O: C.I.” 25 Mall Santa job or sub at work, say 26 Robt. ___ (Civil War fig.)

27 Buying outing 28 TV cook Graham and family 29 Abu Dhabi VIP (var.)

30 Mutation factors 32 Bad driving condition 35 July and August, to Balzac 36 Gps. that assist putting out conflagrations 37 Nothing but 38 RPI grad’s abbr.

40 Car also known as a Bug 44 Hairstylist known for cowboy hats 45 Throat doc that also works in ophthalmology 50 Conduits found in “TMNT” 52 Ovoids in a carton 53 ___ nous 54 “So ___ to you, Fuzzy-Wuzzy” (Kipling) 55 Not horiz.

56 Syngman ___ of 1950s Asian politics 57 Brain activity monitors 58 Suffix for carbon compounds, plural 59 Child star who was Damian in “Millions” 60 Grayish-brown aquatic bird 61 Angry, with “off” 62 MIT study topic including hospitals, diagnostics and MRIs

Visit www.squirt.org to hook up today

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