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in this issue San Antonio Current

Issue 18_46 /// November 14-20, 2018

17 Arts

Publisher: Michael Wagner Editor-in-Chief: Greg Jefferson

Three’s Company

Editorial

Senior Editors: Bryan Rindfuss, Jessica Elizarraras Art Director: Carlos Aguilar Food & Nightlife Editor: Jessica Elizarraras Staff Writers: Chris Conde, Sanford Nowlin Digital Content Editor: Sarah Martinez Contributors: Alexis Alvarez , Ron Bechtol, Erik Casarez, James Courtney, Callie Enlow, Jose Garza, Dan R. Goddard, Alejandra Lopez Gonzalez, Lance Higdon, Steven G. Kellman, Hannah Lorence, Michelle C. Lorentzen, Abby Mangel, Kiko Martínez, Jeremy Martin, Kelly Merka Nelson, M. Solis, Gary Sweeney, J.D. Swerzenski, Kelsey Valadez, Erin Winch Editorial Interns: Clarence Beal, Lori Salazar, Victoria Wilson

Artpace residents Ana Fernandez, Alice Khalilova and Clifford Owens find a winning dynamic while creating wildly different work

Interview with a Psychic

Talking to spirits with ‘modern shaman’ Rachel Kirkland

Advertising

Sales Director: Mallory Jochen Senior Multimedia Account Executive: Sarah Estrada Account Executive: Krystal Little, April Miller

25 Screens

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Napoleon Dynamite star Jon Heder answers some sweet questions about ligers, tetherball and voting for Pedro in 2020

Circulation

Courage Under Fire

Creative Services Manager: Tina Corbeil Graphic Designer: Samantha Serna Graphic Design Interns: Elyse Andrews, Michelle Moreno, Shelby Pinto,Noemi Solis Circulation Manager: Justin Giles

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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 www.euclidmediagroup.com

37 Feature

S.A.’s Tribute Bands Thrive as Audiences Look for Comfort in the Familiar BY S A N F O R D N O W L I N

07 News

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Building the Next Wave Energized by the midterms, Texas progressive groups look to maintain their momentum

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Why the Fire Union Won

The San Antonio Current is published by Euclid Media Group

Maybe the status quo didn’t do as badly on Election Day as Republican judges, but it was close

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Jaime Monzon

Study: San Antonio Is a Good Place to Be Single On The Cover: On the Cover: Love them or hate them, tribute bands have become an indelible part of the city’s music landscape. And with aging audiences looking to relive rock’s glory days, don’t expect the trend to fade anytime soon. Cover: Tracie Louck Art direction: Carlos Aguilar

A Private War is an intense and relentless look at the career of late journalist Marie Colvin

Believe It or Not, San Antonio Workers Are Making More Money

12 Calendar

Our top picks for the week

Surprisingly generic Widows spreads its screenplay thin with endless subplots

Dark Horse

The Coen Brothers spin a series of unique Western yarns in The Ballad of Buster Scruggs

31 Food

The Big Spoon

How to have those hard conversations this Thanksgiving

Thanksgiving Recipes That Anyone Can Pull Off Thankful for Libations

What we’re pairing this Thanksgiving

43 Music

Music Top Picks

48 Etc

Savage Love, Crossword Puzzle, Astrology, This Modern World

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news

Building the Next Wave Energized by the midterms, Texas progressive groups look to maintain their momentum BY SANFORD NOWLIN

rogressives’ work to bring more Texas women, people of color and young voters to the polls helped drive last week’s Democratic victories, and state organizers say they’re stepping up their efforts in advance of 2020. Despite a narrow miss from Texas’ progressive marquee candidate, Beto O’Rourke, Democrats flipped two U.S. House seats in Texas and made substantial gains in both the state’s House and Senate. That’s a record groups including the Texas Organizing Project and AFL-CIO say they’ll work to compound through continued voter outreach. “The only way to find the voters that have for too long been underrepresented in the Texas electorate, like young voters and people of color, is to meet them where they are, in their communities and on their campuses, and engage them on the issues they care about,” said Kathy Miller, president of the Texas Freedom Network, which tracks the religious right. The state’s changing demographics, she added, are poised to “take a hammer to the status quo.” The midterm results suggest that hammer already may be swinging. Beyond the gains in the both the U.S. House and in the state’s lawmaking bodies, a record number of LGBTQ state lawmakers won races — 14 in total. What’s more, the victories of Democrats Sylvia Garcia and Veronica Escobar sent Texas Latinas to Congress for the first time. Dems also took down some of the state’s most reactionary lawmakers, including state Representatives Ron Simmons, author of the anti-transgender bathroom bill, and Matt Rinaldi, who once called ICE on immigration protestors in the House. “Hundreds of thousands of working families, people of color, women and young people in cities across our state voted to send a clear and historic message that Texas is changing,” said Jose P. Garza, executive director of the Workers Defense Action Fund. “We will no longer be ignored, and when it comes to the issues we care about — like earned paid sick days, good safe jobs, immigration reform and quality accessible healthcare — we will hold politicians accountable.” Especially important to the midterm

Bryan Rindfuss

victories were the votes of Texans ages 18-29, organizers said. Early voting data from Texas showed a 508 percent growth in the youth vote since 2014. The majority of millennials (59 percent) either align themselves with the Democratic Party or lean Democratic, according to recent data from the Pew Research Center. In contrast, only 32 percent identify as Re-

publicans or GOP-leaning. In addition to reaching out to new communities, progressive groups will need to show the voters who cast their first ballots in 2018 that Democratic wins had an impact, said Brianna Brown, deputy director for Texas Organizing Project. “We have an obligation to show voters that their votes made a difference,” she said.

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CITY CURRENT

Why the Fire Union Won

Maybe the status quo didn’t do as badly on Election Day as Republican judges, but it was close BY GREG JEFFERSON

t took nearly two days for Councilman Greg Brockhouse to call for City Manager Sheryl Sculley to resign based on the November 6 election results. For the first-term District 6 rep, that counts as restraint.

Maybe Brockhouse is mellowing – maturing? – as a public official. On a more serious note, it’s indisputable that the fire union won the day on November 6. More San Antonians voted “yes” than “no” on the three city

charter amendments on the ballot. If somebody from the Go Vote No campaign tries to spin it any other way, give them a disappointed look and slowly shake your head. It’s true that voters soundly rejected Proposition A, which would have lowered the threshold for putting new city ordinances – including SAWS or CPS Energy rate increases – to a public vote. If the vote had gone the other way, that charter change could have done real damage, potentially slashing tax revenue and hurting attempts to accommodate San Antonio’s anticipated population growth. Prop A was the one Wall Street credit-rating agencies, which have given the city of San Antonio their highest marks, worried about most. Voters probably realized how easy it would be for special interests – whether developers or culture warriors or labor unions – to take advantage of the much looser rules for putting city ordinances to a referendum. But it would be a mistake to read the proposition’s defeat as voters’ endorsement of the status quo at City Hall. They also OK’d Prop C, which requires disputes over the fire union’s contract to go to binding arbitration, not the courthouse, and they went wild for Prop B, which caps the city manager’s salary and imposes an eight-year term limit. Support for Prop B nearly reached 60 percent. For the sake of comparison, 54 percent of voters sided against Prop A. Prop B was a referendum on City Manager Sheryl Sculley, her compensation – which, all in, exceeds $500,000 – and the power she’s amassed in her 13 years on the job, even though the charter amendment would affect her successors, not her. In other words, the status quo was on the ballot, and it lost. The grassroots Texas Organizing Project (TOP) took no position on Prop C but worked to defeat Props A and B. Yet TOP’s executive director, Michelle Tremillo, had a warning for establishment opponents of the measures. “On Proposition B, TOP members acknowledged that they share frustrations and concerns with the city manager’s salary and power, but couldn’t support the combination of solutions as bundled in this proposition,” Tremillo said in September. “The mayor and city council should take these concerns and frustrations seriously, and move to address them with input from the community. This proposition will pass unless they find a way to inspire voters and invite them in to craft a different way to run our city.” Tremillo was right. The business-backed Go Vote No campaign didn’t bother to seriously address voters’ concerns about Sculley, and lost as a result. And for all the noise about leaked audio recordings of fire union President Chris Steele, voters approved – albeit by a slim, 51-percent margin – Prop C, the only charter amendment that directly benefitted the union. Based on last week’s outcome, it’s a safe bet that Brockhouse, a fire union ally and one of its former political consultants, will challenge Mayor Ron Nirenberg in the 2019 city election. It’s even more likely that he’ll spend as much time, if not more, railing against Sculley as he will Nirenberg. sacurrent.com | November 14-20, 2018 | CURRENT

CURRENT | November 14-20, 2018 | sacurrent.com

news

Study: San Antonio Is a Good Place to Be Single BY SANFORD NOWLIN

Believe It or Not, San Antonio Workers Are Making More Money

Shutterstock

BY GREG JEFFERSON

t may not seem so if you’re playing the field right now, but San Antonio isn’t a bad place to be single. Or so says a new study. The Alamo City ranked 36th on personal finance site WalletHub’s 180-city list of the best and worst places for singles. The top three were Atlanta, Denver and San Francisco, while Brownsville; Pembroke Pines, Fla.; and Hialeah, Fla., took up the rear. To come up with its rankings, WalletHub compared cities across 34 indicators, including the share of singles in the population, the number of online

C dating opportunities and nightlife options per capita. Also weighing heavily were money factors — namely, how pricey it is to wine, dine and entertain a date. After all, the average cost of a date in the U.S. stands at $102.32, according to the study. The dollars-and-cents factor is where S.A. stood out from the pack. Apparently, we’re the fourth-least expensive city for restaurant meals. So take heart singles. Because nothing says “romance” better than treating your date to a $3.99 enchilada plate down at the corner taqueria.

ongratulations, San Antonio – you’re raking in the money at a faster rate than your peers at the state or national level. The problem is, your rake is smaller than theirs. OK, enough with metaphors. Wages for San Antonio workers have grown year-to-date by 5.2 percent, reaching an average of $24.12 an hour, according to the Federal Reserve Bank of Dallas. That’s compared to growth rates of 1.7 percent across Texas and 3 percent nationally. Still, workers statewide and nationally are making more per hour than we are in San Antonio – an average of $26.04 an hour in Texas and $27.16 across the country. Why is pay increasing so quickly in the Alamo City? Largely because employers are having a hard time finding workers to fill open positions. San Antonio’s jobless rate was a mere 3.3 percent in September, according to the Dallas Fed. “The San Antonio unemployment rate is significantly below the state rate and has held at or below 4 percent since 2015,” said Christopher Slijk, an assistant economist at the Dallas Fed. “Given such a tight job market over a prolonged period, we would expect to see wages pick up as businesses try to attract more workers.” sacurrent.com | November 14-20, 2018 | CURRENT

FILM

BREAKFAST AT TIFFANY’S q

Stylish, mysterious and wild, the impeccably dressed mistress of reinvention known as Holly Golightly is Truman Capote’s most iconic gift to pop culture. Born Lulamae Barnes in rural Texas, Golightly’s easy to sum up (The Hollywood Reporter once pegged her as an “amoral socialite gold digger who charms and seduces everyone around her”) but Capote’s 1958 novella Breakfast at Tiffany’s skirts the topic of her questionable profession. Texas Public Radio revisits Blake Edwards’ 1961 Oscar-winning adaptation starring Audrey Hepburn as the Givenchy-clad gamine who popularized the term “little black dress.” $10-$15, 7:30pm, Santikos Silverado, 11505 N. Loop 1604 W., (210) 614-8977, tpr.org. — Bryan Rindfuss

WED | 11/14

COMEDY Hills Snyder

ART

‘ALTERED STATES’

Hills Snyder, longtime arts lecturer at UTSA, former gallery director at Sala Diaz, artist, writer, curator, musician and so much more, is leaving San Antonio next year for Magdalena, New Mexico. He will be sorely missed in San Antonio’s arts and music communities, but before he goes he will share a new solo show, the fourth in his stunning travelogue/drawings series “Altered States.” Inspired by his travels, his personal/artistic quest to eff the ineffable and the power that subjectivity wields over sense of place, the work (and series) is at once dense and airy, simple and profound, playful and contemplative. Snyder shared the following statement about the exhibition with the Current: “When first I set out in May 2016 to ‘look for America,’ I did not know how [elusive] that ideal would become in the years closely following. With ‘Altered States’ I’ve attempted to write and draw my way toward some sort of reckoning. It means so very much to me that Patricia [Ruiz-Healy] has chosen to back the project (just as Justin, Ed and Anthony at FL!GHT and Glasstire did two years ago when the traveling exhibitions and serial narrative began). That she has framed it as a send-off to New Mexico only adds to my appreciation.” Free, 6-8pm, on view 11am-4pm Tue-Sat through Jan. 19, Ruiz-Healy Art, 201 E. Olmos Drive, (210) 804-2219, ruizhealyart.com. — James Courtney

WED | 11/14

THE HODGETWINS 5

If ultra-conservative, African-American comedy duo the HodgeTwins (Keith and Kevin Hodge) wanted to monetize their right-wing ideals and love for President Donald Trump even more than they already have, they should trademark #MAGAAA (Make America Great Again and Again) as quickly as possible. Now that Democrats have taken back control of the House, who knows how much more mileage the twins will be able to get out of this administration before Nancy Pelosi and Chuck Schumer make the commander in chief blow a gasket. Until then, the Creatine-infused HodgeTwins are pushing their brand of nationalist humor harder than Trump gets when Putin calls him for pillow talk. If you’re

into this kind of thing (they’re basically the XY version of Trump loyalists and vloggers Diamond and Silk), follow the HodgeTwins on Twitter where you can listen to them joke about how many kids Mexicans have (“These people be pushing out babies”) and what they would do if someone from the Latino caravan threw a rock at them (“I’m a put that M-16 on burst and light ‘em up”). Please DM us if you figure out which of the two is the “funny one.” $25-$45, 7pm, Laugh Out Loud Comedy Club, 618 NW Loop 410, (210) 541-8805, lolsanantonio.com. — Kiko Martinez

SPECIAL EVENT

HOT WELLS HARVEST FEAST 5

Weather delays may have pushed this sixth annual Harvest Feast back to Mission County Park, but the most high-low event of the year is back with more chefs and more bites. The project first organized by chef Robbie Nowlin and artist Justin Parr outside the artist’s shipping container home on the grounds of Hot Wells has grown to include more than 30 participating restaurants and personalities. This year, look forward to dishes from the Jason Dady Restaurant Group, Smoke Shack Meat Market, Botika, Meadow, The Cookhouse, Bud’s Southern Rotisserie, Treaty Oak Distillery, Maverick Texas Brasserie, Folklores, Eastside Kitchenette, Say She Ate, The Good Kind, Fluff Bake Bar, The Box Street Social, Swine House, Southerleigh Fine Food & Brewery, Still Golden Social House, Brooks 12 CURRENT | November 14-20, 2018 | sacurrent.com

Andrew Lopez

Embassy Suites, Periphery, Sofia Tejeda, Cruz Catering, Hugh Daschbach, H-Que Ice House, Silo at the Fairmount, Naibor, Pulp, Crossroads Kitchen and Jenn Riesman along with Austin’s Loro and Contigo, Los Angeles’ Otium, and Dallas’ Whistle Britches. Proceeds benefit the Hot Wells Conservancy, and you can get a glimpse of the progress from the new location. Make sure to bundle up! $75, 6-10pm, Mission County Park, 6032 Padre Drive, eventbrite.com. — Jess Elizarraras

Paramount Pictures

WORDS

30 POEMS FOR THE TRICENTENNIAL

Courtesy of Guerilla Girls

THU | 11/15

In one of the coolest Tricentennial projects to date, Gemini Ink and the San Antonio Department Of Arts and Culture have teamed up to offer a special, inter-arts look at our city’s history and culture. Earlier in the year, poets were invited to submit a poem that fit thematically with one of the following timeframes: the Pre-Columbian era or Yanaguana (prior to 1718), the Spanish Colonial Period (1718-1809), Mexican era (1810-1836), Texas Nation era (18361846), San Antonio: Crossroads City (18461946), and Modern Times (1947-2017). From

calendar

Courtesy of The Hodgetwins

Apologist of the Year” or “The Most Patronizing Art Review of 1986” and noisily posing such pointed questions as “Do women have to be naked to get into The Metropolitan Museum of Art?” Exemplified by a humorous 1986 Report Card that tallied the number of women artists being shown in major galleries (Leo Castelli was “not paying attention,” Pace was “working below capacity” and Mary Boone was just plain “boy crazy”), their mission to expose gender bias has encompassed both stealth interventions and full-blown exhibitions designed to critique museums for “bad behavior and discriminatory practices right on their own walls.” Since anonymity is key to their modus operandi, the 55 current and former members adopted the names of late women artists, including Frida Kahlo, Georgia O’Keeffe and Gertrude Stein. On Thursday, the McNay welcomes one of the founding members for a presentation in conjunction with its Distinguished Lecture Series. Although it’s sold out, a limited number of tickets will be sold to view the lecture via livestream in the museum’s Valero Learning Centers. Afterwards, guests are invited to “grab a banana and join for your choice of signature cocktail, beer or wine” at a ticketed reception. $20-$35, lecture 6:30-7:30pm, reception 7:45-8:45pm, McNay Art Museum, 6000 N. New Braunfels Ave., (210) 824-5368, mcnayart.org. — BR

those submissions, 30 poems were selected, and then local artists were chosen to provide visual interpretations of the poems. The results of this multi-generational, poetic/artistic historical exploration, billed as 30 Poems for the Tricentennial: A Poetic Legacy, will be on display at the Culture Commons Gallery through April 25, 2019, beginning with an opening reception this week. In addition to the exhibition, a chapbook featuring the work of the poets and artists will be released in 2019. Free, 6-9pm, on view 8am-5pm Mon-Fri though April 25, Culture Commons Gallery, 115 Plaza de Armas, (210) 2062787, getcreativesanantonio.com. — JC

THU | 11/15 SUN | 11/18 COMEDY

BRAD WILLIAMS p

Here’s something you don’t read every day: A story about oft-alleged joke thief Carlos Mencia helping a young comic. Brad Williams, 19 at the time, was in the audience at a Mencia show when the consistently controversial stand-up started cracking jokes about dwarves, reportedly making those sitting near Williams (an achondroplastic dwarf) squirm. Embracing the awkwardness, Mencia invited Williams to the stage, where his quick wit inspired Mencia to not only encourage Williams to become a comic, but to invite him to tour as his opening act. Memorable appearances on Mind of Mencia, Jimmy Kimmel Live and Williams’ own comedy specials Fun Size and Daddy Issues followed, and Williams’ stories from the road inspired About Last Night, the podcast he currently co-hosts. Most surprisingly, during the years Williams toured as his opener, Mencia never even added a chunk about being an achondroplastic dwarf to his own act. $20, 8pm Thu, 8pm & 10:15pm Fri-Sat, 8pm Sun, Laugh Out Loud Comedy Club, 618 NW Loop 410, (210) 541-8805, lolsanantonio. com. — Jeremy Martin

TALKS

DISTINGUISHED LECTURE: GUERRILLA GIRLS L

“Creative complaining” may be a signature term for the Guerilla Girls, but it doesn’t even begin to scratch the surface of the feminist/ activist collective’s accomplishments. Born out of outrage at the 1984 Museum of Modern Art exhibition “An International Survey of Painting and Sculpture” (which featured 169 artists, only 13 of whom were women), the group set out to publicly embarrass institutions and galleries with terrible track records in terms of female representation. Provocatively dressed in gorilla masks and all-black attire — often miniskirts, fishnets and high heels — the group expressed their discontent with the state of affairs by plastering posters and stickers throughout the gallery-dense streets of New York’s SoHo neighborhood, giving out bogus awards for things like “The

Courtesy of Brad Williams

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CURRENT | November 14-20, 2018 | sacurrent.com

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SPECIAL EVENT

POKÉFEST SA \

Centro Cultural Aztlán

FRI | 11/16 SUN | 11/18 SPECIAL EVENT

ZONARTE L

Formed three decades ago with a mission “to support and strengthen Chicano/Latino culture and identity,” Centro Cultural Aztlán is many things at once — an early champion of Día de los Muertos celebrations, steadfast supporter of emerging artists, an anchor of the Deco District and a community hub for everything from the annual Mole Throwdown to themed exhibitions and the seasonal favorite Zonarte. The first of many artisan-focused markets on the horizon, the weekend affair tempts shoppers and browsers with unique prints, textiles, paintings, sculptures, jewelry, folk art and other one-of-akind offerings from nearly 30 artists and artisans, including Yolanda Priego, Fernando Lorenzo, Carol A. Perez, Angelica Gomez Mayorga, Esther Guajardo, Nuevo Huevo, Isabel Apac, Raul Servin, Rosario Hernandez, Pulquerios, “y muchos, muchos más!” Free, 6-9pm Fri, 10am-6pm Sat-Sun, Centro Cultural Aztlán, 1800 Fredericksburg Road, (210) 432-1896, centroaztlan.org. — BR

Courtesy of Pokéfest

and leggy” newcomer Giselle J’Adore, their Skin-Prov: Under the Mistletoe promises an evening of “holiday humor and interactive stripping” where “anything goes — especially the clothes!” In addition to spinning the “holiday song wheel” and participating in “reindeer games,” attendees can help shape the scantily clad show by selecting quirky props for the performers to use on stage. As a bonus, Skin-Prov boasts a few special guests who are “sure to roast your chestnuts.” $20-$75, doors at 7pm, show at 8pm, Brick at Blue Star, 108 Blue Star, (432) 235-0414, starsandgartersburlesque.com. — BR

Although you probably haven’t seen as many people wandering around aimlessly with their cell phones in hand playing Pokémon Go as you did when the augmented reality mobile game debuted in Summer 2016, the most avid players are still on the lookout for their share of Yungoos and Gumshoos and other virtual species. In fact, Pokémon Go made a whopping $73 million last month in revenue. It’s no wonder Pokémon fanatics needed their own Pokémon-themed gaming convention. Now in its second year, PokéFest SA, which takes place the day after role-playing video games Pokémon: Let’s Go, Pikachu! and Pokémon: Let’s Go, Eevee! are released, gives Poképeople of all ages a chance to compete in gaming tournaments, participate in cosplay contests, watch stage performances and a laser show, and purchase merchandise from more than 100 vendors. Fans will also get the opportunity to meet actor Eric Stuart who provides the voices of Pokémon characters Brock and James from the anime TV series. Cosplay guests scheduled to attend are Briste D’Lucen, Seth Vance, Dominique Skye and Oz. And remember parents: It’s

SAT | 11/17 BURLESQUE

SKIN-PROV: UNDER THE MISTLETOE 5

As the cheesy and predictable season of nut-cracking, Hallmark movie marathons, big-box rage and forced familial affairs rears its jingly, peppermint-scented head, you might find yourself wondering if you can even endure it again. If that strain of seasonal malaise is among your holiday ailments, consider spicing up your Yuletide fare with a bountiful helping of bump-and-grind served up by the lovely ladies of Stars & Garters Burlesque. Showcasing the talents of 1960s-inspired blond bombshell Suki Jones, “Transoceanic Tropical Tease” Black Orchid, tattooed, tassel-twirling redhead Pystol Whips and “long, lean

Spurs Sports & Entertainment

your job to help your little ones catch them all, so wear your walking shoes. Pi-Pikachu! $10 (free for kids 12 and under), 11am-8pm, Norris Conference Centers, 618 NW Loop 410, Suite 207, (210) 417-8765, pokefestsa.com. — KM

SUN | 11/18 SPORTS

SPURS VS. WARRIORS L

Having captured three NBA titles in the last four seasons, the Golden State Warriors return to San Antonio in their familiar perch atop the NBA hierarchy. Stephen Curry and company capped back-to-back championships this summer by signing four-time All-Star DeMarcus Cousins, adding additional heft to their staggering embarrassment of riches. The Spurs are no strangers to Steve Kerr’s dynasty, falling to the Warriors in the playoffs the past two seasons. After a threegame swing from Sacramento through Los Angeles, San Antonio continues to strive for consistency on the defensive end of the ﬂoor. Golden State’s abundance of All-Stars will task the Spurs defense as no other team has this season. Flanked by DeMar DeRozan, expect a breakthrough game from LaMarcus Aldridge against a squad that has haunted him in recent matchups. $39-$2,000, 6pm, AT&T Center, One AT&T Center Pkwy., (210) 444-5000, attcenter.com. — M. Solis

Trinity Greer

sacurrent.com | November 14-20, 2018 | CURRENT

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CURRENT | November 14-20, 2018 | sacurrent.com

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Basse & Broadway

arts Bryan Rindfuss

Three’s Company

Artpace residents Ana Fernandez, Alice Khalilova and Clifford Owens find a winning dynamic while creating wildly different work BY BRYAN RINDFUSS

n the last few years, Artpace has tweaked its programming in an effort to redefine its purpose as an approachable contemporary art space that’s free and open to everyone. The local institution recently expanded its visiting hours from five to seven days a week and rebooted Artist Welcome Potlucks, a series designed to familiarize members of the community with resident artists and their work. Speaking to the Current in September about adjustments made upon the appointment of Riley Robinson as executive director, Archives & Communications Director Scott Williams said, “The first thing Riley said to us when he became the new director was, ‘Artpace isn’t going to turn people away anymore. If we’re here, we’re open.’ … Even if it’s not during our ‘hours,’ we will not turn you away if you come to the door wanting to experience art.” Additionally, Artpace has made Open Studios a new tradition, offering the public a “behind-the-scenes look into the artists’ process” as they build exhibitions for the esteemed International Artist-in-Res-

idence (IAIR) program, which annually invites three guest curators to each select a trio of artists — one from Texas, one from elsewhere in the U.S. and one from abroad — to “live and create art in San Antonio for two months.” While some might argue that sneak peeks are essentially spoilers for all the potential drama of an exhibition reveal, this sort of personal access to artists in their element can demystify certain complexities of contemporary art and even debunk some of its lingering pretensions. Held on the evening of October 16, the Fall 2018 Open Studios welcomed guests into the workspaces of artists Ana Fernandez (San Antonio), Alice Khalilova (London) and Clifford Owens (New York), all of whom were selected for IAIR by British curator, writer and radio producer Morgan Quaintance. While most who follow the local art scene will already be acquainted with Fernandez — the proprietor of the wildly popular raspa truck Chamoy City Limits who expertly captures the spirit of San Antonio via watercolors based on her own

Alice Khalilova’s “chrome cowboy” human statue and a video inspired by the term “eat shit.”

moody photographs of homes, street scenes, gas stations and taco joints — the other two residents are far from familiar names in these parts, despite considerable successes in their home bases and beyond. Khalilova, who identifies as an “Anglo-Russian multimedia artist,” works between installation, sculpture and video, often challenging concepts associated with representation, objectification, technology and desire. As for Owens, his work relies on photography and interactive performance but also encompasses conceptual processes and works on paper. In terms of aesthetics, approaches and mediums, the three don’t share immediately identifiable commonalities but they still seem to mesh effortlessly. As the only local in the bunch, Fernandez rose to the occasion of showing Khalilova and Owens some of the less-obvious aspects of San Antonio. During the Open Studios, I spoke with this oddly dynamic trio about human statues and the term “eat shit” (Khalilova), contemporary applications of the ancient medium of fresco (Fernandez), “conceptual conceit” and performance’s unusual ability to spark bonds between strangers in the same audience (Owens). 19 6

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Poems for the Tricentennial

A Poetic Legacy

This exhibition 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. It features the winning poems submitted by San Antonio poets in honor of the Tricentennial. The poems were interpreted by visual and graphic artists and transformed into two-dimensional vinyl works of art.

Opening Reception Mariana Aitches

Lucas Jacob

Dario Beniquez

Seres Jaime Magaña

Diane Bertrand

Pablo Miguel Martínez

Ariana Brown

Robert McGowan

Jacinto Cardona

Regina Moya

Carolyn Chatham

Maya Obregon

Irene Chavez

Kamala Platt

Joyce Henefield Coleman

Anjela Ratliff

Aaron Deutsch

Bárbara Renaud González

Cyra Dumitru

Ravi Shankar

Cassandra Farrin

Linda Simone

Fernando Esteban Flores

Burgin Streetman

Sofia Fortuna

John Tribble

John Fry

Eduardo Vega

Lisha Adela García

Mobi Warren

ARTISTS

poets

Thursday, November 15, 2018 • 6:00pm – 9:00pm Isabel Ann Castro

Erin McAndrew

Paloma Cortez

John Medina

Danielle Cunningham

Sharon Milford

Coral Diaz

Regina Morales

Kazim Fahim

Rolando Murillo

Adriana Garcia

AnaBellePepper

Ron Garcia

Moe Profane

Rigoberto Luna

Ray Tattooed Boy

Gilbert Martinez

Frank Trejo

Martha Martinez

Exhibition on view through April 25, 2019

Free and Open to the Public

Culture Commons Gallery • 115 Plaza de Armas • San Antonio, TX 78205 Monday – Friday • 8:00am – 5:00pm #GETCREATIVESA | GETCREATIVESANANTONIO.COM | 210-206-ARTS |

CURRENT | November 14-20, 2018 | sacurrent.com

arts

6 17

ALICE KHALILOVA (LONDON)

So, I read your bio and also searched online for your previous work. Technology, spirituality and philosophy: can you tell me a little about how those concepts intersect in your work? That’s kind of maybe [more relevant to] my old work. I’m interested in how we approach desire and search for meaning today in a world that’s constantly being displaced by another medium [of] communication — not so much social media … but accessing a feeling [that] goes through the screen … how we approach desire and displace desire through the screen ... in terms of the capitalist system that we’re in. That’s why I’m interested in [the idea of] the human statue — someone becoming an object [or] being forced to become an object, their labor is objectified. And those lines are completely blurred with what we see as objectification through pornography or extremely violent films. Do you have a clear vision for your completed exhibition here? Seventy-five percent yes.

Bryan Rindfuss

obviously in the work but it’s making me look at them in a slightly different way. And so the 75 percent that you’re clear on, we’ve got a human statue, but what else can you tell us about what you’re working on? You can say that rocks are involved. You can say that physical activity is involved. And climbing is involved. [There’s a video that’s] a direct reference to San Antonio, a direct love letter in that I kept hearing this phrase “eat shit.” Like when you fall? [Yes], I hear it from skateboarders all the time. [The video] was pretty physically intense, I’ve got to tell you. One of your projects I found online, and it may be an older one, is about making gazpacho with fake nails. Oh, yeah, that’s really old! So how did that come about? It kind of came about from going to the

Caribbean. It’s actually quite related to this in a way. I was thinking about labor and femininity. I guess coming from a position of being an Eastern European woman and not having that position in society — of being the cook, being the cleaner — but then going to the Caribbean and meeting a lady who was essentially cooking for my family. And we [formed] this bond and she gave me that recipe for gazpacho. It’s super-authentic — she was Spanish but living in the Caribbean. So I wanted to kind of play around with the extremely fake idea of femininity together with what is the labor of women across the world.

Are you the youngest? I’m a lot younger. I’m the baby. I think I might be one of the youngest residents here ever.

It somehow reminded me of Women on the Verge of a Nervous Breakdown. Yes! Good! Good, I’m so pleased! [Laughs.]

Will we be seeing a different side of your work with this exhibition? A little bit, yeah, because I’m doing some fresco work – which, with the fresco, because the binder’s been taken out of the pigment, it’s like I’m backing into a sculpture. It becomes more sculptural just by definition [and] it opens up a lot more possibilities.

Are Clifford and Ana acting like big brother and big sister? Ana has been showing [us] everything. And if I’m scared, I’m like, “Ana!” Clifford and I have a great rapport as well. It’s been great. So you’re having fun. I’m having the best time. Too good of a time.

ANA FERNANDEZ (SAN ANTONIO)

What’s the social dynamic been like with the three of you? Absolutely amazing. Ana [Fernandez] is a saint.

So part of it’s developing organically. How I work usually is I research months and months and months, and write. And then all those ideas kind of come together. But since I’ve arrived here, I’ve had so many new ideas, about so many different directions I want to bring in. So it’s been a bit of a dance, which has been really fun. I’m going to be taking some risks with this show, which I’m very excited about.

What inspired that? Well, when I went to my summer program at Skowhegan [School of Painting & Sculpture], that’s probably the … class it’s [best] known for — they teach you fresco if you want to learn it. And so I learned it and I liked it. My job duty was to work in fresco because every [resident artist] has a job to do. And so I had a catering job and I transferred into fresco because I liked it so much.

The new ideas you’re getting, are those directly related to San Antonio or your experiences here? Or just how you’re seeing your own work develop? Maybe America. Well, more specifically San Antonio, but being in America — especially being Russian — and at this time, what’s happening. Yeah, it’s influencing me and making me look at certain political issues that I may not bring out

So the one you just showed was small, but are you thinking of doing largescale frescoes here? Possibly, I might, but I want to finish the watercolors first. It really depends. I want to [make] it more object-oriented. I like the sculptural element of it, to build it out using cement … and found objects. My grandfather used to work with cement 21 6 so I’m using some of his tools. And

Clockwise from top left: Alice Khalilova’s “chrome cowboy” and pieces of her “impossible wall”; paints and brushes in Ana Fernandez’s workspace, and one of her large-scale watercolor gouaches.

sacurrent.com | November 14-20, 2018 | CURRENT

Pop América 1965–1975 THROUGH JANUARY 13, 2019 The first exhibition of its kind, Pop América offers a hemispheric vision of Pop art. Featuring nearly 100 artworks that connect Argentina, Brazil, Chile, Colombia, Cuba, Mexico, Peru, Puerto Rico, and the U.S., this exhibition sparks a fundamental reconsideration and expansion of Pop. Funding for Pop América, 1965–1975 is most generously provided by The Brown Foundation, Inc., Capital Group Companies Charitable Foundation, the Elizabeth Huth Coates Charitable Foundation of 1992, the Marcia and Otto Koehler Foundation, the National Endowment for the Arts, the Sotheby’s Prize, The USAA Foundation, Inc., the Andy Warhol Foundation, Lori and Joel Dunlap, and Humanities Texas. Additional support is provided by the Director’s Circle and the Exhibition Host Committee, chaired by Lori and Joel Dunlap. Pop América, 1965–1975 is co-organized by the Nasher Museum of Art at Duke University, Durham, North Carolina, and the McNay Art Museum, San Antonio, Texas. The exhibition is guest curated by Esther Gabara, E. Blake Byrne Associate Professor of Romance Studies and Art, Art History & Visual Studies at Duke University. Hugo Rivera-Scott, Pop América (detail), 1968. Collage on cardboard. Courtesy of the artist. © Hugo Rivera-Scott. Photo by Jorge Brantmayer.

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arts

6 19 the one thing I wanted to do is — I don’t know if I’m going to do it — is make some chili-powder pigments and natural pigments with the fresco because it kind of combines my grandmother’s work and my grandfather’s work. I want to do some experiments, but I think that I’m going to be using some found objects for sure.

very intense. It was really quite moving. Can you tell me about any of the specific results? It’s so interesting. I think with Photographs with an Audience, I mean, this is the eighth iteration of the project since 2008. I think the best witnesses of the performance are the audience — the people who were there. So I can kind of give you a conceptual framework for the project. But I think the affect of it is mostly felt by the people who were in the room. And there’s a way in which what happened in the room is only between the people who were there. So there are some details that I wouldn’t want to disclose here.

The large pieces we’re seeing here are all watercolors? Two are large-scale watercolor gouaches and one is an oil. And are the scenes depicted from recent photographs? And are they in San Antonio? These are all recent shots. One is in Corpus, the one with the convenience store, and I’m kind of playing with the scale, more of a human scale, to where it’s more actual size. And having these big walls for the watercolors is cool — just to have a giant watercolor, just to be able to feel like it’s more to a person’s scale. And like this lady, I liked her bedazzled jeans. And I was like, I think I want to paint her. So you’re working on all these paintings at the same time versus completing one and moving onto the next one. Yeah, I work on — I always work like that. And then at the end I tie them together. As a local, how responsible do you feel for Clifford and Alice to have an authentic San Antonio experience? Only to an extent. I feel like I’m just one person, so I would encourage them to get out and meet other people. Right, but you are sort of showing them around. Oh, yeah, for sure. So what can you tell me about where you’ve taken them and what y’all have done together?

Well I took them to Patricia Ruiz-Healy’s opening [for the exhibition “Made in Mexico”]. I took Alice to Papa Jim’s Botánica because I had tripped and twisted my ankle outside, so I was like, we need to sage [the area]. We go to H-E-B a lot and Walmart. I took [Alice] to Walmart; she’d never been to a Walmart, and I felt like she needed to go to a Walmart just to get an idea — take the temperature of the society. Every place has their own Walmart and every Walmart is a sampling of people in the city. We’ve been to openings, a couple of parties … This is [Alice’s] ﬁrst time in middle America. We’re going to go to a gun shop, because she wants to see a gun shop.

CLIFFORD OWENS (NEW YORK)

How did the San Antonio version of your Photographs with an Audience performance series go? It went really well and I am exceedingly happy with the outcome. Will your exhibition rely heavily on those images? The way I’m thinking about the exhibition and the residency is sort of three parts: Photographs with an Audience — San Antonio; the other part is a body of color photographs that I made between 2017 and 2018, so a whole calendar year. The third part is works on paper; and they’ll include coffee and Vaseline on watercolor paper but also a suite of works on paper that I sort of describe as the outcome of an action or a kind of gesture. So I’m thinking about acting upon these pieces of paper [rather] than it being proper drawing. In other words, there’s a piece on the floor, these two pieces of watercolor paper, and so I soaked some black beans and tossed those black beans across the table so that they would hit the wall. And then they’ve been there on the floor for about 24 hours. So this is kind of an example of a work on paper that the image is produced by a gesture, an action on the paper somehow. I don’t want to say a kind of “performance drawing” but a performance-based work on paper.

Bryan Rindfuss

A “performace-based” work on paper by Clifford Owens (top) and frames from the San Antonio iteration of his series Photographs with an Audience (above).

Because it won’t translate necessarily to another audience? Exactly. And the photographs necessarily fail to do that as well — but that’s the conceptual conceit of the project. Bryan Rindfuss

So you don’t envision an additional performance aspect during the exhibition. No, not at all. It’s going to be an exhibition of photographs mostly and then the works on paper. The only performance I did here was Photographs with an Audience — San Antonio, two nights. The second night was really,

There’s a mystery to it. That’s right. What are the limitations, what are the failures of documenting a live performance? I’ve always been interested in that. But since I’ve been here, already one person who was at the Saturday performance told me that he made a new sort of friend out of the performance who shared a commonality, a common experience. He and that person are in conversation and they’ve become friendly. And this is what it’s always been about. So do you approach Photographs with an Audience with any particular script in mind or do you let the audience kind of determine which direction it goes? The performance is definitely structured. It has to be, so I know beforehand what the prompts will be. For example, one thing I did in the performance is talk about when I arrived here in San Antonio, at the airport there were advertisements and kiosks, etc., claiming San Antonio to be the Military City. So the prompt was, “Who here has served in the military or is in a military family?” And a number of people stood up. And weirdly of course, that would never happen in [the] New York art-world scene. I sort of like that. So it progresses from there and certain things come up. There was a moment on Saturday when a woman needed to sort of have a space, a place to disclose some things to the audience. So I allowed that and it was very powerful and very moving and very courageous. Was it videotaped as well? No, I don’t videotape — only photographs, only film. Not digital, just film. So what I have here, these are rejects, but I sent the frames, the images that I like, and those are being scanned in New York now. And [film] is so important to the project; it’s always been shot on film. I did a random Google Image search for you and two things that I noticed from your previous performance work is kissing and nudity. Is there anything you can say about that? I don’t talk about either anymore. sacurrent.com | November 14-20, 2018 | CURRENT

arts

Interview with a Psychic Talking to spirits with ‘modern shaman’ Rachel Kirkland BY SHANNON SWEET

hile the idea of connecting with the supernatural realm might conjure images of gypsies and crystal balls, those stereotypes don’t hold true to the modern psychic. Nor do the “reality” shows involving ghost-hunting clairvoyants or sobbing celebrities communicating with dead people. Although skeptics are quick to debunk psychic abilities as pseudoscience, firm believers may go so far as to replace their therapists with frequent (even daily) psychic readings. To get a glimpse of the reality of a working psychic, I spoke to Rachel Kirkland, a San Antonio-based “modern shaman” the Paranormal World Society named “Best Female Medium” in 2016. Since Kirkland calls herself a “modern shaman,” I asked her to define that term. Although associated with healers who interact with spirits, shamanism encompasses more than one might realize. “By modern, I just mean in our current day, how does that translate?” Kirkland said. “We need that form of navigation from the nonphysical realm to this one. It shows up in our everyday life [in terms] of how we connect to nonphysical energy … I love this understanding of a shaman that deals with a bridge to the non-physical world and all that entails … So as a shaman, I could utilize a sense of connection to the non-physical world going to that realm, whether it’s talked about in inter-dimensional spaces or past lives or just energy and feeling spirits and connecting with those that have crossed over.” One of the aspects that I found refreshing in Kirkland’s unpretentious approach is her belief that everyone possesses psychic abilities, but might not know how to harness them. “I’m a firm believer that everybody is ‘psychic’ and has a connection to the nonphysical realm,” she said. “It’s just like developing a muscle or validating it, trusting it, learning how to have that form of connection, and strengthening it.” When asked about her background, Kirkland admitted that she doesn’t necessarily feel “unique” but that her formative experiences were decidedly out of the ordinary. “As a child, I used to get premonitions all the time, and that’s how my internal world worked. I would see something normal like my dad mowing the lawn or my mom washing dishes or something, and then it would happen five seconds later. It’s kind of like this constant state of déjà vu or awareness where you would get this quick mental flash.” Rather than ignoring these occurrences or accepting them as “normal,” Kirkland opened up to her parents about what she was experiencing. “There was a time when my brother was in a car ac-

CURRENT | November 14-20, 2018 | sacurrent.com

Courtesy of Rachel Kirkland

cident, and I knew who was in the accident with him and all of these things and details,” she said. “That was the first time I shared them with my parents, and they were like, ‘OK, I think something is really going on, there is more to these premonitions.’ That was a big shift when I was a teenager to move more into a proactive sense of developing this more.” Throughout her career, Kirkland has encountered her fair share of skeptics as she’s built a list of clients around the world. “I don’t have a desire from an ego standpoint to prove to people that this is real,” she said. “If it’s not relevant to them, it’s fine. I can always be at peace with them because if someone’s a skeptic, I don’t have a desire to try to prove them wrong. I can just say what I see, and it is what it is.” Making a comparison of biblical proportions, she said, “If you go back to biblical miracles with Jesus, there were people that literally were like, ‘Yeah, you turned the Red Sea red but maybe that was a chemical reaction.’” Outside of skepticism, the fear of receiving bad news from the beyond is enough to scare certain individuals away from the psychic realm. Kirkland presents that possibility as an opportunity for people to change their paths. “I believe in free will,” she said. “I don’t believe that what I see is set in stone in a way that it’s unchangeable. So I let people know that what I see is based on the energy of this moment, but we

can change the energy you’re projecting and creating forward from here.” Whether it’s illness or relationships, Kirkland sees these factors as moldable. “Even if it’s disease or a checkout time, there are some ways to change this trajectory and focus on ways to heal the body,” she said. “Like if we see cancer cells or a relationship that’s going sour, there are ways to bring about a sense of reconciliation. If they don’t want to create what we see, there are ways to create what they do want.” With love being one of the biggest uncertainties in life, Kirkland is no stranger to relationship readings. “I get the most requests to read relationships,” she said. “If they’re alone, I’ll help them because the most common thing that we work on develops around spiritual experiences as well as how to handle relational experiences and past relational trauma. How to clear ourselves of that, how to let go of certain issues so we don’t create the same cycles, insight into that from spiritual perspectives like past lives connected with it.” Ever wonder what psychics see when they channel the other side? According to Kirkland, it depends on how the spirit wants to be seen. “Sometimes they project themselves very physically and want to show themselves in a certain way. It’s not always what they actually look like — sometimes they show themselves in military uniforms or really young and handsome. It’s not that they weren’t that way, but maybe they died of old age but want to show themselves like that because they want to communicate with the person that I’m doing the mediumship with. It’s always relevant to that person I’m connecting with. They can look like their little, childlike self, running up and jumping in the lap of their parents even if they passed away when they were in their 30s.” Although born in California, Kirkland now calls San Antonio home and loves the energy here. “It’s very open, transparent, and honest,” she said. “I feel that the people’s hearts here, and even the energy within the land, has a certain sense of sincerity and a lot of openness to it that brings in a lot of connection.” But her practice also involves traveling for readings and workshops covering everything from basic terminology to complex practices such as energy melding. The last topic I asked Kirkland about was “clairaudience” — the power to hear nonphysical voices. As Kirkland explains, sometimes the clairaudient may be unaware that what they hear isn’t ordinary. For example, she said, “If they are clairaudient and have a grandmother who passed away but she was a very dominant figure in their life, they still have conversations with her all the time in their head. That’s a psychic sense of clairaudience, yet they’d never say that they are psychic. They would just say that they still talk to their grandmother. There’s an ease because it’s already part of our existence.” Above all, Kirkland feels that she’s using her own gift to help others any way she can. “I’m continually blown away because I don’t feel like what I do comes from me – I feel like it comes through me,” she said. “And so a lot of times there’s a sense [that I’m] just watching it happen and I feel like I’m just in awe, like that’s crazy… Even though I’m channeling the information, there’s a part of me that realizes in a human way what a big stretch it is to believe.”

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Napoleon Dynamite star Jon Heder answers some sweet questions about ligers, tetherball and voting for Pedro in 2020

BY KIKO MARTINEZ

screens

He’s Got Skills

Fox Searchlight Pictures

Did you know anyone like Napoleon when you were in high school? I pulled a lot of inspiration for Napoleon from my younger brothers, but also from that loner kid who loved to do drawings and thought he was good at drawings but really wasn’t. I remember kids like that, for sure. The drawings in [Napoleon Dynamite], I did myself. I tried to copy the style that I remember kids drawing in school.

used the line on my wife, it would’ve probably had the opposite effect. She would’ve been like, “Forget that and leave me alone!”

When you get a chance to share Napoleon Dynamite with fans, is it more special when co-stars are with you? That’s what makes it so fun. It’s a reunion for ourselves. It’s always such a treat to see Tina and Efren. I don’t hang out with tons of Hollywood people and co-stars. I mean, sometimes I see people, but I have my family and that’s pretty much who I stick to. So, we get to reminisce about the movie, but it’s also just about catching up and seeing each other.

I have to admit something: I only recently found out that ligers are real animals. I was shocked. It was like when I found out narwhals were real animals. I had never heard of a liger before I made the movie. In the movie, we represent them and I wonder how much those drawings would go draw them as if they are just magical creatures. for today at Sotheby’s. But if you think about it, you’ll realize, “Well, if It would be sweet if it was in — you breed a male lion with a the ones of dollars! female tiger, you’re going to Napoleon Dynamite get something!” And a liger Screening & Do you think Napoleon is what you get — minus the Conversation would be someone who magic. $29.50-$45.00 would attend his high school 8pm Thu, Nov. 15 reunion, or would he be one How are your tetherball Tobin Center for the of those guys that falls off the skills these days? Performing Arts face of the earth? I was hanging out with some 100 Auditorium Circle I’ve asked myself that a lot — family friends during the (210) 223-8624 what would he be like today? summer and was at a birthwww.tobincenter.org Everybody is on social media, day party of someone I didn’t so you almost wonder if he know. They had a tetherball would be, too. I think he would pole in their backyard. Some probably be using [social media] like most of the kids looked at me and said, “Hey, let’s people do — convincing themselves that their play tetherball.” I was like, “Why are you asking life is better than it actually is by posting only me and not anyone else? Tetherball sucks!” I the good things. I don’t think he’d be very good mean, it doesn’t suck, but it’s not as fun to play at it though. He’d probably just post pictures of as bocce ball. I was like, “No, forget it. I’m just food. going to cream you if I play you!”

I think some people might be disappointed to know that you don’t go barhopping with Will Ferrell (his co-star in the 2007 comedy Blades of Glory) regularly. [Laughs] Maybe we’ll do that for the movie’s anniversary or something.

Before you were married, did you ever use the line, “I played Napoleon Dynamite” as a pick-up line? I was actually already married when I made Napoleon Dynamite, so I never got to use that line! I don’t know if that line would’ve worked. If I

If Pedro ran for president in 2020, would you vote for him? I probably would. He’s a good guy. We need someone with a pure heart. It would be great to have someone like that in office — someone who is actually a good person.

or actor Jon Heder, starring as the awkward title character in the 2004 indie cult classic Napoleon Dynamite was more of a blessing than a curse. “Because of it, I’ve been able to form a career,” Heder told the Current last year prior to his first-ever visit to San Antonio for Alamo City Comic Con. “I know actors who would kill for that. You are remembered for something — always.” This week, Heder returns to the Alamo City for the second year in a row, this time for a conversation and special screening of Napoleon Dynamite at the Tobin Center. Joining Heder for the event will be actors Efren Ramirez and Tina Majorino, who played Pedro and Deb in the film, respectively. The Current recently caught up with Heder again and talked about what he thinks Napoleon’s social media habits would be like today, why ligers are a totally logical animal and if he still has sweet tetherball skills.

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Courage Under Fire

A Private War is an intense and relentless look at the career of late journalist Marie Colvin BY KIKO MARTINEZ

n most instances, the horrors of war are depicted in film form from a male military standpoint. Recently, feature narratives including Oscar-nominees like Dunkirk, Hacksaw Ridge and American Sniper have placed audiences in the trenches of war — wars that span the globe and encompass an extensive timeline. A lot can be understood, too, when a war story is taken from the perspective of someone whose job isn’t to actually fight, but, instead, to observe and report. These men and women are appropriately hailed as heroes in their own right — journalists who risk their lives to seek the truth and convey to the world what they have witnessed. No one is quite as deserving of that distinction than late war correspondent Marie Colvin, who in 1986 began her career writing from the frontlines

of every major conflict in the Middle East. In A Private War, first-time feature filmmaker and Oscar-nominated documentarian Matthew Heineman (Cartel Land) and screenwriter Arash Amel (Grace of Monaco) capture the grit, fearlessness and obsession for her work that shaped who Colvin was when she was embedded on the battlefield. (Colvin died in Syria in 2012 while covering the country’s civil war). Portraying Colvin is Oscar-nominated British actress Rosamund Pike (Gone Girl), a role that has to be one of the most physically demanding in her last 20 years. Narrating Colvin’s thoughts throughout the film, Pike gives moviegoers a glimpse of her tenacity for her profession and strength needed in battle, even after she loses her eye in a grenade attack in Sri Lanka in 2001. “Make that suffering part of the record,” she

Aviron Pictures

says as if physical pain was always a component of her job description. Throwing herself in the dirt to dodge bullets, however, wasn’t the only suffering Colvin had to endure. Heineman and Amel explore Colvin’s alcoholism and PTSD, both of which resulted from the war-zone nightmares she was consistently haunted by. “You’ve seen more than most soldiers,” a colleague tells her at one point in the film. Pike’s confident performance maximizes these mentally draining scenes, and the script manages to help with some of the heavy lifting.

Thieves Like Us Surprisingly generic Widows spreads its screenplay thin with endless subplots

BY KIKO MARTINEZ

cademy Award-winner Steve McQueen is a brilliant director. Although he has only made three features in the last decade — prior to his new thriller Widows — each of those films was clearly different and truly memorable, especially his controversial 2011 drama Shame, which starred Michael Fassbender as a New York City sex addict, and his brutal, 2013 Oscar-winning drama 12 Years a Slave. Sadly, his early cinematic achievements make Widows all the more disappointing. Knowing what he is capable of doing behind the camera, it’s unfortunate to see how incredibly ordinary of a heist movie it turned out to be. Even with a top-notch cast, its sprawling narrative ambition, flimsy characterizations

Twentieth Century Fox

and vague central plot push Widows to the brink of total collapse. Set in Chicago, Widows kicks off with serious potential. McQueen and co-writer Gillian Flynn (Gone Girl) introduce audiences to a foursome of criminals who are quickly dispatched during a heist gone wrong. Left to mourn them are their wives — Veronica (Viola Davis), Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and less-important Amanda (a wasted Carrie Coon). When Veronica learns that her husband Harry

(Liam Neeson) owes $2 million to some shady associates, she takes a set of blueprints left behind by her dead husband and decides to organize a robbery with the help of Linda and Alice, so they can pay off the debt. Bursting over with more subplots than McQueen and Flynn know what to do with, Widows also follows a powerful and corrupt political family, led by father-son tandem Tom and Jack Mulligan (Robert Duvall and Colin Farrell), who get caught up in dirty deeds with one of

All the same, in A Private War, Pike is perfectly capable of carrying the film on her own. Whether she sits down to interview a heartless dictator face to face or watches the unearthing of a mass grave holding the remains of Saddam Hussein victims, Pike’s intense passion and genuine humanity shine through. At a time when journalists are being labeled “the enemy of the people” from the highest levels of our own government, A Private War is here to remind everyone that they’re really not.

Veronica’s debt collectors. Their story interlinks to one of the overall themes of the film, which attempts to deliver a reflective message about race, class and gentrification, but does so without much enthusiasm or emotion. Regrettably, Widows forgets that it is — first and foremost — supposed to be a believable heist flick. There is so much happening away from their actual strategy, Flynn neglects piecing together a logical way to get Veronica and her crew to accomplish the feat without mucking it up. Sure, there’s a little preparation involved as we watch the women scout the location and talk through the importance of avoiding slipups, but once it’s time to execute the plan, moviegoers will be hard-pressed to explain how these characters are even remotely close to being ready for such a dangerous mission. Add to this a handful of obvious plot holes and secondary storylines about a tense election, a rich developer procuring sexual services from Alice, a dead son, a fifth single mother trying to make ends meet, a hairstylist with a loan problem and an anticlimactic twist, and Widows spreads itself to waifish proportions.

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The Coen Brothers spin a series of unique Western yarns in The Ballad of Buster Scruggs BY KIKO MARTINEZ

s is the case with many of Academy Award-winning filmmakers Joel and Ethan Coens’ projects, The Ballad of Buster Scruggs, a six-part Western anthology that leads audiences through the heart of the unforgiving American Frontier, is a worthy addition to the Coens’ darkly funny cinematic canon, which includes classics like Fargo and The Big Lebowski and lesser-known gems like A Serious Man. Do not, however, go into the Coens’ newest horse opera thinking they are going to deliver another True Grit or No Country for Old Men. It’s evident from those critically acclaimed films that they have the Western genre down pat, but Buster Scruggs is a different kind of movie altogether. Like The Sisters Brothers — another unconventional and philosophical cowboy dramedy that hit theaters a couple of months ago — it’s a unique and unpredictably screwy ride. Of the film’s six vignettes, the one that would win an Oscar on its own in the Best Short Film category is the 20-minute opening segment, aptly called “The Ballad of Buster Scruggs,” and featuring actor Tim Blake Nelson (O Brother, Where Art Thou?) as the title character, a neatly dressed outlaw and “songbird,” who trots into town on horseback with his guitar only to find a heap of trouble waiting for him at every turn. With the Coens’ whip-smart dialogue and Nelson’s confident and wildly fun performance, Buster Scruggs

starts off incredibly strong. While the rest of the segments don’t reach the heights of the first, all of them offer viewers something special — a series of fantastic yarns spun with distinctive themes, pacing and colorful characters. In the segment “Near Algodones,” an unnamed cowboy (James Franco) walks into a dusty bank to rob it but finds his neck at the end of a noose when the teller (Stephen Root) fights back. In “Meal Ticket,” The Impresario (Liam Neeson) serves as the caretaker to The Artist (Harry Melling), a limbless thespian who recites dramatic verse for townspeople across the Old West until his traveling companion discovers he might have a new plan. In “The Gal Who Got Rattled,” a young woman named Alice Lonabaugh (Zoe Kazan) is left in an uncomfortable position when her brother dies on the Oregon trail. Her future is uncertain until wagon train guide Billy Knapp (Bill Heck) offers her a start at a new life. Made significant by the Coens’ clever screenplay, the gorgeous photography by five-time Oscar-nominated cinematographer Bruno Delbonnel (Inside Llewyn Davis) and the beautiful score by two-time Oscar-nominated composer Carter Burwell (Three Billboards Outside Ebbing, Missouri), Buster Scruggs is an epic delight. The Ballad of Buster Scruggs debuts on Netflix November 16.

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food Jess Elizarraras

THE BIG SPOON

How to have those hard conversations this Thanksgiving BY JESS ELIZARRARAS

y family dynamic is different. We’re a huge family, but half of us are in Mexico and the rest are sprinkled throughout the U.S. in Texas, Illinois, North Carolina and Florida. So for the most part, the holidays are lowkey instead of manic. The inevitable squabbles happen, namely when boundaries are crossed and our careers are picked apart by worried immigrant parents, shocked that we didn’t stick with medicine. But our bickering has not featured any political rhetoric. I really haven’t had to have a tough conversation when it comes to the Thanksgiving table, at least not ones that deal with candidates or parties. During the November 6 midterms, as results came in for Texas, I realized not everyone comes from a blue Rio Grande Valley. Friends from Victoria are dreading the holidays, as it involves two or three different

stops in deeply red counties. You know, the same counties and outlying areas where the Ted Cruz signs are as plentiful as the deer… If you’re a host, I’d follow most practical advice that suggests each person will drink two beverages during the first hour of the party (make these strong), and then one drink each hour after that (make these stronger). Keep things light. Maybe your guests won’t want to talk about the midterm election! Talk about the Chilling Adventures of Sabrina the Teenage Witch, arguably the best thing on Netflix, and how it compares to its 1990s predecessor. Talk about the new Mary Poppins. Stay away from anything related to Saturday Night Live unless you want to talk about Ariana Grande’s inevitable breakup from human Big Mouth Pete Davidson. Talk about the dishes in front of you (we’re sharing a few on the next page). Small talk is king in this scenario. Set some rules if necessary. For those sneaky uncles who want to rib you about

Beto losing, or Lupe Valdez losing, maybe a few guidelines are in order. Politely ask for a truce. But if they choose to break the agreed-upon rules, feel free to remind them that Beto O’Rourke’s loss also helped usher in new faces for 19 judge seats in Houston – with black women candidates the victors – or remind them two Latinas from Texas are going to Congress for the first time ever. Brush up on the national gains (two of the first Muslim women to Congress, an openly gay governor for Colorado, two Native American women going to D.C.). But if you do enter in political sparring with family members, remind them of your immigrant friends, or people of color you call friends, or how quickly America is changing as you pass the mashed potatoes. Remind them of kids in cages, and how that’s not very Christian as you carve the turkey. Remind them of travel bans from countries they probably can’t find on a map when you ask for the cranberry sauce. Remind them of the last (insert whatever number here) mass shootings committed by white men. Remind them about the wildfires torching California and how global warming will affect us all sooner than we’re willing to admit. The conversations may require liquid courage, but silence and small talk could be more hurtful in the long run.

Contact the author: flavor@sacurrent.com

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food Thanksgiving Recipes That anyone can pull off S

ometimes you need great recipes to serve as buffers to hard conversations. Or maybe you just need a few show-stopping dishes that’ll make it seem like you toiled over the stove for hours in advance of Thanksgiving. Any of these should do the trick. All recipes from onegirlonekitchen.com.

onegirlonekitchen.com

GINGER FIG SANGRIA

1 cup ginger, roughly chopped

Makes 6-8

onegirlonekitchen.com

APPLE LOAF CAKE WITH LEMON MAPLE CREAM CHEESE FROSTING Ingredients 1 cup brown sugar ¼ cup vegetable oil 1 egg 2 cups grated apple, peeled and cored (I used honeycrisp apples) 1 cup flour 1 teaspoon baking soda ½ teaspoon salt 1 container cream cheese frosting ½ teaspoon lemon zest 1 ½ tablespoons maple syrup

there are no more streaks.

Pour in loaf pan and bake for 55-65 minutes, until a toothpick inserted in the middle comes out clean. Let cool in pan for 15 minutes and then invert onto a wire rack to cool completely before frosting.

Ingredients 1 pear, cubed 1 cup figs, sliced in half 1 cup grapes 1 orange, cut into segments 1 plum, cut into segments I cup juice (pineapple, orange, apple, etc.) ½ cup ginger syrup (recipe below) ½ cup brandy 1 bottle red wine (I like Malbec!) 1 cup club soda + more for topping Ginger syrup 1 cup sugar 1 cup water

Instructions // Combine fruit, juice, brandy and ginger syrup in a large pitcher. Gently stir. Add wine and the cup of club soda. Let the sangria sit for at least an hour in the fridge, but preferably longer as (like most sangrias) it gets better the longer it sits. To serve, scoop some fruit out in a glass and pour sangria over. Top with a little extra club soda if you like the fizz. To make the ginger syrup: Combine sugar, water and

While cake cools, stir together cream cheese frosting with lemon zest and maple syrup.

Stir together flour, baking soda and salt in a small bowl and set aside. In a large bowl, whisk together the sugar, oil and egg for 2 minutes. Add apples and mix to combine. Add flour mix and carefully stir to combine, making sure to not overmix - stop as soon as

Notes // If you want this sangria to be extra gingery, replace the club soda with ginger ale or ginger beer. So good! The syrup makes more than ½ cup but I like to have the extra on hand in case anyone wants their sangria to be sweeter.

CHIPOTLE ROSEMARY CRANBERRY SAUCE Ingredients 12 ounces cranberries ⅓ cup brown sugar 1 teaspoon orange zest 2 tablespoons orange juice 2 teaspoons rosemary, minced ½ teaspoon chipotle chili powder 1 tablespoon bourbon (optional)

Frost cooled cake. Instructions // Preheat oven to 350. Grease an 8-by-4 loaf pan.

ginger in a saucepan over medium high heat. Bring to a boil and then reduce the heat and let simmer for 15-20 minutes. Allow the mix to cool completely before straining. Extra syrup will last in the fridge for 2 weeks.

Notes // I like a mix of textures with the apples, so I chop some of them and grate the rest. I suggest using mostly grated apples because the moisture/juice they impart is important with this one.

Instructions // Combine all ingredients and simmer, uncovered, over medium-low heat for 10-15 minutes. Stir occasionally to ensure nothing sticks to the bottom of the pot.

You might not need to use all the frosting, but I always like having a little extra on hand anyway for people who want extra frosting or maybe just want to eat it off a spoon (no shame).

When most of the cranberries have broken down, remove the pot from heat and allow to cool. The sauce will thicken more as it cools. onegirlonekitchen.com

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food | nightlife

Allison Halpern

Thankful for Libations What we’re pairing this Thanksgiving BY ALLISON HALPERN

n order to best pair beers for Thanksgiving, we rustled up an early-November Friendsgiving meal and rolled out some (mostly) Lone Star offerings. With temperatures hovering about 65 degrees on a recent weeknight, lighter, crisper, fruitier beers were in order to the balance hearty, fatty, carby Thanksgiving feast. Real Ale makes a fantastic cranberry gose (4 percent ABV) that will be perfect even if your Thanksgiving ends up warmer than expected. The brewery, based in Blanco, offers a lime gose in the summer that’s a little Sprite-ish for my taste, but the cranberry version is light, a bit tart, not overly sweet, while remaining supremely drinkable. The grapefruit-tinted beer highlighted some of the savory flavors of the turkey and dressing, and enhanced the

cranberry sauce on the plate. A saison can also be crisp enough to pair with the rich flavors of the holiday, and Künstler in Southtown pours a great one. The Murdoch Saison (7.1 percent ABV) is named for the guest recipe’s owner, homebrew winner Jason Murdoch. The brew is citrusy and floral, and the light sweetness plays well against the rich flavors of the turkey. The fruitiness of certain Belgian styles can also work well with the heartiness of the meal. Though billed as a summer beer, Freetail Rye Wit (4.9 percent ABV) finishes with some nice orangey flavors that balanced turkey and dressing nicely. Besides, we all know it could be 80 degrees on any given San Antonio Thanksgiving. This time of year, it’s easiest to pick up this brew as part of the Freetail Mix Variety

Allison Halpern

Pack ($17.47/12 12-ounce cans, H-E-B). Künstler also pours a Triple, the St. Chapelle (8.1 percent ABV), with lemony notes that could also pair well with the bird. Finally, if you want to bring out a festive, special-occasion beer, and you’re lucky enough to find some

Ranger Creek Small Batch 13 on the shelves (I found mine at Total Wine), this Belgian Dark Strong Ale is a great fit. It features figs (though an earlier release featured cherries) and pours opaque with little head, while offering both a sweetness and a tartness to complement the bird. At around 12 percent ABV, it’s a little heavier and great sipper to offer your guests with the meal. For those looking for gluten-free spirits, Austin East Ciders has a Spiced Cider that tastes, well, just like you think. This dry cider brings in all the apple with hints of cinnamon and cloves, just like the apple cider your mom made, only with 5 percent ABV. It’s bubbly, sparkly and very drinkable with the meal. For a different style, Abita’s Pecan Ale, Geaux Nuts, is worth a mention. Our favorite of the pecan ales we sampled, this well-balanced ale, at 5.2 percent ABV, came in very malty before the meal, but notably hoppier once the turkey was served. It was another good option that carried through the meal to the pumpkin pie.

Allison Halpern

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Texas Pink Floyd performs with full light show during a recent Tobin Center concert. Courtesy of Texas Pink Floyd

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music | music Picks 3OH!3 5

“Symphony No. 8,” dates back to 1890 and ﬁnds the romantic composer at his most upbeat and optimistic. Meanwhile, Leonard Bernstein’s “Serenade, after Plato’s Symposium,” ﬁrst performed in 1954, features a kind of dialogue between movements, as inspired by the titular philosopher’s work, and boasts some of the composer’s best work for violin (not to mention percussion). The newest piece in this show, taken from Toru Takemitsu’s exquisite score work for Akira Kurosawa’s TV drama “Nami no Bon,” is easily the most adventurous—by turns uncanny, anxious, nostalgic, martial and soothing. Altogether, it promises to be a superb show, and one that fans and initiates of classical music can enjoy in equal measure. $10-$96, 8pm, Tobin Center for the Performing Arts, 100 Auditorium Circle, tobincenter.org. — James Courtney

Wednesday, November 14

OK, so if you are a millennial, there’s no way you didn’t do the Helen Keller and talk with your hips when 3OH!3 busted on the scene 10 years ago. That lyric became pretty notorious in the late aughts, and now you can relive those days – the band is headed to the Alamo City. This Wednesday, the group hits the Aztec Theatre for something called 3OH!3 The WANT house party, a collaboration with Emo Nite LA, featuring lil aaron as a special guest. The show won’t have the typical constraints of set times, and fans will have the opportunity to interact with the artists, just as if you were throwing this party in your own living room. Soooo, that sounds like ... something. Anyway, this is def a throwback to the Hot Topic emo glory days, so side-swipe your two-tone hair, re-pierce your snake bites and get ready to send your ex a dramatic text on your Sidekick, ’cause it’s going back to the 2000s. $25, 8pm, Aztec Theatre, 104 N. St. Mary’s St., theaztectheatre.com. – Chris Conde

LISA FISCHER

Friday, November 16

THE INTERNET q Friday, November 16

There’s been quite a slew of shows coming to the Alamo City that we’ve been appreciating. From Cardi B at Mala Luna to J. Cole, with Ministry set for the end of the year, SA has really held it Pamela Littky

down in the live show department this year. Adding to the list is the Grammy-nominated group The Internet, one of the best R&B bands on the planet that you still may not have heard of. Back in 2015, they released a record called Ego Death, and it pretty much said, “Hi, hello, R&B is far from over, folks.” Not too long ago, singer-producer Syd and producer Matt Martians broke oﬀ from the LA-based hip-hop collective Odd Future and did their own thing, forming The Internet. And if you’ve listened to “Girl,” you know that THEY. DON’T. PLAY. With Moonchild. $32.50, 7pm, The Aztec Theatre, 104 N. St. Mary’s St., theaztectheatre.com. – CC

Now, if you remember how back in early 90s hip-hop stations would start playing slow jams around 10pm or 11pm, you may have heard Lisa Fischer’s “How Can I Ease the Pain,” which won her a Grammy. The track, and the record which the song came from, So Intense, garnered international attention, which in turn led to her lending her voice to a slew of rock ‘n’ roll artists, including Sting, Luther Vandross, Tina Turner and the Rolling Stones. Fischer even toured with Nine Inch Nails in 2013. This is deﬁnitely one of those shows you don’t want to pass up. $39, 8pm, Carver Community Cultural Center, 226 N Hackberry, thecarver.org. – CC

AKIKO FUJIMOTO + ERIC GRATZ 5 Friday, November 16

Courtesy of The Internet

This weekend, the San Antonio Symphony welcomes back former Associate Conductor Akiko Fujimoto, and spotlights renowned violinist Eric Gratz, for its performances of three rousing works. The oldest of the three pieces featured in this show, Antonín Dvořák’s

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CURRENT | November 14-20, 2018 | sacurrent.com

music | music Picks BOB SCHNEIDER q

SPARTA \

Austin-based singer-songwriter Bob Schneider’s career solo output, which began in earnest in 1999, after he had played for years as a member of several bands with surprisingly disparate sounds, is hallmarked by two major assets: his knack for adapting Americana forms without either copying or losing what’s best about them, and his consistency as a lyric writer and vocalist. You can hear the blues, funk, rock and pop of Schneider’s past on his albums, but all roads lead back down the dusty road of (sometimes sentimental) Texas country. His latest album, Blood and Bones, which came out in the summer, is his strongest and most complete eﬀort to date. It’s a testament to Schneider’s ability to follow his own interests and eschew the dictates of the mainstream. At this weekend’s show, attendees can expect a heavy dose of the new album as well as a smattering of selections from Schneider’s extensive back catalog. $15-$20, 9pm, John T. Floore Country Store, 14492 Old Bandera Rd., Helotes, liveatfloores.com. – JC

It seemed with At The Drive In’s reunion (minus Jim Ward) last year, speculation had it that a Sparta reunion would also take place. Anddddd, lucky us, that’s exactly what happened. The art-punk, post-hardcore band made up of At The Drive In members formed in 2001 after a combination of excessive hype, relentless touring and artistic diﬀerences contributed to the demise of ATDI. With Jim Ward at the helm, the band released a few albums over the years and went on hiatus in 2008. Releasing a track in 2012 and another in 2017, fans were stoked to ﬁnd out in November 2017 that a new lineup would be announced, consisting of returning members Jim Ward, Matt Miller and Gabriel Gonzalez, along with a new member – Cully Symington on drums. A new song, “Graveyard Luck,” was released on the same day. Another track, “Cat Scream,” was released in April with a tour announcement that included a San Antonio date this Saturday. If you dig that early 2000s, post-hardcore sound, you’ll want to be at this show. $17$19, 8pm, Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com. – CC

Saturday, November 17

Jen Vesp

TEENS ON A MISSION FESTIVAL W/ FEA p Sunday, November 18

The High Voltage Music Program, S.A.’s nonproﬁt equivalent to the School of Rock, will turn the mic over to teens for a free fest highlighting young performers, artists and artisans. Rescheduled after an October rainout, the Teens on a Mission showcase will raise money for High Voltage, a free IDEA South Flores after-school program that lets kid rockers learn from the scene’s old pros. High Voltage students will perform throughout the day with Chicana punk band Fea closing out the evening. In addition to the headliner, the bill includes Z-Pocalypse, a rock outﬁt comprised of High Voltage students, and Tiarra Girls, an Austin-based teen trio produced by award-winning Austin producer AJ Vallejo. Free, 1-8 pm, Rock Box, 1223 E. Houston St., (210) 677-9453, therockboxsa.com. – CC

High Road Touring

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music | calendar WEDNESDAY, NOVEMBER 14

CRYSTAL BOWERSOX

American Idol runner-up Crystal Bowersox, like the Clay Aikens and Chris Daughtrys before her, is proving that being second place isn’t a death sentence. Known for being outspoken on bisexuality, diabetes and childhood abuse, all with a country twang, the dreadlocked Bowersox was too edgy for the polished game show – and she’s proud of it. $34.50-$65, Tobin Center for the Performing Arts, 7:30pm

Gunther Hotel, thus making San Antonio a part of the myth. To commemorate the three-day recording session, the San Antonio Blues Society puts on an annual concert featuring the best blues musicians of today paying tribute to one of the greatest of all time. $20$50, Sam’s Burger Joint, 8pm

THURSDAY, NOVEMBER 15

OTTMAR LIEBERT 5

You might want to bring a pillow and veg out at this ambient showcase: Ottmar Liebert, a German-born, Spanish-learned ﬂamenco guitarist will soothe the soul with his guitar mastery, and his backing band, Luna Negra, is sure to rock you away into a new-age dreamland. $25-$45, Aztec Theatre, 7pm

FRIDAY, NOVEMBER 16

THE CONTORTIONIST

Though not a household-name, The Contortionist is revered in “progressive metal” circles for their inventive sound that deviates from metal archetypes and complex thematic albums, and on their “Reimagined” tour, they will give their fans both a full-band concert extravaganza and an intimate, strippeddown performance. With Intervals. $22-$25, Alamo City Music Hall, 6pm

THE ATARIS

Best known for early-aughts pop punk masterpiece So Long, Astoria, The Ataris are riding oﬀ the success of their emo heyday – their last album Welcome the Night was released in 2007. But with the only original member remaining, founder and chief songwriter Kris Roe, The Ataris are sure to transport you back to a simpler time when Hot Topic was edgy and music-torrenting site LimeWire destroyed everyone’s computers. With The Queers and The Riptides. $20, Paper Tiger, 8pm

SATURDAY, NOVEMBER 17

ROBERT JOHNSON S.A. SESSIONS WITH SHAWN PITTMAN AND JASON MOELLER Faustian blues legend and ﬁrst member of the 27 Club, Robert Johnson made a pit stop in the Alamo City in 1936 for a legendary recording session at the

Luis Alvarez

BRENTON WOOD, BARBARA MASON: 50-YEAR ANNIVERSARY OF ME & YOU CONCERT

Hitmakers of the ‘60s and ‘70s are going to make San Antonio groove to the sounds of the golden age of soul. Featuring headliners Brenton Wood (hits include “Oogum Boogum Song” and “Gimme Little Sign”) and Barbara Mason of “Yes, I’m Ready” fame. Other artists include Lisa Lisa, MC Magic, Legendary Intruders, Tierra, Soto and the Floaters. $50.50-$73.50, Illusions Theatre at the Alamodome, 7pm

SUNDAY, NOVEMBER 18

BOYS TO MEN

Not to disappoint you, but Boyz II Men, famed R&B quartet, isn’t performing. Instead, we have the Children’s Chorus of San Antonio treating us to the majestic harmonies of prepubescent cherubs learning from accomplished professional singers – you know, to honor the male voice through the stages of life. Again, don’t come expecting the sexy swagger of Boyz II Men. Free, Tobin Center of the Performing Arts, 4pm

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It can’t be and it isn’t, TIED, because no woman in her right mind is going to let some man she’s never met before tie her up in a hotel room. That’s not to say it couldn’t happen or hasn’t ever happened, but women stupid enough to take that risk are rare – and it should go without saying that any singles website promising to provide lonely guys with an endless stream of stupid women is a scam. But you don’t have to take my word for it. Justin Gorbey is a bondage practitioner and educator, as well as a professional artist and tattooer. Gorbey ties up a lot of women, as you can see on his Instagram account (@daskinbaku), and he doesn’t think you’re going to find someone on a “bondage singles” site, either. “I would recommend this person step away from the dating sites and step into some educational group meet-ups or ‘munches,’” said Gorbey. “TIED or any new person should focus on groups that match their own desires/interests, and connections will develop organically with time and effort—with a lot of fucking time and effort!” Kink social and education groups organize online but meet up offline – faceto-face, IRL, in meatspace – at munches (educational talks, no actual play) and play parties (actual play, hence the name). To find the kink organization(s) in your area, TIED, Gorbey suggests that you create a profile on FetLife, the biggest social network for kinky people, and start connecting with other like-minded kinksters at munches. “Going to munches will not only give TIED a chance to meet people,” said Gorbey, “they’ll give him a ‘guide’ for how to act – most groups generally go over house safe words/etiquette/rules and consent/risk awareness at the beginning of a munch – and they’ll also give what I call a ‘visual vocabulary’ of what a real-life

scene looks like. Porn and fetish fantasy often distort our perceptions of what is plausible or even possible for real people in a real-life scenario. Just watching others play helped me identify the things I found attractive as both a top and a bottom.” There are lots of men and women out there who are interested in bondage, TIED, and the organized kink scene is the best place to find safe and sane play partners. You’ll be able to interact with kinky women at munches and parties, women who will be a lot likelier to let you tie them up after you’ve demonstrated you’re safe and sane yourself. “There are hours of intimacy before and after the moment captured for an Instagram photo,” said Gorbey. “These relationships require trust, vulnerability, and communication. These acts require a lot of hard work and commitment, and they expose a person to risk. That’s why the only responsible answer to TIED’s question is to seek education first and play partners second.” Justin Gorbey teaches workshops and intensives on a number of subjects centering on bondage and power exchange dynamics. To see his work and learn about his workshops, follow him on Instagram @daskinbaku.

I’m a monogamous woman in a committed relationship with a nonmonogamous man. I try to be cool about his other relationships, but I’m trying to figure out how to bring some fire back into ours. I miss oral sex, but that’s not on the table because he “doesn’t like” how I taste. I’ve suggested bondage and anal, but he says he’s “too tired.” He can make plans with others to have exciting new experiences, but he doesn’t have any energy for me. I’m at a loss. Counseling is not an option for us because he doesn’t believe in that stuff. Any suggestions? Seeking Adventurous Monogamishamy

Yes, stop doing his laundry or paying his rent or preparing his meals – stop doing whatever it is you’re doing that your shit boyfriend values and is reluctant to give up, SAM, because it’s clear he doesn’t value you. DTMFA.

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

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

“Ride Share”– an inconvenient place to park. ACROSS

55 Biol. or anat.

13 Big bomb trial, briefly

1 Backtalk

58 “___ in every garage”

18 Business letter encl.

5 Order on an order

59 Conservational prefix

22 Actress Phillips

9 Lion in the Narnia books

60 Rowan Atkinson character (or a clue

26 Blog post

14 Feel certain

for 28-Across)

27 ___ Lisa

15 Barely grilled

62 Carl who hosted the original “Cosmos”

28 “Hold on a ___!”

16 Link’s “Good Mythical Morning”

64 Modern urban vehicles whose brand

30 Gp. before the gate

partner

names have been parked in the middle

31 Totally cool

17 Star of the BBC’s Luther

of the three theme entries

32 In one piece

19 Shaw of the Big Band Era

66 Supreme Court Justice Kagan

34 What a QB tries to gain

20 Reconfigure a hard drive

67 Internet explorer?

35 Great buy

21 Royal ball

68 Part of 61-Down

37 Got together with

23 Beliefs, for short

69 Element tested for in home inspections

38 He-bear, to Hernando

24 Morsel at the bottom of a fast-food bag

70 One-named Sao Paulo-born athlete

40 Croupier’s collection

25 Citrus-flavored dessert (with some-

71 Japanese buckwheat noodle

41 What ___ About You (mid-2000s WB

thing parked in the middle)

sitcom)

28 Portrayer of Ned on Game of Thrones

DOWN

42 Sudoku grid line

29 Word after bad or Dad

1 Flat-bottomed rowboat

47 Monsieur de Bergerac

30 Quiz option

2 Conjunctions seen with a slash

49 “I give!”

33 Chicken giant

3 Word inevitably used in a stereotypical

50 100 cents, in Cyprus

36 Controversial agribusiness letters

Canadian impersonation

51 It fires electrodes

39 Place for avians to thrive (with some-

4 Do the butterfly

52 Florida city home to John Travolta

thing parked in the middle)

5 Franklin with the 1982 album “Jump to It”

53 Freeze, as a windshield

43 Tack on

6 Jimmy Kimmel’s cousin who makes

54 Western law enforcement group

44 “Stargate Universe” actress Levesque

frequent appearances on his show

55 “___ evil ... “

(OK, fine ... the mom from Family Ties)

7 “Day” observed the last Friday in April

56 Native Trinidadian, maybe

45 No longer fooled by

8 Bubble tea tapioca ball

57 Prefix for gram or Pot

46 Show starter?

9 “Altar” constellation

61 Heat measurements, for short

48 Over again

10 Piercing cry

63 Photog Goldin

51 “Darlin’” classic kids’ song (with

11 Tutorial opener, maybe

65 Disney collectible

something parked in the middle)

12 One Day at ___

ANSWER ON PAGE 15

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etc FREE WILL ASTROLOGY BY ROB BREZNY ARIES (March 21-April 19): Interior designer Dorothy Draper said she wished there were a single word that meant “exciting, frightfully important, irreplaceable, deeply satisfying, basic, and thrilling, all at once.” I wonder if such a word exists in the Chamicuro language spoken by a few Peruvians or the Sarsi tongue spoken by the Tsuu T’ina tribe in Alberta, Canada. In any case, I’m pleased to report that for the next few weeks, many of you Aries people will embody and express that rich blend of qualities. I have coined a new word to capture it: tremblissimo. TAURUS (April 20-May 20): According to my astrological intuition, you’re entering a phase when you will derive special benefit from these five observations by poet and filmmaker Jean Cocteau. 1. “There are truths that you can only say after having won the right to say them.” 2. “True realism consists in revealing the surprising things that habit keeps covered and prevents us from seeing.” 3. “What the public criticizes in you, cultivate. It is you.” 4. “You should always talk well about yourself! The word spreads around, and in the end, no one remembers where it started.” 5. “We shelter an angel within us. We must be the guardians of that angel.” GEMINI (May 21-June 20): Adolescence used to be defined as a phase that lasted from ages 13 to 19. But scientists writing in the journal The Lancet say that in modern culture, the current span is from ages 10 to 24. Puberty comes earlier now, in part because of shifts in eating habits and exposure to endocrine-disrupting chemicals. At the same time, people hold onto their youth longer because they wait a while before diving into events associated with the initiation into adulthood, like getting married, finishing education, and having children. Even if you’re well past 24, Gemini, I suggest you revisit and reignite your juvenile stage in the coming weeks. You need to reconnect with your wild innocence. You’ll benefit from immersing yourself in memories of coming of age. Be 17 or 18 again, but this time armed with all you have learned since. CANCER (June 21-July 22): Cancerian baseball pitcher Satchel Paige had a colorful career characterized by creative showmanship. On some occasions, he commanded his infielders to sit down and loll on the grass behind him, whereupon he struck out three batters in a row—ensuring no balls were hit to the spots vacated by his teammates. Paige’s success came in part because of his wide variety of tricky pitches, described by author Buck O’Neil as “the bat-dodger, the two-hump blooper, the four-day creeper, the dipsy-do, the Little Tom, 50

the Long Tom, the bee ball, the wobbly ball, the hurry-up ball and the nothin’ ball.” I bring this to your attention, Cancerian, because now is an excellent time for you to amp up your charisma and use all your tricky pitches. LEO (July 23-Aug. 22): “Everyone tells a story about themselves inside their own head,” writes fantasy author Patrick Rothfuss. “Always. All the time. We build ourselves out of that story.” So what’s your story, Leo? The imminent future will be an excellent time to get clear about the dramatic narrative you weave. Be especially alert for demoralizing elements in your tale that may not in fact be true, and that therefore you should purge. I think you’ll be able to draw on extra willpower and creative flair if you make an effort to reframe the story you tell yourself so that it’s more accurate and uplifting. VIRGO (Aug. 23-Sept. 22): In describing a man she fell in love with, author Elizabeth Gilbert wrote that he was both “catnip and kryptonite to me.” If you’ve spent time around cats, you understand that catnip can be irresistible to them. As for kryptonite: it’s the one substance that weakens the fictional superhero Superman. Is there anything in your life that resembles Gilbert’s paramour? A place or situation or activity or person that’s both catnip and kryptonite? I suspect you now have more ability than usual to neutralize its obsessive and debilitating effects on you. That could empower you to make a good decision about the relationship you’ll have with it in the future. LIBRA (Sept. 23-Oct. 22): “I had to learn very early not to limit myself due to others’ limited imaginations,” testifies Libran astronaut Mae Jemison. She adds, “I have learned these days never to limit anyone else due to my own limited imagination.” Are those projects on your radar, Libra? I hope so. You now have extra power to resist being shrunk or hobbled by others’ images of you. You also have extra power to help your friends and loved ones grow and thrive as you expand your images of them. SCORPIO (Oct. 23-Nov. 21): The U.S. is the world’s top exporter of food. In second place is the Netherlands, which has 0.4 percent as much land as the U.S. How do Dutch farmers accomplish this miraculous feat? In part because of their massive greenhouses, which occupy vast areas of non-urbanized space. Another key factor is their unprecedented productivity, which dovetails with a commitment to maximum sustainability. For instance, they produce 20 tons of potatoes per acre, compared with the global average of nine. And they do it using less water and pesticides. In my long-term outlook for you Scorpios, I see you as having a metaphorical

CURRENT | November 14-20, 2018 | sacurrent.com

similarity to Dutch farmers. During the next 12 months, you have the potential to make huge impacts with your focused and efficient efforts. SAGITTARIUS (Nov. 22-Dec. 21): “The world is like a dropped pie most of the time,” writes author Elizabeth Gilbert. “Don’t kill yourself trying to put it back together. Just grab a fork and eat some of it off the floor. Then carry on.” From what I can tell about the state of your life, Sagittarius, the metaphorical pie has indeed fallen onto the metaphorical floor. But it hasn’t been there so long that it has spoiled. And the floor is fairly clean, so the pie won’t make you sick if you eat it. My advice is to sit down on the floor and eat as much as you want. Then carry on. CAPRICORN (Dec. 22-Jan. 19): Novelist Anita Desai writes, “Isn’t it strange how life won’t flow, like a river, but moves in jumps, as if it were held back by locks that are opened now and then to let it jump forward in a kind of flood?” I bring this to your attention, Capricorn, because I suspect that the locks she refers to will soon open for you. Events may not exactly flow like a flood, but I’m guessing they will at least surge and billow and gush. That could turn out to be nerve-racking and strenuous, or else fun and interesting. Which way it goes will depend on your receptivity to transformation.

AQUARIUS (Jan. 20-Feb. 18): “Miracles come to those who risk defeat in seeking them,” writes author Mark Helprin. “They come to those who have exhausted themselves completely in a struggle to accomplish the impossible.” Those descriptions could fit you well in the coming weeks, but with one caveat. You’ll have no need to take on the melodramatic, almost desperate mood Helprin seems to imply is essential. Just the opposite, in fact. Yes, risk defeat and be willing to exhaust yourself in the struggle to accomplish the impossible; but do so in a spirit of exuberance, motivated by the urge to play. PISCES (Feb. 19-March 20): “Never invoke the gods unless you really want them to appear,” warned author G. K. Chesterton. “It annoys them very much.” My teachers have offered me related advice. Don’t ask the gods to intervene, they say, until you have done all you can through your own efforts. Furthermore, don’t ask the gods for help unless you are prepared to accept their help if it’s different from what you thought it should be. I bring these considerations to your attention, Pisces, because you currently meet all these requirements. So I say go right ahead and seek the gods’ input and assistance.

THIS MODERN WORLD BY TOM TOMORROW

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