San Antonio Current — October 19, 2022

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34 Music ‘Break It and Rebuild It’

Puscifer’s Maynard James Keenan talks happy accidents ahead of the band’s San Antonio concert

Alone Again

Former Girl in a Coma frontwoman

Nina Diaz got a confidence boost in recording her second solo album

Tropical-Flavored Mind Candy

Os Mutantes brings its influential Brazilian psych to San Antonio’s Paper Tiger

Critics’ Picks

23 Feature

Holding Up Humanity

New exhibitions at San Antonio’s McNay examine trials faced by Black and Brown people in the U.S.

09 News

The Opener News in Brief

Union Shield

There’s a reason two recent San Antonio police shootings had different outcomes, activists say

Weeding Out Restrictions

The CEO of one of Texas’ three medical cannabis suppliers talks about changes he wants from state lawmakers

Bad Takes

San Antonio radio host’s defense of Herschel Walker is disingenuous flatulence of the highest order

Calendar

23 Arts

Artist Conversation: Margarita Cabrera

Screens

Dead Meat

San Antonio native Joe Castro holds world record for highest body count in a slasher film

28 Food

The Midas Touch

More than what glitters is gold at appropriately named Southtown restaurant Up Scale

Sweet Success

San Antonio-based vegan bakery Southern Roots hopes to build on a surprise surge in business

Hot Dish

Social Studies

On the Cover: Texas artist

Deborah Roberts’ collage An Act of Power is one of the works on display in a pair of new McNay exhibits. Photo: Robert Collier Beam. Design: Samantha Serna.

Courtesy Photo / McNay Art Museum

BENEFITING

That Rocks/That Sucks

HThe San Antonio Spurs extended an arena naming rights deal with AT&T after failing to find a new partner. The Spurs hired the firm Legends Global Partnership last year to help land a new partner for the AT&T Center, but that search has so far been unsuccessful. In the meantime, the Spurs signed a one-year extension with AT&T.

HBexar County Sheriff Javier Salazar confirmed that the 49 migrants flown from San Antonio to Martha’s Vineyard by Florida Gov. Ron DeSantis were victims of a crime. That makes it likely the migrants can qualify for U visas, which are granted to those who are victims of a crime or witness one. Salazar said those who boarded the plane to Massachuse s were drawn there under false pretenses.

HTexas Democrats are furious after Axios reported that the House Majority PAC, the top Democratic PAC for U.S. House races, canceled ad reservations in the 15th Congressional District that runs from outside San Antonio to the border. The Democratic Congressional Campaign Commi ee isn’t running TV ads for Democratic nominee Michelle Vallejo either. “If we lose this election, it’s completely on them,” Texas Democratic Party Chair Gilberto Hinojosa said.

The Texas Department of Transportation (TxDOT) is requesting federal funding for rail corridors that connect San Antonio to Austin, Houston and Dallas. A new TxDOT filing shows that the department is proposing increased service on the Texas Eagle line between San Antonio and Dallas and on the Sunset Limited line between San Antonio and Houston. It’s also seeking to increase use of the Texas Eagle South line running to the Rio Grande Valley. — Abe Asher

Praising Kanye’s antisemitism with former Texas Rep. Jonathan Stickland

Assclown Alert is a column of opinion, analysis and snark.

Grammy-winning-rapper-turned-controversy-courting-troll Kanye West had a banner month for saying stupid and offensive shit.

He drew the ire of the fashion world by posing in a “White Lives Ma er” T-shirt at his latest runway show, and during a Fox News appearance made the claim that clothing brand The Gap, with whom he has a beef, knew about the Uvalde shooting before it happened.

He saved his most outrageous statement for Twi er, however, earning a ban from the platform by tweeting a threat to go “death con 3 On [sic] JEWISH PEOPLE.” Despite making what sounded an awful lot like a threat to kill Jews, Kanye explained how he wasn’t racist: “The funny thing is I actually can’t be Anti Semitic [sic] because black people are actually Jew [sic] also.”

As expected, the Twi er tirade prompted widespread condemnation from anyone from the Anti-Defamation League to Ariana Grande. One notable exception: former Republican Texas House member Jonathan Stickland, who gleefully thanked Ye for the tweet since it would cause leftists to lose their shit. Or something.

“The left is freaking out, will overreact, and make things worse,” tweeted Stickland, who describes himself as a “Christian conservative liberty loving Texan.” (No commas needed on

the platform, apparently.) “Thankful for those ‘challenging authority,’ by asking questions. w/ @elonmusk & @kanyewest #onward.”

Sounds about par for the course for Stickland, the bloviating buffoon who was in the Texas House six years before finally managing to get bill passed in 2019.

Around that time, Texas Monthly dubbed him the state’s “loudest and least effective legislator,” pointing out that the same day his proposal passed, he unleashed a shitstorm by accusing one of Texas’ leading vaccine scientists of “sorcery.”

In his Twi er profile, Stickland describes himself as a “recovering politician.” Perhaps he also should add one more identifier: “full-time assclown.” — Sanford Nowlin

news

— U.S. Rep. Joaquin Castro

D-SanAntonio, on a press call urging Meta, Google and others to rein in election misinformation directed at Spanish-speaking voters

The former San Antonio police officer who shot and wounded 17-year-old Erik Cantu in a McDonald’s parking lot has been arrested and charged with two counts of aggravated assault by a public servant. Police Chief William McManus said that the case against James Brennand is now in the hands of the Bexar County District A orney’s office. Brennand fired 10 rounds at Cantu in an incident on October 2, hi ing him several times. As of press time, Cantu remains on life support.

A state district judge has ordered Bexar County to open dozens of voting sites ahead of the midterm elections to comply with state law. The county originally proposed cu ing its number of voting sites from 302 to 259, but Visiting Judge Martha Tanner ruled last week that the county must operate 388 sites. The ruling is a victory for progressives, who backed the Texas Civil Rights Project’s lawsuit — Abe Asher

coverage

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YOU SAID IT!

“I’ve been disappointed to see [social media companies] tolerate lies in Spanish that would never be tolerated in English.”

Twitter / @RepStrickland

Facebook / San Antonio Police Department

Union Shield

There’s a reason two recent San Antonio police shootings had different outcomes, activists say

BY MICHAEL KARLIS

Last week, protesters from Act 4 SA and the Party for Socialism and Liberation descended on the San Antonio Police Department’s downtown headquarters, calling for the arrest of officer James Brennand.

Brennand was the now-former SAPD officer who made national headlines when he shot and wounded 17-year-old Erik Cantu as the unarmed teen ate a burger in a McDonald’s parking lot. As of press time, Cantu remains on life support.

Less than an hour after the protesters headed home, Police Chief William McManus announced that the department had filed two felony counts of aggravated assault by a peace officer against Brennand.

Although those charges appear to be a victory for protesters, police accountability advocates said Brennand’s charges are an anomaly, which they a ributed to his rookie status and lack of union representation.

“It’s much easier to fire this officer and for him to stay fired because he isn’t covered by the union,” said Ananda Tomas, founder and executive director of police accountability nonprofit Act 4 SA.

Among those present at the protest demanding justice for Cantu was the family of 13-year-old AJ Hernandez, who was shot and killed by SAPD Officer Stephen Ramos in June. Hernandez was the second civilian killed by Ramos in two years.

And although the shootings of Cantu and Hernandez have striking similarities — they both a racted national a ention and involved teens behind the wheel — Ramos remains on paid administrative duty.

Similar cases

Only three months apart, Ramos and Brennand claimed to have fired their weapons in self-defense. Ramos said he shot at the vehicle Hernandez was in after it T-boned a colleague’s cruiser — something the officer said posed a threat to his fellow officer.

Brennand initially told SAPD that he fired his weapon after he was struck by Cantu’s vehicle as the teen tried to flee the scene.

However, police accountability advocates said body cam footage from both incidents appear to contradict the officers’ statements.

During a June press conference, Lee Merri , the high-profile civil rights a orney representing Hernandez’s family, told reporters that the vehicle struck the police cruiser at a speed of no more than two miles per hour. That narrative appears to align with the eyewitness account of Jesse Hernandez, a neighbor who told the Express-News that he didn’t see any

damage to the cruiser.

Unlike Ramos’ body cam footage, Brennand’s was released to the public. It’s unclear from that footage whether Cantu’s car struck the officer.

Despite those similarities, several months after the incident, Hernandez’s family members said they’re upset the case has yet to be brought before a grand jury.

Hernandez’s aunt, Stephanie Martinez, told the Current Brennand is being offered as SAPD’s sacrificial lamb.

“If [Brennand] wasn’t on a probationary period, we would have a different outcome; he’d be on administrative duty just like Ramos,” Martinez said. “It’s like Chief McManus said, he’s not protected by the union. He cannot appeal his case, he’s basically on his own.”

Rookie problem

Rookie officers like Brennand must complete a year-long probationary period before being eligible for the benefits provided by the police union.

Without union representation, Brennand must find his own lawyer. What’s more, he’s not entitled to appeal his termination from the department via arbitration, a process which if nothing else, can delay terminations and court hearings for months, if not years.

“You look at AJ’s case, and this is the second person that Officer Ramos has shot and killed,” Act 4 SA’s Tomas said. “But Brennand isn’t covered by the union, and I really think that those are two of the largest

factors here for why they’re being treated differently.”

A primary example of the power of the San Antonio Police Union is former Lt. Lee Rakun, said Tomas.

Rakun was fired by SAPD seven times during his 27year tenure on the force, winning his job back each time via arbitration.

He was finally compelled into retirement in 2020, but not before receiving $447,000 in compensation — a cumulation of base pay, medical benefits, accrued leave and other incentives, according to an Express-News report.

Of the 71 SAPD officers fired between 2010 and 2020, 10 were returned to the force by an arbitrator, and 20 were brought back by the police chief, according to the San Antonio Report.

Only 26 of the 71 terminated left SAPD, with only half being forced out after losing their appeal, according to data reviewed by the online news source.

Although Brennand was arrested and charged with two counts of aggravated assault, Tomas and Martinez don’t believe it’s reason to celebrate.

“It’s not progress, because if there was progress, these other victims, along with my nephew, would see the same outcome,” Martinez said. “I just want justice for my nephew, I just want equal treatment for everyone.”

Michael Karlis

MAnanda Tomas of Act 4 SA speaks during a protest in front of the San Antonio Police Department’s headquarters.

Weeding Out Restrictions

The CEO of one of Texas’ three medical cannabis suppliers talks about changes he wants from state lawmakers

BY SANFORD NOWLIN

Cannabis advocates were encouraged last month when the speaker of the GOP-controlled Texas House expressed support for lowering penalties for marijuana possession.

During an appearance at the Texas Tribune Festival, House Speaker Dade Phelan, a Republican, said he was comfortable with revised weed penalties being part of a larger debate over criminal justice reforms during the next session, which starts in January.

Phelan’s statement comes after Texas’ medical marijuana industry won a victory during the 2021 legislative session that allowed it to broaden the number of people it serves, including all cancer patients.

Advocates are now pushing the Department of Public Safety to streamline

rules for the state’s so-called Compassionate Use Program. The industry also is expected to ask lawmakers during the upcoming session to further expand the scope of the program to include those suffering from chronic pain.

We caught up with Morris Denton, CEO of Texas Original Compassionate Cultivation, one of just three medical cannabis suppliers approved under the state program, to see what the prognosis is for expansion of medical cannabis during the next session.

This interview has been edited for length and clarity.

From an industry perspective, it must be encouraging to hear House Speaker Dade Phelan talk about the need for reform. However, fellow

Republican Lt. Gov. Dan Patrick has been a longtime roadblock in the Texas Senate. Is there any reason to be optimistic that Patrick has changed his mind on cannabis?

Well, I think there’s a lot of things that are happening on this issue all around him and all around the state of Texas from a political perspective. And what is really happening is that there’s a tremendous ongoing groundswell of support within the Republican Party for advancing safe and legal access to medical cannabis. The Republican Party in the state of Texas, by a wide margin, supports legalizing medical cannabis. And when you start to see the kinds of numbers that support it, eventually legislators either get caught up to that and embrace the changing reality or over perhaps a longer period of time, you’ll get a new set of faces in the capitol.

The polls have shown strong support, even among Republicans.

Widespread. It’s very widespread support. And that combined with just the ongoing amount of consistent feedback from the people of the state of Texas that are participating in the program and how medical cannabis has changed their lives. It’s a very com-

pelling story. And when you have the kind of widespread political support within your own party on an issue that has tremendous credibility and efficacy in its impact as medicine, it’s a winwin-win. You’re not going to go wrong by saying, “Hey, we’re going to get on board and we’re going to support this. ... We want to create the right kind of regulatory framework and environment that allows for businesses to be successful and not to have the type of challenges that we see popping up in other states that went too fast.” That’s a regulatory issue, that’s not a policy issue. So, I’m optimistic ... that we will get continued improvement in the program. I think there’s tremendous support for it. I think all the Democrats are there, and I think the vast majority of Republicans are there. And I do think that the lieutenant governor will do what’s in the best interest of his constituents in the state of Texas, which means he’ll get behind expanding and improving the Compassionate Use

Courtesy Photo / Texas Original Compassionate Cultivation

MCEO Morris Denton, left, looks at plans for Texas Original Compassionate Cultivation’s growing facility.

Program in the 2023 session.

What’s on your wish list? What changes that could be realistically passed could improve the Compassionate Use Program?

So, there are a number of rule changes that need to be made just to improve the overall functionality of the program, none of which take statutory changes. And, so, we’re working with the [Department of Public Safety] on some of those proposed rule changes.

What’s the biggest one that you’re talking with DPS about? I know one sticking point is not being able to store product overnight at the dispensaries you operate outside of your corporate headquarters.

Absolutely. That’s one of the top items from a rule perspective: having the ability to store inventory throughout the state of Texas — where it makes sense for us to store inventory as a business in order to get closer to our patients. Patient accessibility is a real issue that’s been limiting growth of the patient numbers in the state of Texas. And it’s not because there aren’t enough licensed dispensaries to take care of the people, it’s because we’re prohibited from storing inventory close to where our patients live.

And, so, it becomes a massive business challenge and logistical challenge when we’re being told, “Hey look, you have to ensure reasonable statewide access.” Which means that if there’s a patient in El Paso or in Amarillo, you’ve got to figure out a way to get them to medicine. “But we’re not going to make it easy for you, because we’re not going to allow you to store inventory anywhere except for the one location that you have wherever you are.” For us that’s in Austin. I mean look, I expect that will be one of the big things that will change.

What about changes that you’re looking for from the Texas Legislature? But from a statutory perspective ... there’s really just two big changes we’d like to see this session. One is that chronic pain should be added as a qualifying condition. ... What’s fascinating is that of all the indications, all the conditions, chronic pain is the one that has the most science and data that supports the efficacy of medical cannabis. And yet it’s the one condition that a lot of legislators view with suspicion because they think that it’s just a beard

for someone wanting to get high. So, we want to see chronic pain added. With the opioid epidemic that continues to just rage, with the fentanyl issue, with all the drugs coming across the border, with the addiction rates continuing to spike, with the number of overdose deaths in Texas continuing to climb, there’s got to be an alternative for doctors to be able to start their patients out on something that’s not, No. 1, so addictive. And, No. 2, so easy to abuse that it results in overdoses. And that’s cannabis. And again, the polling on that spikes very strong, especially if you characterize it as an alternative to opioids.

And then the other thing we want to see happen is we want to see the THC cap removed. Right now, we’re not allowed to produce a product that has more than 1% by weight. And it’s a

misunderstood, extraordinarily ineffective rule that I think was put in place because the legislators didn’t want people to be consuming high amounts of THC. Well, they thought that by adding the 1%-by-weight rule, that they would put a restriction on how much a person could take. That’s not the case. It hasn’t impacted a doctor in terms of how many milligrams of THC they want their patients to take for their given condition. It just has a negative impact on the patient, because they have to consume so much other stuff to get to the prescribed dose by their doctor.

From a patient perspective, it also seems like it’s going to increase the expense, right? Because if you need a certain dosage, you just have to take more of the individual gummies or whatever.

MWorkers at Texas Original Compassionate Cultivation staff hang harvested cannabis flower up so it can dry.

Correct. The analogy that we use ... is that if Advil had the same 1%-by-weight limit on ibuprofen in their tablets, in order for you to get to the target dose that is contained in two tablets of Advil at 1%, you would have to take 40 tablets. And, so, it just creates this ... unhealthy, unnecessary rule that really doesn’t do anything except for create problems for patients, both from a consumption perspective and then also an expense perspective. All these changes that we’re talking about making are all rooted in improving the experience for the patient.

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October 18 –November

Courtesy Photo / Texas Original Compassionate Cultivation

San Antonio radio host’s defense of Herschel Walker is disingenuous flatulence of the highest order

BY KEVIN SANCHEZ

Editor’s Note: Bad Takes is a column of opinion and analysis.

If you’ve ever trolled the backwaters of right-wing talk radio, you may have happened across the voice of Jack Riccardi, a host on San Antonio’s 550 KTSA for 20-plus years.

His right-wing shtick features toadying up to the likes of the My Pillow Guy and Lyin’ Ted Cruz as well as such genius-level gems as the claim that “Gregg Popovich hates Texas.”

Far be it for someone who writes a column called Bad Takes to deride the hustle of a fellow controversy entrepreneur. But Riccardi’s sage wisdoms on recent revelations surrounding U.S. Senate candidate for Georgia Herschel Walker truly take the cake.

To recap the scandal of the hour, as documented in The Daily Beast, Walker — a football star-turned-politician and self-avowed “proud pro-life Christian” — allegedly paid for his then-girlfriend’s abortion in 2009. In addition, Walker “urged her to terminate a second pregnancy two years later,” according to a subsequent New York Times report, which noted that she “ended their relationship after she refused.” Again, allegedly.

On Oct. 4, the day after the dirty laundry aired, KTSA’s The Jack Riccardi Show ran damage control as best its host could.

“Let’s say the abortion story is true,” Riccardi said during his broadcast. “So, Walker had a girlfriend 13 years ago, and he paid for her to have an abortion. Who exactly does he lose in terms of supporters? Does he lose his supporters? Do people that liked him and put his sticker on their car go out and scrape it off? ... Because, clearly, if he gets into the Senate, he’s a pro-life vote. If it’s about a Supreme Court nominee, he’s in favor of the pro-life nominee. So, I don’t know what the left thinks

they’re doing with this story.”

Walker has claimed that abortion is akin to murder. So, imagine he had murdered someone in cold blood 13 years ago. Would Republicans also overlook that peccadillo in their desperation to flip the Senate? Would even reporting such a story violate Riccardi’s highly refined journalistic scruples?

The AM radio jock continued his line of thought.

“Does Walker lose the possibility of [appealing to incumbent Sen.] Raphael Warnock’s voters or Democrats? Why? That’s the party that says you should be able to get an abortion any time right up to the moment of delivery. I don’t understand how they are calling him out on this. I know the Democrats think they have him in a ‘gotcha moment,’ but what does that say about their position on abortion if they are castigating him for paying for one?”

I know of no Democrat who said Walker should have estranged another kid. Supporters of reproductive choice aren’t castigating him for paying for an abortion, they’re castigating him for trying to deny a freedom to everyone else that he unashamedly enjoyed.

And, for the record, the U.S. Supreme Court’s 1973 decision in Roe v Wade didn’t mandate the right to an abortion for any reason “right up to the moment of delivery.” That’s a lie. Roe established that, after 28 weeks of pregnancy, states can ban abortions outright, except to protect a patient’s life.

“You can be against abortion and have had an abortion,” Riccardi went on. “You can be against abortion and have had a girlfriend or wife who got an abortion. I think people totally understand that. I don’t think that’s a dealbreaker.”

I agree. Just as you can be an environmentalist who flies to climate protests

by private jet. Hyper-focus on personal ethical failings often distracts us from the public policies we must implement together.

But if right-wing talk-radio hosts now plan to refrain from mocking those who share anti-capitalist memes via an iPhone or leftists who write bestselling books yet don’t immediately give all the proceeds away to charity, we should anticipate lots of dead air.

“Do Democrats think that we think our pro-life position is held only by lily-white saints — pardon the pun, I know Walker’s not white — but you know what I’m saying, right?” Riccardi went on with his spiel. “Like, I think maybe they perceive conservatives as people who have this sort of unrealistic idea that we live perfect lives. Is that a newsflash to the Democrats?”

Though he can leave one with the impression that he’s using the English language, closer inspection reduces many of Riccardi’s partisan rants to a series of disingenuous fart noises in sentential form. What’s at issue in the Walker allegations isn’t holding individuals to impossible standards but exposing self-serving applications of their own professed norms.

To cynically lament that “both sides are liars” or to humbly suggest that “we’ve all fallen short of the glory” are valid and earnest reactions to the mess-

iness of modern life and politics. But to deploy cynicism and humility only when it suits you is invariably ro en.

At the first whispers that Beto O’Rourke might run for governor in May of last year, for example, Riccardi openly called out the former El Paso congressman’s “life of privilege,” dismissing him as “another guy who wants to make the rules for everyone without ever having to live under them.”

But isn’t that exactly what Walker’s done by backing a nationwide ban on abortion? After all, it’s a rule he chose not to live under when it affected him. Walker has also consistently chastised fatherless households while apparently creating more than one of them.

“The perfect Democratic voter is the person who believes they can’t do anything, and the government has to do it for them,” Riccardi said in July 2019 after that election cycle’s first Democratic presidential debate. “That’s what the Democratic Party today stands for.”

Yet, with early voting beginning this month, it’s the Democrats, however hapless, who are all that stand in the way of a complete federal takeover of reproductive healthcare — plausibly including access to contraception as well — while today’s GOP believes the government must make our family planning decisions for us.

Twitter @HerschelWalker

DÍA DE LOS MUERTOS

Organizations across San Antonio are celebrating Día de los Muertos, or Day of the Dead, o ering residents and visitors a chance to pay tribute and remember loved ones lost over the years. Here’s a sample of the special events taking place throughout the city leading up to Día de los Muertos, which is celebrated November 1-2. — Kiko Martinez

DÍA DE LOS MUERTOS AT HEMISFAIR

Named one of the United States’ Seven Best Fall Festivals by National Geographic, Hemisfair’s Día de los Muertos celebration is now in its 10th year and includes two days of activities. The events include a fashion show featuring local designer Agosto Cuellar; a multi-band live music bill headlined by East LA rockers Los Lobos; a procession; poetry readings; workshops; food and vendor booths — and, of course, the display of homemade altars. Attendees are invited to submit photos to be included on the ofrenda of a community altar. In addition to Grammy-winning Los Lobos, other featured musical acts include Azul, Eddie & the Valiants, Piñata Protest and Santiago Jiménez Jr. Poets include Amalia Ortiz, Anthony the Poet, Tomas Castillo-Roque, Eddie Vega and Victoria Fennell. The festival will be broadcast from 8-10 p.m. Oct. 30 on KSAT and KSAT.com. Free, 10

a.m.-11 p.m. Saturday, Oct. 29, noon-9 p.m. Sunday, Oct. 30, Hemisfair, 630 Nueva St., muertosfest.com.

SPIRITLANDIA DAY OF THE DEAD FESTIVAL

Concerts, dance performances, culinary events and folk art are all part of Spiritlandia, scheduled for Oct. 27-30. “Embracing 3,000-plus years of rich cultural traditions, San Antonio’s Day of the Dead celebration is the largest in the USA, attracting more than 300,000 locals and visitors alike,” festival founder and chef Johnny Hernandez said in a press statement. “San Antonio is proud to be the nation’s definitive Day of the Dead destination. Each year, it gets bigger and better.” This year, the event will include San Antonio’s fourth annual Day of the Dead River Parade ($25-$50, 7 p.m. Thursday, Oct. 27). The parade will be the first nationally televised Day of the Dead event in the U.S. when it streams Nov. 1 on Peacock, according to organizers. Access Hollywood’s Mario Lopez is scheduled to host. Prices and times vary, Thursday, Oct. 27-Sunday, Oct. 30, La Villita, 418 Villita St., (210) 207-8614, dayofthedeadsa.com.

2022 DÍA DE LOS MUERTOS: CELEBRANDO LAS MISIONES

Hosted by the City of San Antonio’s World Heritage O ce, the fifth annual Celebrando Las Misiones will begin at the Mission San Jose Granary at 2 p.m. with the presentation of altars for the descendants of mission families. The event will include educational workshops and a native dance and drum procession leading participants to Mission Marquee

Plaza. A native blessing of community altars will take place once the procession reaches the plaza, and participants will be able to take in music by Joe Posada, Volcán, Chayito y Los Flamenco de San Antonio and Mariachi Azteca De América. A spoken word performance by poet and artist Amalia Ortiz and dance presentations by Ballet Folklorico Sol de San Antonio and Zombie Bazaar are also planned for the gathering, this year themed around “The Cycle of Life and Death.” Don’t forget to stay for interactive workshops, face painting, artisan vendors, food trucks and a screening of the celebrated 2014 animated film The Book of Life Free, 3-10 p.m. Saturday, Oct. 29, Mission Marquee Plaza, 3100 Roosevelt Ave., (210) 207-2111, missionmarquee.com.

BALLET NEPANTLA: MÍSTICA

New York City-based dance company Ballet Nepantla, co-founded by South Texas native Andrea Guajardo, will premiere its latest production, Mística, in San Antonio. The ballet honors Latino ancestors and Día de los Muertos through exceptional dance choreography, including a combination of Mexican folklórico, classical ballet and contemporary dance. Mística tells stories with variations on dances such as El Venado, Viejitos and others. “This production was created as a tribute to the lives lost during the peak of the COVID-19 pandemic,” Guajardo said in a press release. “Creating the show during the pandemic brought many challenges but it was all worth it.” $35, 8 p.m. Saturday, Oct. 29, Carver Community Cultural Center, 226 N. Hackberry St., (210) 207-7211, thecarver.org.

Reminder:

Although live events have

the COVID-19

FRIDAY OCTOBER 21

TICKETS ON SALE AT

Jaime Monzon

Jaime Monzon

Courtesy Photo / Ballet Nepantla

WED | 10.19

SPORTS SPURS VS. HORNETS

Over the course of his stellar 16-season NBA career, Spurs icon Manu Ginobili dished out an astounding 4,001 assists. However, last month in Springfield, Massachuse s, it was longtime teammate Tim Duncan who provided the assist, welcoming Ginobili into the Basketball Hall of Fame and completing the player’s unlikely journey from Bahía Blanca, Argentina. “In players like me, individual accomplishments are team honors,” Ginobili reminded the basketball royalty in a endance at the start of his enshrinement speech. It was an assessment all too familiar to those watching from San Antonio. Like Duncan, Ginobili’s humility and selflessness set the table for a Spurs dynasty whose influence still echoes throughout the league. Like Duncan, Ginobili played his entire career with the franchise, retiring as its all-time leader in steals and three-point field goals. Ginobili will be in a endance when the Spurs tip off its 50th season on Wednesday night against the Hornets. His retired jersey will be revealed with a Hall of Fame distinction at halftime. $22 and up, 7 p.m., AT&T Center, One AT&T Center Parkway, (210) 444-5000, a center.com. — M. Solis

SAT | 10.22

THEATER

MENOPAUSE THE MUSICAL

Las Vegas’ longest-running scripted musical show is a loud-and-proud celebration of sisterhood and sexuality. Menopause the Musical begins when four middle-aged women meet by chance at a Bloomingdale’s lingerie sale. Despite their starkly di erent backgrounds, each member of the quartet is stricken with grief about the passing of their younger, more carefree — and more “desirable” — self. Through parodies of Baby Boomer-era hits infused with comedic lyrics detailing the symptoms of menopause, the “fab four” protagonists come to understand that sexy has no age limit. $24.50-$74.50, 7:30 p.m., Tobin Center for the Performing Arts, 100 Auditorium Circle, (210) 223-8624, tobincenter.org. — Caroline WolFF

FRI | 10.21

THU | 10.20

FILM

THE GRAND BUDAPEST HOTEL

Wes Anderson’s comedy-drama The Grand Budapest Hotel (2014) follows the story of Zero, a lobby boy at the famous hotel of the film’s title. Zero befriends adored concierge Monsieur Gustave H., who regularly seduces the hotel’s wealthy older patrons. After a murder, all suspicions fall on Gustave. That’s when all the hijinks and intrigue expected from a Wes Anderson movie ensue. The Grand Budapest Hotel is especially notable for its use of vibrant colors — including reds, oranges and pinks — to convey the film’s mood and themes. Slab cinema is screeing the film in the garden at the Good Kind. Free, 7 p.m., The Good Kind Southtown, 1127 S. St. Mary’s St., (210) 801-5892, slabcinema.com. — Macks Cook

DRAG RUPAUL’S DRAG RACE NIGHT OF THE LIVING DRAG

Fresh from the latest seasons of the hit competition show RuPaul’s Drag Race, the stars’ glitz and glamour will meet horror in the 11th Annual Night of the Living Drag touring show. Denver-based queen Yvie Oddly — who won Drag Race season 11 and returned for All Stars season seven — leads the cast as “the Boogieman,” a character who has returned from the flames of Hell to hunt the souls of seven sinful queens, among them Aquaria the Sloth, Bosco the Lusting and Kim Chi the Glu on. Inspired

leaus, state-of-the-art lighting and a spook-tacular sound system. We advise audiences to prepare themselves to be dragged into the deepest depths of the Boogieman’s Hell.” $49.50-$125, 8 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-3333, majesticempire.com.

Karly Williams

SAT | 10.22

COMEDY

DAVID SPADE

David Spade got his start in the ’90s on Saturday Night Live, where he excelled at depicting characters who dripped with sarcasm. One of his most memorable creations was a steward for Total Bastard Airlines, who insulted departing passengers with a mocking “buh-bye” — something that briefly blossomed into a pop-culture catchphrase before “Bye, Felicia” caught on. Spade went on to co-star in 1995’s Tommy Boy and 1996’s Black Sheep with the late Chris Farley, another SNL alum of the same era. In the early 2000s, Spade starred in the sitcom Just Shoot Me! and moved into voiceovers for animated films. He’s still a regular

by the Italian poet Dante’s 14th-century epic Divine Comedy, the show will lead the divas through the seven circles of Hell ahead of All Hallow’s Eve. “We are pulling out all the stops with this production,” said Brandon Voss of Voss Events, the production company behind the show. “It will be an immersive experience with horrifying tab-

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Courtesy Photo / GFour Productions

20th Century Fox Home Entertainment

Courtesy Photo / Majestic Theatre

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on late night shows and podcasts, where he regularly leaves hosts in stitches. If you want to get a sense of Spade’s comedic chops, look for the video of him telling anecdotes on Jimmy Kimmel Live! about the times he’s “run into” Sir Paul McCartney. $45.25-$125, 8 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-3333, majesticempire.com. — Mike McMahan

SUN | 10.23

COMEDY

STEVE MARTIN & MARTIN SHORT

In case you haven’t been keeping up with these two legendary comedians’ recent exploits, Steve Martin co-created and stars in Hulu’s current hit mystery-comedy-drama Only Murders in the Building, which features him playing straight man to Martin Short’s memorably over-the-top role as a failed Broadway producer. However, the pair’s laugh-inspiring collaborations date back much further and include the 1986 comedy Three Amigos! The comedians also worked together on a 2015 standup tour that drew a guest appearance from recently retired David Le erman when it stopped in the Alamo City. Their work together also yielded the Netflix special An Evening You Will Forget for the Rest of Your Life. Expect the pair’s latest SA show to include anything from humous reminiscences about their time in the trade to bizarro characters to Martin’s impeccable banjo playing. $275-$500, 7:30 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-3333, majesticempire.com. — MM

SAT | 10.29

SPECIAL EVENT INDIA FEST

With events ranging from Bollywood dance performances and a fashion show to a Parade of States highlighting the diverse regions of the South Asian subcontinent, India Fest o ers something for everyone. Foodies will be able to sample regional Indian cuisine as well as the country’s addictive street foods. Fashionistas can visit henna stations, fashion displays and engage in sari wrapping. Whether visitors are looking for colorful home decor or prepping for Christmas, India Fest also promises an array of goods for sale, ranging from clothing and jewelry to handmade art objects. The joyous and colorful outdoor festival is appropriate for all ages, and the performances and celebrations are expected to run into the night. Free, 3-10 p.m., Rolling Oaks Mall, 6909 N. Loop 1604 East, indiasa.org. — MC

SPURS VS. BULLS

Heading into Bulls training camp, former Spur DeMar DeRozan reflected on his three-season tenure in San Antonio. “I developed in a lot of

great ways as a basketball player, but in the same token, I just felt nonexistent for those years,” DeRozan told The Old and the Three podcast. “It wasn’t like we was on TV, we wasn’t competing. There was so much to it that was a struggle.” As the Spurs embrace a rebuild, the struggle is real for a fanbase that only has one nationally televised game scheduled for the season: its Jan. 13 matchup against the defending champion Golden State Warriors in the Alamodome. With Gregg Popovich’s all-time coaching wins record in the rearview mirror, San Antonio appears intent on joining the Houston Rockets and Oklahoma City Thunder in a race to the bo om to see which gets to draft generational talent Victor Wembanyama next June. Barring breakout seasons from lo ery picks Joshua Primo and Devin Vassell, San Antonio’s roster seems to lack the playmaking and scoring ability to compete in the NBA on a nightly basis. $24 and up, 7:30 p.m., AT&T Center, One AT&T Center Parkway, (210) 444-5000. — MS

FRI | 10.28

SPECIAL EVENT MAYHEM AT THE MANSION

The McNay Art Museum’s annual 21-and-up Halloween party, Mayhem at the Mansion, gives a endees an excuse to dance the night away with vampires, witches and artists awoken from the dead. Revelers should

come dressed in their best gli er and gore to impress drag queen Alayna Marquez, the judge of the event’s costume contest. They’ll also get a chance to enjoy sweet and savory bites that bite back. While three beverages are included in the admission price, imbibers can also quench their thirsts — for anything but blood, of course — at the cash bar. $40-$45, 7-10p.m., McNay Art Museum, 6000 N. New Braunfels Ave., (210) 824-5638, mcnayart.org. — Ashley Allen

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Courtesy Photo / McNay Art Museum

Holding Up Humanity

New exhibitions at San Antonio’s McNay examine trials faced by Black and Brown people in the U.S.

BY MARCO AQUINO

Apair of original exhibitions at San Antonio’s McNay Art Museum ask viewers to look at the acceptance of underrepresented communities in the United States.

“True Believers: Benny Andrews & Deborah Roberts” and “Margarita Cabrera: Blurring Borders” opened Oct. 6 and run through Jan. 22.

Featuring nearly 50 works, “True Believers” explores the formal and thematic connections between Benny Andrews (1930-2006) and Deborah Roberts (1962), two artists separated by a generation. The exhibition highlights both artists’ use of collage and dedication to representations of African Americans.

At its best, the work of both artists points to the basic humanity of underserved communities, which continue to fight for racial equity.

Meanwhile, El Paso artist Margarita Cabrera’s “Blurred Borders” is an interactive space filled with cactus-like sculptural works created from repurposed U.S. Border Patrol uniforms. The work speaks to the concept of “nepantla,” or an in-between space, whether it be a physical space such as the U.S.-Mexico border or a metaphorical space such as a bicultural experience.

Cabrera’s creations often center on labor practices, cultural identity, empowerment, immigration and violence.

Promised Land

Born in 1930 in Plainview, Georgia, the late Andrews would go on to a 50-year career working predominantly in painting, collage and drawing. In 1958, he moved to New York City, where he established himself as an artist, educator and advocate for underrepresented communities. His works are meditations on the state of humanity and offer scathing criticisms of institutional racism.

As visitors enter the McNay’s Tobin Exhibition Galleries, they are greeted by two figurative works by Andrews and one by Roberts. The pieces are grand in scale and visually striking. The Way to the Promised Land, part of Andrews’ Revival Series, depicts an expressive figure with his hand pointing upwards. The image is a nod to the role the church plays in African American communities as a center of spirituality, education and community.

“My hope is that this body of work transcends my particular experience and speaks

not only to those familiar with the old Southern revival meetings but a larger audience about the human condition,” Andrews once said of his Revival Series

O’SayCan’tYouSee

Born and raised in Austin, Roberts has become known for her collage and mixed-media works uplifting the African American community. In 2021, The Contemporary Austin became the first Texas museum to present a solo exhibition of her work.

Although Andrews’ junior by nearly three decades, Roberts creates work that shares many similarities with that of the older artist.

“I’ve been a fan of Benny Andrews for a long time,” she said on a 2020 podcast. “To see his brush strokes, to see his movement of the paint, to see his hand in the work, is just awe-inspiring.”

But Roberts’ pieces also stand on their own. Many depict Black boys and girls challenging negative stereotypes ingrained in our culture. She often draws from her own childhood, focusing on her preteen years, a time when young people are most susceptible to societal pressures, according to Roberts.

In O’Say Can’t You See, Roberts depicts a young, dark-skinned girl, hair in pigtails and dressed in red stripes, as she kneels on the floor. Referencing the national anthem, 25y

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MMargarita Cabrera’s work often centers on cultural identity, immigration and violence.

Courtesy Photo / McNay Art Museum

THE MENU

Change can make us stronger. Healthier. Better. Especially when you start small and build from there. One choice, one meal, one day at a time. Until the day you feel better than you ever thought possible. At University Health, we believe in the power of change. Because that’s where healthier begins. Start today at UHchange.com.

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Roberts questions whether the world truly appreciates the full potential and beauty of Black children.

Blurred Borders

By appropriating the visual aesthetics of the U.S.-Mexico border — abundant cacti and the dark green colors of border patrol uniforms — Cabrera alludes to a turbulent landscape filled with violence, sacrifice and even death as migrants risk everything to seek a be er life.

Upon inspection, viewers will see images of the Virgin of Guadalupe or phrases such as “El Paso Strong” — a reference to that city’s 2019 mass shooting at Walmart by an avowed white supremacist — stitched onto the creations. As part of Cabrera’s A Space Between project, she asked members of the immigrant community to embroider text and images onto replica cacti to reveal their personal stories of migration.

MLike many of her works, Deborah Roberts’ An Act of Power depicts Black children challenging stereotypes.

tions and rambunctious activity fill the gallery, representing the media noise and distractions that keep the nation from meaningful immigration reform.

Cabrera’s landscapes represent sites of tragedy and sadness. However, they also carry great beauty and hope in that they represent the artist’s efforts to preserve her own cultural traditions and customs.

$10-$20, 10 a.m.-6 p.m. Wednesday & Friday, 10 a.m.-9 p.m. Thursday, 10 a.m.-5 p.m. Saturday, noon-5 p.m. Sunday through January 22, McNay Art Museum, 6000 N. New Braunfels Ave., (210) 824-5368, mcnayart.org.

Viewers can use their own iPhones, or tablets provided by the gallery, to access an additional layer of the artwork. As they do, a digital flurry of bu erfly-like creatures and celestial bodies will appear to float throughout the gallery.

Artist Conversation: Margarita Cabrera

Writer Marco Aquino caught up with artist Margarita Cabrera to discuss “Blurred Borders,” her exhibition at the McNay Art Museum. The conversation has been edited for space and clarity.

What were some of the ways you engaged with the local community to create the works included in “Blurred Borders?”

One of the works included, the A Space in Between project, was a collaboration with immigrant communities, a project that’s been ongoing since 2010. It started in Houston, and it’s evolved into sort of a national project.

In the Tequitl project, which is the video you see projected on the walls of the museum, we did a callout to the community, inviting the community to share stories of sacrifice. They were invited to perform and tell their stories on the grounds of the museum.

In one of the cactus pieces, there seems to be a reference to the mass shooting at the El Paso Walmart that took place in 2019. So, there is a piece made by Amanda Hinojosa, an artist who participated in A Space in Between She is from El Paso, so she is reflecting on her relationship with the city and the history of violence in that city. Her story … se desarrolla, or unfolds, throughout her work and is about living in El Paso with her husband and eventually coming to San Antonio.

Were you also thinking about the 53 migrants who died in San Antonio in the back of a semi-truck this past summer when you were putting together the exhibition?

I think all of us who are working with immigration as a subject ma er, I think in many ways we are also representing the larger immigrant community with the work. The works inspire dialogue with these events and histories. I think in San Antonio, that incident is something that many people think about and discuss. I think these works have a way of initiating conversations that relate to communities locally but also communities outside of San Antonio and communities on a national level, because these works were created in different states, not just San Antonio. But I think it’s a nice way to create a more inclusive dialogue on both a local and national level.

are very robotic and mechanical, and somewhat unnatural and unnecessary. Ultimately, that assimilation doesn’t really happen. Whenever there is migration, or transfers of culture, it’s just not possible to become one culture. The other aspect of it is that these parrots represent Mexican parrots that are in danger of becoming extinct.

You’ve also mentioned a sort of “digital chaos” created by the noise in the gallery.

There is a digital chaos that takes over the space. When one bird starts to mimic your voice, then all the parrots pick it up and there is this dysfunctional, digital chaos that exists in the space. Eventually, it becomes overwhelming until people stop speaking and the birds stop speaking.

Talk about the concept of nepantla and how it relates to this exhibition.

It inspires the title of A Space in Between which is one of the works in the exhibition, the cactus piece. The work is inspired by [Chicana scholar] Gloria Anzaldúa, who used the term in her book Borderlands/La Frontera. It’s a metaphor for the space in between cultures, bodies … . It’s about the space in between that both separates and unites us all at the same time.

And it’s a ritual space that I’m interested in working in. It’s a space where rituals can happen, where transformations can happen. Every one of those works in the exhibition has to do with borders.

What do you admire most about the Texas landscape?

I’m interested in the desert Landscape. The fauna is very strong, it’s very resilient. It’s made of very strong fibers and the plants can overcome very difficult challenges, so, metaphorically … I admire that in relation to the work that I’m making. I’m interested in the landscape as far as the memory of the land, historically, seeing the landscape as a colonized space, the richness of the history. These are works that tap into the landscape directly, but politics and the human element also intersect with this landscape. I’m interested in the history of the landscape but also the beauty, resilience and strength of the plants that exist throughout.

Would you say your work speaks about the preciousness and fragility of life?

Mechanical parrots placed throughout the space come to life and repeat back anything viewers might say about the installation. The parrots’ vocaliza-

Viewed on the screen of an electronic device, Cabrera’s work becomes a fantastical wonderland of sorts. It’s a reminder that — for all its political implications — the artist’s work can be viewed on multiple levels.

The exhibition includes mechanical parrots that talk back to visitors. Where did that idea come from?

I’m very interested in mimicry. My interest in mimicry is to address the way in which immigrants are trying to adapt to a new culture in a sort of repetitive a empt to speak like the dominant culture, to be part of the dominant culture in ways that are exhausting, in ways that

Definitely. I think, ultimately, one of my goals by bringing these sociopolitical themes into the work is to achieve more awareness, humanity and compassion and a sense of empathy within our communities. Life is definitely precious, so the more that we as artists can bring our communities in touch with individuals, the more impact we can have. That’s important to me as an artist trying to make a difference.

sacurrent.com | October 18 –November

Photo by Robert Collier Beam

“True Believers” and “Blurred Borders”

Josh Huskin

Paul Rodriguez

Steve Hofstetter

Luz Pazos

Brendan Schaub

Bubba Dub

Dead Meat

San Antonio native Joe Castro holds world record for highest body count in a slasher film

BY KIKO MARTINEZ W

hen special effects makeup master and San Antonio native Joe Castro started pre-production for his horror anthology film The Summer of Massacre in 2010, he wanted to do something that would make an impact on the micro-budget slasher genre.

So, even before one word of the script was wri en, he devised a plan to land in the Guinness Book of World Records for the Highest Body Count in a Slasher Film. In the end, The Summer of Massacre featured a total of 155 dead bodies during its 98-minute runtime, allowing him to seize that record.

And Castro, a 1988 graduate of John Marshall High School now based in LA, has held that record since 2011.

During a Halloween season-appropriate interview with the Current, Castro talked about what led him to make a movie with so many deaths, his favorite kill in the movie and his plans for the spooky season.

How did you come up with the idea to make a movie that would get you into the Guinness Book of World Records?

I went to a convention in the UK, and that’s where the Guinness Book of World Records home offices are.

Maybe it was the universe talking to me, but I was like, “I want to set a world record!” So, I bought the book and my producer [husband Steven Escobar] figured we could set the record for the highest body count. Even before I wrote the screenplay, I knew that’s what I wanted. So, as I was writing the screenplay, I was devising the sequences where I could kill a lot of people.

Did the script have all 155 kills planned or did you add to it as you were shooting the movie?

No, we just kept adding on! I’d be like, “You know, it would be good if another massacre happens here.” Our script was up for inter-

pretation as we moved through it.

What percentage of the kills would you say are computer generated versus those done with practical effects?

I would say 75% of them are CGI effects, but we shot almost all of them practical first.

Then, I went in and enhanced them digitally.

What’s your favorite kill out of the 155?

There’s a couple of them. One of them is a man who gets burnt in a fire pit. He gets rolled over and half of his head has been burnt away. It looks like charcoal brique es when they’re cooking. The inside of his head is smoldering. Then, there’s also a warehouse scene where these serial killers are living, and there’s a shot of like 20 people hanging on hooks. It’s just so gross.

You’ve held this record for 11 years. What if someone comes along and breaks it?

You know, we set the bar very high when we made this. So, if someone wants to come and try to beat us, that’s fantastic. But we have a contingency plan in place. It’s hard to make a movie with that many kills though. I would say, “Bring it on!” I love a challenge.

What’s the contingency plan?

It’s a secret, but I’m prepared to do it when the time comes.

Your work as a makeup artist and creature designer is incredible. Why are you still working on micro-budget movies and not

MAbove: A victim is turned into a crispy critter in The Summer of Massacre. Below: Joe Castro (left) and husband Steven Escobar show off their Guiness certificate.

with a bigger studio?

This field is highly competitive. Everybody wants to make monsters. I would love to work for a special effects outlet if they’d have me. But I’m very happy doing what I’m doing. I get to be the big fish on the set. I get to have control over the design work and work with the directors and actors. I think if I worked for a big special effects house, I wouldn’t have the opportunity to do that. I would be kept on a short leash.

I can’t even imagine how many requests you get in the month of October every year from friends and family asking you to make them a Halloween costume. (Laughs.) I really love making costumes for my family. I had to turn my cousin down this year because I have so much on my plate, but I do it every year. It’s a very busy month for me. I get requests for everything from vampire fangs to full costumes. It can become overwhelming, but it’s also a real blessing.

What are you going to be for Halloween this year, and do you have any special plans?

It’s a secret, but my Halloween costume is always an extension of my true identity and personality. It’s playful but it also shows the darker side of me. One year, I dressed up like an albino vampire bat. Normally, [Steven and I] go out to Santa Monica Boulevard and have dinner and then go to the parade. What I do love doing is going to get my flu shot on Halloween in costume. It always makes everybody smile. I love spreading the spirit of Halloween like that.

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Courtesy Photo / Cinema Factory Inc.

Courtesy Photo / Joe Castro

The Midas Touch

More than what glitters is gold at the appropriately named Southtown restaurant Up Scale

BY RON BECHTOL

With successful dining spots Li le Em’s and Up Scale under their belts and two more — Go Fish Market and Restaurant

Claudine — coming in short order, restaurateurs Emily and Houston Carpenter seem to have the Midas touch.

However, it’s only at Southtown staple Up Scale that the metaphor is physically manifest. Starting with the deviled eggs, expect glints of real gold.

In the eyes of most, deviled eggs would be decidedly more down- than upscale in concept — especially in an environment as pink and plush as this much-changed former location of Feast. But greatness, as we know, is in the details: here they’re presented not just with tiny mounds of caviar but also with artful sca erings of gold flakes.

The eggs themselves are as unpretentious

as your grandmother’s — except for a pungent whiff of white truffle oil that, thankfully, doesn’t dominate the taste. The caviar, a California farm-raided product bearing chef Thomas Keller’s name, provides a hint of brininess but not the expected textural pop. And the gold flakes? Purely visual. Not to mention likely justification for charging $17 for three tricked-out halves.

Gold rains again upon the Up Scale roll, sushi being a somewhat odd, but not necessarily unwelcome, component of Up Scale’s menu. The rice is threaded through with a core of snappy asparagus, draped in tuna and adorned with dots of more caviar and the glimmering foil. Again, the gold adds nothing but glam and glitz, but the package is otherwise less opulently excessive than many other rolls around town. It only wants the merest hint of the available wasabi, and

the $20 tariff seems almost justified.

Seafood dominates the menu even more now than it did when Up Scale opened last October, although the options do include a 32-ounce tomahawk steak listed at $140 — with no gold flakes.

Apart from a New York strip, the only other meat on the current menu is considered an appetizer: Texas lollipop lamb chops. But before you ask, there are four of the diminutive beauties to a $46 serving, and they are expertly grilled, deftly seasoned and presented with a scintillating citrus-spiked feta sauce. Add an Up Scale Caesar, a bo le of red wine such as the earthy E. Guigal-Saint Joseph, and you’d have a satisfying meal.

Or you could go for the equally expert seafood. Lobster tagliolini with sauce américaine and our old friend caviar was the pasta iteration on this visit. Though crowned with a handsome piece of claw meat, the dish seemed visually skimpy, a problem just a li le more pasta would correct. But the toma-

Ron Bechtol

MGold foil and caviar appear multiple places on the Up Scale menu, including on this sushi roll.

to-based sauce with cream and brandy was appropriately unctuous. In this case, the caviar was more than mere garnish; it helped loft the pasta into the realm of genuine luxury.

The pandemic has been at least partially responsible for diminishing diners’ service expectations, but Up Scale seems to a ract staff with a degree of polish. Our server did a convincing job of deboning sole meunière tableside, then served it up handsomely sauced on a bed of bu ery farro inflected with foie gras. Apart from added richness, the foie was hard to detect, but there was no denying the assertiveness of a lemon verbena beurre blanc heavily accented with fenugreek. Meunière is traditionally li le more than lemon, bu er and capers, a suitably so o voce companion to delicate sole. This sauce, though excellent, was a screamer, perhaps be er suited to a veal chop.

A crisp-skinned and herb-sca ered half branzino perched atop some of the best broccolini ever encountered helped restore balance, however. The fish was nicely charred, beautifully textured and blessed with a citrusy

heat. On this plate, everything worked.

Even our bo le of carricante white blend from Sicily’s Mount Etna stood up to the task. We could have stopped right here.

And perhaps should have. A shared order of chocolate sponge cake wrapped in a chocolate ganache and accessorized with macadamia nuts and torched meringue sounded good. However, it failed to deliver much in the way of an opulent ending suitable to the surroundings and service.

Just the same, it gave us a moment to ponder the value received for a tab north of $500 — including tip, three cocktails and two bo les of moderately priced wine — for three diners. Worth it? If you want to feel like a VIP for an evening, all the while enjoying some reasonably rarefied food and drink, maybe so. It’s your call.

Trust Twin

BEVERAGE

by power couple Emily and Houston Carpenter, Up Scale occupies the former Feast space across South Alamo Street from the first-born Li le Em’s. Be warned: Up Scale takes both decor and price point up a notch or two from its predecessor in the space. Maybe three. The menu begins with sushi choices, then morphs into a sort of seafood house with token meat selections and superfluous, but fun, sca erings of gold flakes — often with mini-mounds of domestic caviar. The lollipop lamb chops are worth the fare, and seafood dishes shine. Maybe skip dessert.

Ron Bechtol

MUp Scale’s half branzino is an elegantly executed plate where every component works in concert.

Sweet Success

San Antonio-based vegan bakery

Southern Roots hopes to build on a surprise surge in business

BY NINA RANGEL

In summer 2020, buoyed by interest in the Black Lives Ma er movement, Southern Roots Vegan Bakery owners Marcus and Cara Pi s were profiled in several San Antonio publications, including the Current

The publicity yielded a “jaw-dropping influx of orders” from all over the nation, according to Cara Pi s. The then-tiny business scrambled to keep up, at one point thanking customers for their patience if they faced delays.

Fortunately, the married entrepreneurs were able to add staff and avert a crisis of too much success too soon.

That challenge now behind them, Southern Roots’ owners are looking to expand, se ing their sights beyond shipping sweets nationwide and focusing on building partnerships with hotel and coffee chains looking to be er serve customers adopting a plantbased diet.

We caught up with Southern Roots co-owner Cara Pi s to chat about how the business has grown since the pandemic, current vegan food trends and the successes and struggles of building a plant-based empire.

The last time we checked on you, your business had kind of gone crazy because of its early publicity. Maybe you can give an update on what the past 12 months have been like.

The pandemic was definitely an interesting time for us, because it kind of had the opposite effect on us versus other foodservice businesses. As you mentioned, we went viral during that time, so it was a crash course in business. Thankfully, we had taken a culinary accelerator the year prior, so we had a lot of contacts to get our licensing and permits and all of that up to code and up to date. It forced us to grow really quickly, but we still have a lot of the same customers from that wave, even though we filled a couple thousand orders during that time. On the back end of our business, we’ve been able to expand our team to build a be er customer service experience … and we have some marketing help. We’re looking to get some more people into the bakery as we expand, just to have a couple extra hands to produce all of these products. Small businesses don’t get the luxury of having the capital to expand as quickly as some other businesses are able to, but we have access to mass-production equipment, so our small team has the ability to fulfill large orders, which is why we’re looking to get into hotels and coffee shops.

The idea that you can bring vegan treats to hotels seems like it could open a whole new world for

guests. Is that your goal: to be in every Hyatt and midsized coffee chain?

We would love to be partnered with big hotel chains, because there’s a lot of revenue being left on the table. We travel a lot for business, and when we go places, especially if your flight gets in late, and you’re just checking into a hotel at like 10 o’clock at night, the restaurant’s not open, and the li le convenience retail spot at the check-in desk doesn’t have vegan options. So, we want to be in those spaces, we want our doughnuts to be in that li le refrigerated area where a late-night guest can pick something up and not have to DoorDash, because that’s what a lot of vegans are experiencing. We’re having to get food outside of the hotel because there isn’t the option within it.

A lot of food-industry experts expect sweets without tree nuts, peanuts and sesame to blow up in 2022. Is that something you have seen more demand for lately?

I think people’s voices are just being heard more. I don’t think it’s just about going vegan or vegetarian, but so many people are identifying food allergies.

So, now there’s a push for dairy-free and nut-free products. Growing up, kids that had a peanut allergy didn’t really have any options. But now, schools and restaurants are much more accommodating. Things that just were kind of being looked over, [whereas] now there’s a big push to have options on the forefront. Even things like dairy, so many people are lactose intolerant, and they’re just used to the idea, like, “If I eat some ice cream, I’m gonna hurt afterwards.” And that doesn’t have to happen.

If the need is there, and you’re raring to make it happen, what do you think is slowing things down? We have conversations with hotels, and they say, “We love your product, we want to order it, but we have to use [wholesale food distributor] Sysco. So, you need to go into Sysco.” And we try, but I can’t get Sysco to call me back. So that’s the goal, and it feels like the wholesale foodservice industry doesn’t want to really give small businesses a chance. There’s a narrative that they want diverse, small, minority-owned businesses, but I can’t get anybody on the phone. So, where are we supposed to go from here?

Courtesy Photo / Southern Roots

OPENINGS

Seguin-based Davila’s BBQ has debuted a new location inside the AT&T Center that will operate during the 2022-2023 basketball and rodeo seasons. The concession will serve loaded barbecue Frito pie along with foods offering nods to iconic Spurs athletes. 1 AT&T Center Parkway, (210) 444-5000, davilasbbq.com.

Restaurant Claudine has begun serving its upscale Southern fare for lunch and dinner near the Pearl 517 E. Grayson St., (210) 527-3116, restaurantclaudine.com.

San Antonio-based Bakudan Ramen has opened a second shop on the city’s North Side. A third is in the works. 22506 U.S. Highway 281 North, Suite 106, (210) 437-0632, bakudanramen.com.

New Orleans-based PJ’s Coffee has opened its fourth San Antonio location, this one on the city’s far West Side. 10630 Braun Road, Suite 101, (210) 504-2748, pjscoffee.com.

Latin American dining spot Arenas Marisqueria and Lounge will begin serving “resort-style” seafood dishes including mojarra chicharron and camarones mojo de ajo next month. 19903 Stone Oak Parkway, Suite 202.

in the Shavano Park area by year’s end.

Alamo City food activist and self-described “Puta de la Fruta” Jamie Gonzalez is the sole Texas candidate for a national $50,000 American Heart Association business accelerator grant.

Longtime Helotes mainstay Bobby J’s Old Fashioned Hamburgers has stopped serving and is now listed on Google as “permanently closed.”

The inaugural Taco and Margarita Festival will marry two local favorites with pro wrestling at Toyota Field on Saturday, Dec. 3. 5106 David Edwards Drive, sanantoniofc.com.

Miami-inspired Bilia Eatery has temporarily closed to move into bigger digs less than a mile from its flagship location.

Main Strip mainstay Luther’s Cafe has closed to work through plumbing and other issues, although ownership said in a social media post that it’s looking for ways to reopen. 1503 N. Main Ave., (210) 223-7727, lutherscafe.com.

San Antonio pastry chef Jenn Riesman will open her own long-awaited Rooster Crow Baking Co.

On Oct. 15, Jewish-inspired diner The Hayden launched a Saturday bring-your-own-vinyl DJ series that allows diners to bring their favorite records from home for a DJ to spin in the dining room. The next installments will take place Oct. 29 and Nov. 5. 4025 Broadway St., (210) 437-4306, thehaydensa.com.

Anthony Garcia

‘Break It and Rebuild It’

Puscifer’s Maynard James Keenan talks happy accidents ahead of the band’s San Antonio concert

BY MIKE MCMAHAN

If you’ve ever wanted a look inside Tool frontman Maynard James Keenan’s head, his art rock ensemble Puscifer may be the band for you.

The theatrical group — which combines prog, rock and metal elements with a heavy electronic vibe — will drop into San Antonio’s Tech Port Center + Arena on Saturday, October 22, for what promises to be not just a musical performance but a multi-media spectacle. The band’s concerts give Keenan a chance to engage in the character-driven comedy that he’s explored via acting appearances on TV programs including Mr. Show.

While Tool may be Keenan’s marquee act, don’t make the mistake of thinking of Puscifer and A Per-

fect Circle, which he also fronts, as side projects. He’s a guy who puts his all into everything he does — as evidenced in the book he wrote about his life, influences and process, A Perfect Union of Contrary Things.

In addition to its San Antonio performance, Puscifer will premiere two on-demand concert films on Friday, October 28. These films — which highlight early Puscifer albums “V” Is for Vagina and Conditions of My Parole — will only be available for 72 hours from the band’s website, puscifer.com.

The Current recently caught up with Keenan over Zoom. The singer, who notoriously hides in the shadows for Tool shows, kept the interview brand-consistent by joining via audio only. We expected no less.

The following talk has been edited for space and clarity.

San Antonio loves Tool. But for people who aren’t familiar with Puscifer, how should their expectations differ going into the show?

I don’t like to repeat myself. So, I wouldn’t expect what you already expect. (Laughs.) It’s a whole different vibe. There’s more theatrics to it. The song structures are different. It’s still gonna be my voice — combined with [multi-instrumentalist] Carina Round’s — so it’s still going to be somewhat familiar. There’s no point in repeating Tool. There’s no point in repeating A Perfect Circle. It’s a whole different vibe. It’s more. If you’re used to hearing a very large wall of guitars and overwhelming rock music, you might come in thinking that’s what we’re doing. We

Travis Shinn

MPuscifer is scheduled to perform at San Antonio’s Tech Port Center + Arena on Saturday, Oct. 22.

have far more in common with Kraftwerk and Peaches than we do with Metallica. The best way I can describe it is that if you’re a fan of Bauhaus, then Love & Rockets was nothing like Bauhaus. And Tones on Tail was nothing like those two. And I love all three. There were similar people involved in all three. But different.

Puscifer has a double feature stream coming up on Halloween weekend. What can you tell me about those events?

During the pandemic, the lockdown — whatever you want to call it — we had a brand-new album coming out [2020’s Existential Reckoning]. We realized we weren’t going to be able to tour it. Like most bands, we put together a concert film to help with the release of the album. It seems like it’s something that’s right up Puscifer’s alley in terms of expressing in that way. We have a lot of characters; we have a lot of theatrics. There’s a lot of fun stuff that goes on with this project. That presentation and that process of pu ing together the presentation is something that resonated with [multi-instrumentalist Mat Mitchell], Carina and I.

Clearly, you put a lot of work and thought into your bands. How do you let go of all that prep and just get into the performance, be there for people who just want to rock out on a Saturday night?

There’s a map, right? You’ve drawn an emotional map. You’ve rehearsed that process and those steps to capture that moment you were feeling, that thing. It’s a nice combination of preparation and happy accidents. You’re looking for those happy accidents onstage. But you’re prepared to handle them.

It feels to me like your history of improvised sketch comedy helps. You’re absolutely correct. That’s the idea of a jazz musician going full improvisation. It’s not an accurate statement since they’ve spent their entire lives preparing for those options and those directions. It’s like an Olympic athlete. I’m a practitioner of jiu-jitsu. I just recently watched all the [Abu Dhabi Combat Club] tournaments. There’s a lot of things that come at those guys when they go up against each other. There’s not a lot of accidents at that point. They’ve practiced, they’ve trained, they’ve drilled. A top-level jazz musician isn’t making it up. You’ve trained and trained and trained. There will be crazy accidents and crazy moments that you didn’t expect, that you’re prepared to navigate to make it a special moment. That’s what live music is about. You’re trying to be alive in that moment, even though you’ve rehearsed the shit out of these songs. There’s gonna be differences. There’s gonna be a night where my throat or Carina’s throat doesn’t sound like it did the night before, because of the cold or a million reasons. Well, that’s a unique night. Years ago on an A Perfect Circle

tour, Josh Freese broke his kneecap before the show. We re-arranged the drums, and he played the entire show with his other foot.

Was it as good a show as we’ve done before?

Probably not. But it was a unique moment, a unique situation, and that’s why you go to those shows.

I’m not sure that was a “happy accident.”

Do you really watch NASCAR to watch the cars go around without any accidents?

How do you know when a moment in a show is a “happy accident” as opposed to an “unhappy accident” or a train wreck?

A lot of it ends up being hindsight, right?

Looking back to see what happened. In some instances, we change entire songs based on noodling between rehearsal songs and going, “You know what, that riff would actually be pre y cool as a foundation for that song.”

Then you break it and rebuild it. Those li le moments happen. Quite a few of those songs on the pay-per-view are complete reinventions of those songs.

Thinking back to the Lollapalooza era when Tool burst onto the scene, musical chops weren’t celebrated like they are now. Were

those prog rock elements that really grew to define Tool underappreciated?

I have no idea. I just know how I write. If you’re a person who really dives into time signatures or if you’re a drummer who tries to play some of the Puscifer tracks, you’ll find they are not what they appear to be. There’s a lot of prog. To answer your question, I don’t know. It wasn’t a conscious choice from me to sing in that cadence or tap my foot in that way. I just naturally sing and write that way. The trick is to get somebody to sing along to something that’s in seven, and they don’t realize it. And that’s Puscifer.

A longer version of this interview is available online, including discussion of the hair-metal video shoot Keenan took part in during his early days in LA and the importance of “grower” albums. The full text is available at bit.ly/puscifertalk. $45.50-$71.50, 8:30 p.m., Tech Port Center + Arena, 3331 General Hudnell Drive, (210) 6003699, techportcenter.com.

music

Reminder:

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

Wikimedia Commons / Scott Penner

MCostumed frontman Maynard James Keenan performs during a 2013 outdoor festival.

Alone Again

Former Girl in a Coma frontwoman Nina Diaz got a confidence boost in recording her second solo album

BY MIKE MCMAHAN

Not many 34-year-olds can brag about having 20 years’ experience in the music industry. But San Antonio singer-songwriter Nina Diaz got started early.

Her time as frontwoman of San Antonio alt-rock band Girl in a Coma began when she was in her early teens, and she helmed the group through an upswell of national a ention, multiple recordings and tours. She was also there when the band called it quits in 2018.

Now, Diaz is taking steps to assemble another fulltime band after dropping her second solo album, I Could Be You, You Could Be Me on Aug. 18.

The Current caught up with Diaz via Zoom around the time of the release. She was comfortably ensconced in her home studio, taking occasional drags from a cigare e, a drum kit and her guitars serving as a backdrop.

“If you see the early Girl in a Coma interviews through today, you see the progression of me,” she said. “I would never talk.”

But beyond that change in demeanor, Diaz noted that her approach to music has also shifted. For one, her solo albums put more of an emphasis on vocals, something that stands in contrast to the more unified presentation of a group recording.

“In a band, everybody’s ba ling. In a solo situation, I put my vocals to the forefront and lay on the music, rather than everyone having their moment to shine,” she said. “I took advantage of the opportunity to showcase my vocals more. If you want to dial in on the lyrics or the vocals or some nuances, that’s what my solo stuff takes in.”

Even so, I Could Be You does look backward on some aspects of the Girl in a Coma sound. It’s heavier on guitar than her first solo album, The Beat Is Dead, for example, and she also eschewed the electronic flourishes that adorned that record.

The sonic shift also will be reflected in future live dates, Diaz said. She plans to play her guitar throughout the set, unlike shows supporting her solo debut, which found Diaz without her six-string for the first time in her live career.

“I re-connected with my Girl in a Coma roots, with the alternative vibe,” she said.

Homespun release

And there may be one more reason she’s feeling the old-school connection. Some of the songs on I Could Be You were originally going to be Girl in a Coma

material. Those include “Silly Situation” and several tracks sewn together from pieces she originally intended for the band.

Listeners may find that I Could Be You reflects a newfound confidence from Diaz. In part, she a ributed that to recording and engineering the record in her own home. Diaz also tracked all the instruments except the drums, which were played by Diaz’s husband, Jorge Gonzalez of Pop Pistol.

“I went through war with myself while I made this album, but I’m really proud of it,” she said of the recording process.

Diaz elaborated that she’d always liked the sound of the demos she cut to show her songs to other members of Girl in a Coma. The rough sketches reflected a lack of pressure — something starkly different from a band recording in a by-the-hour studio se ing.

“Being here in my room, I was able to tap into a demo-like vibe but polish it up a bit,” she said.

Also adding to her confidence, Diaz said a series of covers-only releases she put out during the pandemic helped hone her songwriting.

“It was like going to music school,” she said. “I learned how to dissect a song and know that if I wanted this kind of vibe, I needed the recipe. Like a math problem almost.”

‘Let’s face it’

Diaz’s determination to be in control of her destiny isn’t just limited to the music itself. She has founded BeatGirlProductions, a “grown up” project through which she hopes to channel her production and recording ambitions.

However, that investment in BeatGirl means that Diaz won’t be undertaking any major tours unless she’s asked to open for a larger act.

“That 13-year-old in me is like, ‘What the fuck are you doing?’” she said. “I’m nurturing myself through this.”

Taking care of herself hasn’t always been Diaz’s priority, a situation she remedied by embracing sobriety several years ago. The insights have prompted corresponding changes in behavior.

“Those triggers still come. This is where — in the past — I would drink. Or this is where I would get in a weird, random relationship because I wanted to feel loved,” she said.

“Now when I see that, I take stock in myself. I ask what do I want to do? I might talk to myself or excuse myself from the room.”

In other words, expect to hear honesty on I Could Be You, You Could Be Me.

“Recovered addicts, we’re very driven people,” Diaz said. “Now, I’m using that drive for something that helps you grow. Now, I say let’s face it, and if it’s uncomfortable, it’s uncomfortable.”

Courtesy Photo Nina Diaz

Tropical-Flavored Mind Candy

Os Mutantes brings its influential Brazilian psych to San Antonio’s Paper Tiger

BY BILL BAIRD

Sixties-era Brazilian group Os Mutantes has been namechecked by a Who’s Who of groundbreaking musicians, from Beck to Kurt Cobain, the la er of whom famously pleaded in a 1993 open le er for the group to reform. More recently, David Byrne reissued choice cuts from the act’s seminal catalog through his Luaka Bop label.

Now, Os Mutantes — one of the most influential international acts from the psychedelic era — is poised to bring its tropical-flavored mind candy to the Paper Tiger on Saturday, Oct. 29.

Though decades removed from its classic heyday, the group, led by original member Sérgio Dias, isn’t a mere “remember when” retread of its former self. Instead, the new incarnation has garnered rave reviews, both for its post-2000 reunion albums and its electrifying concerts.

Formed in Brazil in 1966 by Dias, Arnaldo Baptista and Rita Lee — all teenagers at the time — Os Mutantes fused its home country’s seductive bossa nova and samba rhythms with the emerging psychedelia of the Beatles. The group donned costumes and infused its music with a playful irony and youthful irreverence.

Soon, Os Mutantes became part of the nascent Tropicália movement — a flowering of Brazilian music and culture galvanized by the country’s harsh political climate. A 1964 coup, supported by the U.S. government, had installed a repressive military government in Brazil, and the staid cultural landscape was full of manufactured pop stars.

Tropicália, and Os Mutantes in particular, challenged that status quo through a series of TV appearances and groundbreaking releases. The movement culminated with the 1968 manifesto album Tropicália: ou Panis et Circencis, which featured Os Mutantes along with Caetano Veloso, Gal Costa, Gilberto Gil, Tom Zé — all now Brazilian musical legends.

Os Mutantes’ performance backing Veloso at the International Song Festival in Rio nearly caused a riot — with right-wing students pelting the leftist Tropicália artists with eggs, fruit and vegetables. Despite Tropicália’s provocations, the Brazilian military regime held control until 1985.

Even so, Os Mutantes’ first three albums — Os Mutantes, Mutantes and A Divina Comédia ou Ando Meio Desligado — remain revered as creative masterpieces. Along with its lilting tropical feel and catchy melodies, the music incorporated studio manipulations, samples from TV and film, elements of musique

concrète, baroque arrangements and even member Lee playing a can of hairspray.

Indeed, Os Mutantes’ self-titled debut managed to land at both at No. 9 on Rolling Stone’s list of the 10 Greatest Latin Rock Albums of All Time and at No. 12 on Mojo’s 50 Most Out-There Albums of All Time.

Following a splintering of its original members, Os Mutantes hung it up 1978.

However, a heavy word of mouth among record

collectors and psych fans led to a la er-day resurgence, and the band’s avant-pop even ended up adorning a McDonald’s commercial. Following a 2006 performance for a Tropicália exhibit at London’s Barbican Centre, Os Mutantes has been writing and recording with renewed vigor. Its most recent album, Zzyzx, dropped in 2020.

$20-$25, 8 p.m. Saturday, Oct. 29, Paper Tiger, 2410 N. St. Mary’s St., papertigersatx.com.

Courtesy Photo / Os Mutantes

critics’ picks

Thursday, Oct. 20

Jessie Reyez

After a 2017 breakthrough, Colombian Canadian singer-songwriter Jessie Reyez continues to win over listeners with a raw, acoustic-driven R&B sound. Her just-released sophomore album Yessie explores a range of emotions, from love and heartbreak to those associated with struggle and self-discovery. On the intro track “Mood,” Reyez delivers a heartfelt multicultural mashup, sampling the classic “Los Caminos de la Vida” by Los Diablitos while singing “waist gettin’ slimmer, but I don’t think my ass is.” In August she debuted the album’s first single, “Mutual Friend,” on Jimmy Kimmel Live! $39.50 and up*, 8 p.m., Aztec Theatre, 104 N. St Mary’s St., (210) 812-4355, theaztectheatre.com. —

Marco Aquino

Friday, Oct. 21

Yes

On one hand, legendary prog band Yes is playing its classic LP Close to the Edge in its entirety — and on the 50th anniversary of its release, no less. On the other hand, this incarnation of the group includes exactly one member who appeared on the original album: guitarist Steve Howe. However, there’s some consolation that this Yes lineup also includes longtime collaborators Geo Downes on keyboards and Billy Sherwood on bass. And you’ve got vocalist Jon Davison standing in for singer Jon Anderson, whose shoes he’s been filling for a decade now. The band’s lineup has dwindled from the early days, but it’s still stocked with formidable players. $64 and up*, 8 p.m., Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre.com. — Mike McMahan

Saturday, Oct. 22

Indigo Girls, Jontavious Willis

If you don’t believe in serendipity, just contemplate the origin of the legendary folk duo Indigo Girls. Amy Ray and Emily Saliers first met in the hallways of a Decatur, Georgia elementary school. The duo began performing together in high school, then reunited a few years later in Georgia. Their major label debut Indigo Girls was nominated for two Grammys in 1990, winning for Best Contemporary Folk Album, while losing to fraudsters Milli Vanilli for Best New Artist — an award since revoked. In addition to nine major label albums over two decades, Indigo Girls continues to release music on the members’ own label. While Ray and Saliers are known as icons within the lesbian community for their advocacy of LGBTQ+ rights, they’ve also used their platform to support both environmental and Native American causes. $32$79.50, 9:30 p.m., The Rustic, 17619 La Cantera Parkway, Suite 204, (210) 245-7500, therustic. com. — Danny Cervantes

Monday, Oct. 24

Shadow of Intent, Enterprise Earth, Infer, Wormhole

How many other bands can say their name is a reference to a Covenant ship from the Halo video game series? The members of death metal band Shadow of Intent are wearing their gamer-geek credentials on their sleeves, since their lyrics also mine subject matter from the franchise. The New England-based outfit charts a course between the melodic and symphonic ends of its genre, so expect operatic melodies to fill in the slivers of space between the guttural vocals. The other bands on this stacked bill also create music spanning the death metal spectrum, o ering variations from the technical side of the genre to its more primitive roots. $18-$20, 6:30 p.m., The Rock Box, 1223 E. Houston St., (210) 772-1443, therockboxsa.com. — Brianna Espinoza

Wednesday, Oct. 26

Cedars

Add a dash of industrial atmospherics a la Radiohead and Nine Inch Nails, sprinkle in the catchy grooves of Mutemath along with the do-it-yourself ethos of PJ Harvey, and, presto, you have the sound of the Cedars. The New Braunfels-based outfit’s guitar-tinged electronica shifts between light and dark to form a sound greater than the sum of its parts. Cedars is touring in support of new release Cowards. $10-$75, 8 p.m., Sam’s Burger Joint, 330 E. Grayson St., (210) 223-2830, samsburgerjoint. com. — DC

Thursday, Oct. 27

Gov’t Mule, The Soul Rebels

Gov’t Mule guitarist-vocalist Warren Haynes collaborated with members of the Grateful Dead and played a key role in reviving the Allman Brothers Band in the ’80s, which makes him a shoo-in for rock legend status. Gov’t Mule isn’t just inspired by Haynes’ classic collaborators but by other iconic rockers including Cream and Hendrix. Hunker down for an evening of soulful Southern rock, hard-hitting blues, psychedelic jams and fretboard magic. $49.50-$225, 7:30 p.m., Majestic Theatre, 224 E. Houston St., (210) 226-3333, majesticempire. com. — MM

Afrojack, Cesqeaux, Chico Rose

Grammy-winning DJ, producer and multi-platinum electronic dance music icon Afrojack is known for appearing on monster hits including Pitbull’s “Give Me Everything” and David Guetta’s “Hey Mama.” And the hits are sure to continue. Earlier this year, Afrojack released the first single from his new partnership with Universal Music Group, “Day N Night,” with Black V Neck and featuring Muni Long. Adding to the

excitement, the Dutch DJ’s Alamo City appearance kicks o his Jack to the Future Tour. $50, 9 p.m., 1902 Nightclub, 1174 E. Commerce St., (210) 941-3010, 1902satx.com. — MA

Omar Apollo, Ravyn Lenae

It says something about how far the U.S. has come in 2022 that a Latino kid from Indiana can appear on NPR’s Tiny Desk concert series with a full mariachi band and sing about samesex love without most of the world batting an eye. On his debut album Ivory, Omar Apollo channels both Los Panchos and Smokey Robinson, seamlessly moving between rapping and singing in both English and Spanish. Little surprise that online mag Complex called him “one of pop’s most exciting stars” and that he received a pair of 2021 Latin Grammy nominations for his collaboration with Spanish artist C. Tangana. Born and raised in South Chicago, opener Ravyn Lenae fuses together electronica, soul and hip-hop to put her own spin on alternative R&B. She released her long-awaited debut album Hypnos this year to rave reviews. $40.50 and up*, 7:45 p.m., Aztec Theatre, 104 N. St Mary’s St., (210) 812-4355, theaztectheatre.com. — MA

Saturday, Oct. 29

Gogol Bordello

Ukraine-born frontman Eugene Hütz formed his “gypsy punk cabaret” collective Gogol Bordello in the Lower East Side of Manhattan in 1999, and the group remains a veritable United Nations of music. Its members hail from places as far flung as Ecuador, Russia and the U.S. While Hütz has cited influences including Jimi Hendrix and Parliament-Funkadelic, the key elements in Gogol Bordello’s sound are those of Romani music mixed with elements

of punk and dub. The group’s latest e ort, Solidaritine, shows its support for Ukraine on the front cover, depicting the country’s flag as a pirate ship’s sail. Additionally, Hütz collaborated with Les Claypool of Primus and others on the song “Zelensky: The Man With The Iron Balls” in praise of the Ukrainian president’s testicular fortitude for standing up to Russian aggression. $32.50-$39.50, 8 p.m., Aztec Theatre, 104 N. St. Mary’s St., (210) 812-4355, theaztectheatre. com — DC

Wisin & Yandel

While Wisin of reggaeton duo Wisin & Yandel injured an ankle falling from the stage during a 2019 tour stop in the San Antonio, that clearly wasn’t enough to keep the hitmakers away. Wisin & Yandel recently released their 10th studio album, La Última Misión, so come expecting to hear new material along with unforgettable tracks such as 2005’s “Rakata” and the latest single “Besos Moja2.” $89.95 and up*, 8 p.m., AT&T Center, 1 AT&T Center Parkway, (210) 444-5000, attcenter.com — MA

Sunday, Oct. 30

Death Valley Girls, Ganser, Sunjammer, Elnuh

Death Valley Girls — an ensemble that actually includes one guy — takes sonic inspiration from the dry desert heat surrounding its native Los Angeles. Expect a sunbaked take on the groovy, psychedelic rock of the ’60s and early ’70s. If Charles Manson’s minions played music instead of, you know, killing people, they might have sounded a bit like Death Valley Girls. Chicago-based post-punk band Ganser and two psychedelically inclined local openers round out the bill. $13, 8 p.m., Lonesome Rose, 2114 N. St. Mary’s St., (210) 455-0233, thelonesomerose.com — BE

sacurrent.com | October 18 –November 1, 2022 | CURRENT 41

Courtesy Photo Omar Apollo

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