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	<title>San Antonio Current — Blogs &#187; ARTSLUT</title>
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		<title>Stay Current with the Pick of the Day: Life Kills Me</title>
		<link>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-life-kills-me/</link>
		<comments>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-life-kills-me/#comments</comments>
		<pubDate>Fri, 24 May 2013 14:00:50 +0000</pubDate>
		<dc:creator>Bryan Rindfuss</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Crystal Fairy]]></category>
		<category><![CDATA[Global Lens 2013]]></category>
		<category><![CDATA[Life Kills Me]]></category>
		<category><![CDATA[San Antonio Museum of Art]]></category>
		<category><![CDATA[Sebastián Silva]]></category>
		<category><![CDATA[The Maid]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=29048</guid>
		<description><![CDATA[Foreign film buffs might know Chile’s Sebastián Silva from his Sundance Film Festival hits The Maid (which took home two World Cinema Jury Prizes in 2009) and this year’s Crystal Fairy (starring indie fave Michael Cera opposite Gaby Hoffmann). True fans, however, will tell you to start at the beginning. Released in 2007, Silva’s Life Kills Me deftly combines the ironic melancholia of The Smiths, the dark comedy of Harold and Maude, and a bizarre film within a film into a morbid sleeper suggesting death might be smarter to embrace than to fear. Shot almost entirely in black and white, the openly gay director, screenwriter, painter, and musician’s cinematic debut screens at SAMA in conjunction with Global Lens 2013, a touring series launched by the Global Film Initiative in 2003. $5-$10, 7pm Friday, San Antonio Museum of Art, 200 W Jones, (210) 978-8100, samuseum.org. Check out our full online calendar of upcoming events here: calendar.sacurrent.com.]]></description>
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		<title>SA Artists named to Texas Biennial, win awards in Austin</title>
		<link>http://blogs.sacurrent.com/index.php/sa-artists-named-to-texas-biennial-win-awards-in-austin/</link>
		<comments>http://blogs.sacurrent.com/index.php/sa-artists-named-to-texas-biennial-win-awards-in-austin/#comments</comments>
		<pubDate>Thu, 23 May 2013 22:42:25 +0000</pubDate>
		<dc:creator>Scott Andrews</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Ana Fernandez]]></category>
		<category><![CDATA[Austin Critics Table Awards 2013]]></category>
		<category><![CDATA[Blue Star Contemporary Art Museum]]></category>
		<category><![CDATA[Chris Saurter]]></category>
		<category><![CDATA[Claudio Dicochea]]></category>
		<category><![CDATA[Cruz Ortiz]]></category>
		<category><![CDATA[Gary Sweeney]]></category>
		<category><![CDATA[Kelley O’Connor]]></category>
		<category><![CDATA[Shannon Crider]]></category>
		<category><![CDATA[Texas Biennial]]></category>
		<category><![CDATA[Virginia Rutledge]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=29084</guid>
		<description><![CDATA[Five San Antonio artists were named as participants in the fifth edition of the Texas Biennial, taking place this fall at the Blue Star Contemporary Art Museum, September —December. Shannon Crider, Claudio Dicochea, Kelley O’Connor, Chris Saurter, and Gary Sweeney are among the 69 artists throughout Texas chosen by a panel of 14 curators led by Virginia Rutledge. The complete list is at texasbiennial.org &#160; SA visual artists also gained attention in the Austin Critics Table Awards 2013, which  this year acknowledges 170-plus artists in performing and visual arts. Ana Fernandez was chosen for her solo show, “Real Estate and Other Fictions,” at Women &#38; Their Work. Kelly O’Connor also received solo show accolades for “Last Resort,” also at Women &#38; Their Work. Cruz Ortiz received honors in the Work of Art: One of a Kind category for Hecho Farm, exhibited at University of Texas Visual Arts Center.  The image above is You Make Me Speak in Lightening Style, 2012, by Cruz Ortiz]]></description>
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		<title>Last boat to Cuba: ICONS at Bihl Haus closing</title>
		<link>http://blogs.sacurrent.com/index.php/last-boat-to-cuba-icons-at-bihl-haus/</link>
		<comments>http://blogs.sacurrent.com/index.php/last-boat-to-cuba-icons-at-bihl-haus/#comments</comments>
		<pubDate>Thu, 23 May 2013 16:00:38 +0000</pubDate>
		<dc:creator>Scott Andrews</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Adrian Rumbaut]]></category>
		<category><![CDATA[Bihl Haus Arts]]></category>
		<category><![CDATA[Che Guevara]]></category>
		<category><![CDATA[Cuba]]></category>
		<category><![CDATA[Marilyn Monroe]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=29022</guid>
		<description><![CDATA[Fashion and politics go hand-in-hand. Without popular media images there is no propaganda, and likewise, no sales. When Fidel Castro ousted Cuban dictator Fulgencio Batista from power in 1959 the world was split between those who embraced the radical new forces of socialism, and those who embraced the free world of capitalism. Neither side quite delivered paradise, and today the world is ruled by marketing. In a (dark humor) sense, it was the tactics shared by both sides that triumphed in the Cold War. Visiting Cuban artist Adrian Rumbaut mixes images of Che Guevara and Marilyn Monroe—two icons associated with the era of the Cuban revolution—in mixed media works that open a door on Cuba’s time capsule world. Rumbaut’s extended family is split between those who left for the U.S. when Castro came to power, and those who remained. Some hate Che (‘the butcher’), others don’t, but everyone loves Marilyn. “Magazines, like LIFE, from the ’50s, are still for sale in Havanna mercados,” says Rumbaut. Also on view are works from Rumbaut’s Diagrama Pictorico series, mixing classic images like the Mona Lisa, Marx, and Mickey Mouse, in pie-piece portions. Most interesting of all on view are perhaps dresses made from [...]]]></description>
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		<title>&#8216;The Brass Teapot&#8217; Puts the Slap in Slapstick</title>
		<link>http://blogs.sacurrent.com/index.php/the-brass-teapot-puts-the-slap-in-slapstick/</link>
		<comments>http://blogs.sacurrent.com/index.php/the-brass-teapot-puts-the-slap-in-slapstick/#comments</comments>
		<pubDate>Wed, 22 May 2013 20:59:45 +0000</pubDate>
		<dc:creator>Scott Andrews</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[film]]></category>
		<category><![CDATA[Juno Temple]]></category>
		<category><![CDATA[Michael Angarano]]></category>
		<category><![CDATA[movies]]></category>
		<category><![CDATA[Ramaa Mosley]]></category>
		<category><![CDATA[The Brass Teapot]]></category>
		<category><![CDATA[Tim Macy]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=29014</guid>
		<description><![CDATA[Life after college isn’t what they thought it would be for newlyweds John (Michael Angarano) and Alice (Juno Temple). John is stuck in a call center job, while Alice unsuccessfully tries to parlay her Art History degree into an executive position. Love isn’t paying the bills, and the sight of her high school friends living well is driving Alice to tatters. But their luck changes when an auto accident lands them near an antiques shop, where Alice is entranced by an ancient teapot. The two discover the teapot has magical powers that save them from poverty and put them on easy street. There’s a quirk, of course — the teapot produces money, but it’s not activated by wishful rubbing. Instead, it spurts dollars when someone nearby is in pain — the higher the pain, the bigger the payout. Soon, the two lovebirds are battering each other for the payout. At this point, the movie seems like a send-up on Puritan notions of the virtue of suffering, but the story bends once more, when the lovebirds cross to the dark, dark side to grab payola from the suffering of others. Slapstick comedy, indeed. The Brass Teapot Dir. Ramaa Mosley; writ. Tim [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Simon Pegg Talks &#8216;Star Trek Into Darkness&#8217;</title>
		<link>http://blogs.sacurrent.com/index.php/simon-pegg-talks-star-trek-into-darkness/</link>
		<comments>http://blogs.sacurrent.com/index.php/simon-pegg-talks-star-trek-into-darkness/#comments</comments>
		<pubDate>Mon, 20 May 2013 22:15:49 +0000</pubDate>
		<dc:creator>Kiko Martinez</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[britain]]></category>
		<category><![CDATA[england]]></category>
		<category><![CDATA[film]]></category>
		<category><![CDATA[Hollywood]]></category>
		<category><![CDATA[kiko martinez]]></category>
		<category><![CDATA[movie junket]]></category>
		<category><![CDATA[movies]]></category>
		<category><![CDATA[press junket]]></category>
		<category><![CDATA[sci fi]]></category>
		<category><![CDATA[simon pegg]]></category>
		<category><![CDATA[star trek]]></category>
		<category><![CDATA[star trek into darkness]]></category>
		<category><![CDATA[the junket]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28890</guid>
		<description><![CDATA[In &#8220;Star Trek Into Darkness,&#8221; the second film of the series directed by J.J. Abrams, actor Simon Pegg (&#8220;Shaun of the Dead,&#8221; &#8220;Hot Fuzz&#8221;) reprises his role as Montgomery Scott (AKA Scotty), a Starfleet Officer and the chief engineer on the Starship Enterprise. In this sequel, Capt. Kirk (Chris Pine) leads a man hunt for a former Starfleet commander (Benedict Cumberbatch) who has gone rogue. Was it always a given you would be returning to play Scotty for a sequel or was there a lot of deal making that had to be done before that happened? I was excited to do it. We spent the years between the first &#8220;Star Trek&#8221; and this one just waiting for the call because we had such a great time on the first film. Doing the second one was a no-brainer. J.J. Abrams, of course, was so instrumental in the success of the first film. Do you think you would’ve reprised your role if he had decided not to direct &#8220;Into Darkness&#8221;? The thing is, J.J. was always going to be involved in &#8220;Star Trek.&#8221; Even if he came back as a producer, his stamp would have always been on it with Bad Robot [...]]]></description>
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		<title>Does &#8216;The Office&#8217; Belong in the NBC Hall of Fame?</title>
		<link>http://blogs.sacurrent.com/index.php/does-the-office-belong-in-the-nbc-hall-of-fame/</link>
		<comments>http://blogs.sacurrent.com/index.php/does-the-office-belong-in-the-nbc-hall-of-fame/#comments</comments>
		<pubDate>Mon, 20 May 2013 19:02:53 +0000</pubDate>
		<dc:creator>M. R. Brown</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[the office]]></category>
		<category><![CDATA[tv casualty]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28861</guid>
		<description><![CDATA[As the last call for tears and laughs slowly fades away, The Office becomes another generational NBC program. The media giant is home to some of the most preeminent television series in history, including Cheers, Seinfeld, Frasier, The Cosby Show and Friends. The reaction to whether The Office will take its seat among these bannermen is nothing short of complicated. Out of a cannon, The Office immediately falls short in rating comparisons. Sure, it won plenty of award show metal, but where Friends could pull between 22-26 million viewers in its final five seasons, The Office could only haul in 4-7 million viewers. Though Nielsen ratings are a bane to creativity in the television medium, similar to standardized tests in schools, and they may be remorsefully inaccurate on many levels, they are the agreed upon baseline. Historically, it’s important to note that even NBC’s Cheers was never a ratings darling until middle age. It premiered as the lowest rated show its first season. The Office found its roots sooner than the Boston barroom, thanks in part to Steve Carell’s score with The 40 Year-Old Virgin. What numbers won’t gauge is the writing and production that came from The Office. Reinventing [...]]]></description>
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		<title>Stay Current with the Pick of the Day: Hellcab</title>
		<link>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-hellcab-2/</link>
		<comments>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-hellcab-2/#comments</comments>
		<pubDate>Sun, 19 May 2013 13:00:33 +0000</pubDate>
		<dc:creator>Bryan Rindfuss</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[atticrep]]></category>
		<category><![CDATA[chicago]]></category>
		<category><![CDATA[E.J. Roberts]]></category>
		<category><![CDATA[Elizabeth Anne Cave]]></category>
		<category><![CDATA[Gloria Sanchez-Molina]]></category>
		<category><![CDATA[HELLCAB]]></category>
		<category><![CDATA[Hellcab Does Christmas]]></category>
		<category><![CDATA[Kareem Dahab]]></category>
		<category><![CDATA[Keith Berry]]></category>
		<category><![CDATA[Nico Bonacci]]></category>
		<category><![CDATA[Stacey Connelly]]></category>
		<category><![CDATA[Taylor Mobley]]></category>
		<category><![CDATA[Trinity University]]></category>
		<category><![CDATA[Will Kern]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28789</guid>
		<description><![CDATA[In Hellcab, playwright Will Kern explores the thrilling randomness of the whole taxi experience. Originally performed as the unlikely holiday offering Hellcab Does Christmas, the dark comedy introduces all walks (obnoxious sports fans, drunks, druggies, and born-again Christians included) in roughly two dozen vignettes as a Chicago cabby struggles through an endless shift. Revived last year for its 20th anniversary, Kern’s script is a young underdog among iconic Chicago plays such as A Raisin in the Sun and American Buffalo. Stacey Connelly directs Keith Berry, Nico Bonacci, Elizabeth Anne Cave, Kareem Dahab, Taylor Mobley, E.J. Roberts, and Gloria Sanchez-Molina in the AtticRep production, which features strong language, adult situations, and production design by Artpace alum Andrea Caillouet. $10-$25, 8pm Thu-Sat, 2:30pm Sun, The Attic Theatre, Trinity University, 1 Trinity, (210) 999-8524, atticrep.org. Check out our full online calendar of upcoming events here: calendar.sacurrent.com.]]></description>
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		<title>Stay Current with the Pick of the Day: Spring Awakening</title>
		<link>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-spring-awakening/</link>
		<comments>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-spring-awakening/#comments</comments>
		<pubDate>Fri, 17 May 2013 14:00:30 +0000</pubDate>
		<dc:creator>ARTSLUT</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Barely Breathing]]></category>
		<category><![CDATA[Duncan Sheik]]></category>
		<category><![CDATA[spring awakening]]></category>
		<category><![CDATA[The Bitch of Living]]></category>
		<category><![CDATA[The Playhouse]]></category>
		<category><![CDATA[Totally Fucked]]></category>
		<category><![CDATA[Touch Me]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28776</guid>
		<description><![CDATA[With music by Duncan Sheik (best remembered for his 1996 single “Barely Breathing”), this provocative musical combines a sexy book with even sexier, alt-rock based songs like “The Bitch of Living,” “Touch Me,” and “Totally Fucked.” Unlike a lot of musical theater, this isn’t a safe bet for a first date or a matinee with mom. The story follows a group of Teutonic teens frustrated by their 19th-century village’s refusal to acknowledge S-E-X. Left to their own devices, they explore masturbation and sexual fantasies, but shit gets real, fast, and sadomasochism, an act of ambiguous consent, and physical and sexual abuse all occur before intermission. The second act grows darker still. The powerful message and the rollicking soundtrack propelled Spring Awakening to a 2007 Tony Award sweep. $10-$25, 8pm Fri-Sat, 2:30 Sun, The Playhouse, 800 W Ashby, (210) 733-7258, theplayhousesa.org. Check out our full online calendar of upcoming events here: calendar.sacurrent.com.]]></description>
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		<title>The 2013 800 lb. Film Festival</title>
		<link>http://blogs.sacurrent.com/index.php/the-2013-800-lb-film-festival/</link>
		<comments>http://blogs.sacurrent.com/index.php/the-2013-800-lb-film-festival/#comments</comments>
		<pubDate>Tue, 14 May 2013 14:08:16 +0000</pubDate>
		<dc:creator>Jordan Gass-Poore</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[800 lb. Film Festival]]></category>
		<category><![CDATA[film]]></category>
		<category><![CDATA[jordan gass-poore]]></category>
		<category><![CDATA[local film]]></category>
		<category><![CDATA[student films]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28651</guid>
		<description><![CDATA[For the last 16 years, students at the North East School of the Arts have been creating and screening their shorts, chosen by their peers, at the 800 lb. Film Festival. The faculty and staff of NESA’s cinema department train students through all aspects of a movie’s production, even traveling to Los Angeles to film on location, like last year’s short Ordinance of Good Men, written and directed by Cinema North East alum Devin Woodard. The drama, which was chosen to screen in the Young Filmmakers category during last year’s Austin Film Festival, is about a group of bounty hunters intent on murdering an alleged terrorist in The Beverly Hills Hotel for their Charlie’s Angels-like boss. The group soon discovers they have been duped and must take an I Heart Huckabees moment to figure out their purpose in life. Existential angst continues in Hamartia, written and co-directed by Cinema North East senior Cristian Perez and former San Antonian Jaida Scott. The mute protagonist’s “fatal flaw” (the definition of the movie’s title) may be more her desire to feel accepted in a world filled with confusion, doubt and uncertainty, than the tumor that’s growing on a frontal lobe in her brain. [...]]]></description>
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		<title>Is Mad Men Untouchable?</title>
		<link>http://blogs.sacurrent.com/index.php/your-favorite-show-was-cancelled-because-it-wasnt-mad-men/</link>
		<comments>http://blogs.sacurrent.com/index.php/your-favorite-show-was-cancelled-because-it-wasnt-mad-men/#comments</comments>
		<pubDate>Mon, 13 May 2013 17:29:06 +0000</pubDate>
		<dc:creator>M. R. Brown</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[column]]></category>
		<category><![CDATA[M.R. Brown]]></category>
		<category><![CDATA[mad men]]></category>
		<category><![CDATA[television]]></category>
		<category><![CDATA[TV]]></category>
		<category><![CDATA[tv casualty]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28606</guid>
		<description><![CDATA[For every angry letter, online petition, or sofa rant spilled over a cancelled show, one thing is true: the reason many viewers&#8217; favorite bits of home cinema disappear, is because they aren&#8217;t Mad Men. With recent news of network and cable’s cancellations and re-ups for next season, it comes as no surprise that Mad Men will be back, and why shouldn’t it? Mad Men’s trophy count would put Kobe Bryant to shame. Racking up near countless nods, it&#8217;s won handfuls of metal from the Emmy’s, Golden Globes, and AFI, to name a few. It even won a Peabody Award. Matthew Weiner’s brainchild has earned the prestige that few series today, or in television history, can claim. We may feel like we’re being told to go kick rocks over cancellations of such programs as Arrested Development, Freaks and Geeks, and Bored to Death, but there’s always hope for a second chance, or at least a new series, to let us down. These audience favorites are always canned by reason of insanity, also known as Nielsen ratings. You may know the drill. A randomly selected family (some 20,000 households to be exact) is given a box that records watching, recording, even fast-forwarding [...]]]></description>
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		<title>Stay Current with the Pick of the Day: Scapin</title>
		<link>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-scapin/</link>
		<comments>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-scapin/#comments</comments>
		<pubDate>Sun, 12 May 2013 13:00:09 +0000</pubDate>
		<dc:creator>Bryan Rindfuss</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Bill Irwin]]></category>
		<category><![CDATA[Brendan Spieth]]></category>
		<category><![CDATA[commedia del’arte]]></category>
		<category><![CDATA[Mark O’Donnell]]></category>
		<category><![CDATA[Matthew Byron Cassi]]></category>
		<category><![CDATA[moliere]]></category>
		<category><![CDATA[Scapin]]></category>
		<category><![CDATA[Scapin’s Deceits]]></category>
		<category><![CDATA[The Classic Theater of San Antonio]]></category>
		<category><![CDATA[The Sterling Houston Theater at Jump-Start]]></category>
		<category><![CDATA[Zanni]]></category>
		<category><![CDATA[zany]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28465</guid>
		<description><![CDATA[The word “zany” comes from Zanni, notorious tricksters introduced in 16th-century commedia del’arte. Among the Zanni family is Scapin, a playful servant who lives up to his name by escaping from the sticky situations he orchestrates. First staged in Paris in 1671, Molière’s comedy Scapin’s Deceits presents the title character as a pompous liar who ultimately saves the day. In the 1990s, “clown prince” Bill Irwin joined forces with the late writer Mark O’Donnell to update Molière’s farce. Following the squirrelly valet into a tangled web as he assists two young men who’ve fallen for “unlikely and penniless beauties,” the duo’s Scapin brings the language up to speed but maintains the work’s original structure. Matthew Byron Cassi directs Brendan Spieth in the Classic Theatre’s production. $10-$20, 8pm Fri-Sat, 3pm Sun, The Sterling Houston Theater at Jump-Start, 108 Blue Star, (800) 838-3006, classictheatre.org. Through May 25. Check out our full online calendar of upcoming events here: calendar.sacurrent.com.]]></description>
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		<title>Stay Current with the Pick of the Day: Little Shop of Horrors</title>
		<link>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-little-shop-of-horrors/</link>
		<comments>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-little-shop-of-horrors/#comments</comments>
		<pubDate>Sat, 11 May 2013 14:00:15 +0000</pubDate>
		<dc:creator>Bryan Rindfuss</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Alan Menken]]></category>
		<category><![CDATA[Dennis Hopper]]></category>
		<category><![CDATA[francis ford coppola]]></category>
		<category><![CDATA[Howard Ashman]]></category>
		<category><![CDATA[Jack Nicholson]]></category>
		<category><![CDATA[Little Shop of Horrors]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Robert De Niro]]></category>
		<category><![CDATA[Roger Corman]]></category>
		<category><![CDATA[Ron Howard]]></category>
		<category><![CDATA[Sheldon Vexler Theatre]]></category>
		<category><![CDATA[The Little Shop of Horrors]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28454</guid>
		<description><![CDATA[Before he founded New World Pictures in 1970, Oscar-winning Hollywood rebel Roger Corman was launching actors’ careers (including those of Jack Nicholson, Dennis Hopper, and Robert De Niro) and influencing big-time directors (such as Francis Ford Coppola, Martin Scorsese, and Ron Howard) as the king of B movies. Arguably the most influential of Corman’s early gems is 1960’s The Little Shop of Horrors, a dark comedy set in a Skid Row flower shop. In 1982, Alan Menken and Howard Ashman adapted the film as Little Shop of Horrors, an Off-Broadway smash that set the stories of a geeky florist, a bruised blonde, a sadistic dentist, and a blood-guzzling plant to a doo-wop score led by Motown-esque street urchins Crystal, Ronette, and Chiffon. $14-$20, 7:30pm Thu, 8pm Sat, 2:30pm Sun, Sheldon Vexler Theatre, 12500 NW Military Hwy., (210) 302-6835, vexler.org. Through June 9. Check out our full online calendar of upcoming events here: calendar.sacurrent.com.]]></description>
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		<title>Addams Family 2.0 at the Majestic</title>
		<link>http://blogs.sacurrent.com/index.php/addams-family-2-0-at-the-majestic/</link>
		<comments>http://blogs.sacurrent.com/index.php/addams-family-2-0-at-the-majestic/#comments</comments>
		<pubDate>Fri, 10 May 2013 01:14:19 +0000</pubDate>
		<dc:creator>Thomas Jenkins</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[addams family musical]]></category>
		<category><![CDATA[broadway tour]]></category>
		<category><![CDATA[musical]]></category>
		<category><![CDATA[The Addams Family]]></category>
		<category><![CDATA[the majestic]]></category>
		<category><![CDATA[Thomas Jenkins]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28556</guid>
		<description><![CDATA[We might think of the Addams Family as, say, creepy and ooky, but the one thing that doesn’t come to mind is syrupy. That quality, I’m afraid, is what sinks the touring production currently at the Majestic, the end result of four years of desperate tinkering, including different versions mounted in Chicago and on Broadway. The production now parked at the Majestic—dubbed Addams Family 2.0 by those in the know—might be less buggy than Addams Family 1.0, but what the Addams Family desperately requires is more bugs (as well as spiders and gargoyles and bats). As a musical adaptation of Charles Addams’ macabre drawings, Addams Family is perverse, all right – but in exactly the wrong way. It’s perversely sentimental. This Addams Family was originally designed and directed by British wizards Phelim McDermott and Julian Crouch, whose creepy, puppet-filled Shockheaded Peter is still one of the best productions I’ve ever seen in New York. And one can occasionally see their vision at play in the current production: when a bed wondrously morphs into an enormous Gila monster and scuttles offstage—see, there aren’t monsters under the bed, they are the bed—well, that’s theatrical magic. And it’s perfectly in keeping with the [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Blue Star Contemporary Art Museum&#8217;s Executive Director Stepping Down</title>
		<link>http://blogs.sacurrent.com/index.php/blue-star-contemporary-art-museums-executive-director-stepping-down/</link>
		<comments>http://blogs.sacurrent.com/index.php/blue-star-contemporary-art-museums-executive-director-stepping-down/#comments</comments>
		<pubDate>Thu, 09 May 2013 17:22:49 +0000</pubDate>
		<dc:creator>Scott Andrews</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Bill FitzGibbons]]></category>
		<category><![CDATA[Blue Star Contemporary Art Museum]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28517</guid>
		<description><![CDATA[Blue Star Contemporary Art Museum announced this morning that Bill FitzGibbons, executive director of the museum for more than 10 years, is resigning his position effective June 15 in order to pursue his public art career. FitzGibbons was chosen Texas State Artist for 2012 by the Texas State Legislature, and has served six years on the board of directors of the International Sculpture Center. According to Ed Valdespino, Blue Star&#8217;s board chair, &#8220;Bill is a victim of his own success. Recent commissions  he has been awarded won&#8217;t allow him to devote adequate time to to Blue Star.&#8221; Both Valdespino and FitzGibbons stated to the Current that the decision for his stepping down was mutual. FitzGibbons schedule has indeed been getting busy recently. He will be in museum art shows in Cairo, Egypt; McAllen, Tex., and New Delhi, India. A trip he made recently to Shanghai on  museum business paid off well, too, landing him a residency. FitzGibbons has also been awarded a commission by the City of Birmingham, Alabama, to make a LED light sculpture similar to Light Channels, sited in San Antonio at the Commerce and Houston Street underpasses for Highway 281. Valdespino stated that &#8220;we looked at the [...]]]></description>
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		<slash:comments>4</slash:comments>
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		<title>Stay Current with the Pick of the Day: Ansen Seale &amp; Betsy Dudley</title>
		<link>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-ansen-seale-betsy-dudley/</link>
		<comments>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-ansen-seale-betsy-dudley/#comments</comments>
		<pubDate>Thu, 09 May 2013 14:00:21 +0000</pubDate>
		<dc:creator>ARTSLUT</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Ansen Seale]]></category>
		<category><![CDATA[Betsy Dudley]]></category>
		<category><![CDATA[Parchman Stremmel Gallery]]></category>
		<category><![CDATA[sculpture]]></category>
		<category><![CDATA[slit-scan photography]]></category>
		<category><![CDATA[wood]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28442</guid>
		<description><![CDATA[If you’ve ever taken pictures at a party, you’ve most likely had a few blurry shots, especially what should have been the cool dancing pics. Ansen Seale’s digital slit-scan camera takes long exposure photographs and turns this state of affairs on its head: static objects are rendered as a blur but movement is captured as a series of clear images. We don’t pretend to understand how it happens, but the results are sublime. Betsy Dudley’s wood sculptures describe complex geometries and architecture that echo human preoccupation rather than organic shapes, mapping social structures, dreams, and hierarchies of value. In two and three dimensions, this exhibition is about time. Free, 5:30-7:30pm Thursday, Parchman Stremmel Gallery, 110 W Olmos, (210) 824-8990, psgart.com. Through May 30. Check out our full online calendar of upcoming events here: calendar.sacurrent.com.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Stay Current with the Pick of the Day: The Addams Family</title>
		<link>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-the-addams-family/</link>
		<comments>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-the-addams-family/#comments</comments>
		<pubDate>Wed, 08 May 2013 17:00:35 +0000</pubDate>
		<dc:creator>Bryan Rindfuss</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Basil Twist]]></category>
		<category><![CDATA[Charles Addams]]></category>
		<category><![CDATA[Marshall Brickman]]></category>
		<category><![CDATA[Rick Elice]]></category>
		<category><![CDATA[The Addams Family]]></category>
		<category><![CDATA[The Majestic Theatre]]></category>
		<category><![CDATA[The New Yorker]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28434</guid>
		<description><![CDATA[The ghoulish characters illustrator Charles Addams introduced in The New Yorker in 1938 remained nameless until the ’60s; now Gomez, Morticia, and Wednesday Addams are iconic monikers. Descending on Broadway in 2010, the musicalized version of The Addams Family unearths dialogue from Addams’ cartoons but owes more to the macabre sitcom they inspired. Featuring a book by Marshall Brickman and Rick Elice, the play sees ma and pa Addams at odds with Wednesday’s choice to date an all-American boy. Dissed by one critic as “a tepid goulash of vaudeville song-and-dance routines, Borscht Belt jokes, stingless sitcom zingers and homey romantic plotlines,” the Tony nominee scored at the box office and won over skeptics thanks to the work of puppeteer Basil Twist and his giant squid. $35-$90, 8pm Tuesday, The Majestic Theatre, 224 E Houston, (210) 226-3333, majesticempire.com. Through May 12. Check out our full online calendar of upcoming events here: calendar.sacurrent.com.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Can ABC&#8217;s Happy Endings be Saved? And should we care?</title>
		<link>http://blogs.sacurrent.com/index.php/can-abcs-happy-endings-be-saved-and-should-we-care/</link>
		<comments>http://blogs.sacurrent.com/index.php/can-abcs-happy-endings-be-saved-and-should-we-care/#comments</comments>
		<pubDate>Tue, 07 May 2013 01:47:36 +0000</pubDate>
		<dc:creator>M. R. Brown</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[abc]]></category>
		<category><![CDATA[happy endings]]></category>
		<category><![CDATA[M.R. Brown]]></category>
		<category><![CDATA[tv casualty]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28375</guid>
		<description><![CDATA[The premise? When Dave is left at the alter by Alex, the couple’s group of friends is left to pick up the pieces while trying not to overcomplicate their own lives. This much is true, for about two episodes. The ABC comedy focusing on a group of thritysomethings in Chicago has never fit into a neatly labeled niche. Friday’s season, and possibly series, finale saw the end of Alex and Dave once again, but this time I found myself interrupting the spurt of drama to say, “I don’t give a shit.” Their story no longer mattered. Happy Endings is as plotless as Seinfeld, as quotable as Cheers, and as best-friendly as Friends. The issue falls more on the marketability of the show. Ultimately, Happy Endings is the funniest show on television, and you’re not watching. The series that was poised to be a classic will-they-won’t-they eventually found itself growing into something entirely different: a comedy of character. Best described as an emphasis on characterization in lieu of plot, a comedy of character is what produces the preposterous yet beautiful couple of Brad Williams and Jane Kerkovich-Williams, the self-deprecating but triumphant Penny Hartz, and, well, the character of Max Blum. A [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Stay Current with the Pick of the Day: Starlight Movies in the Garden: Roman Holiday</title>
		<link>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-starlight-movies-in-the-garden-roman-holiday/</link>
		<comments>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-starlight-movies-in-the-garden-roman-holiday/#comments</comments>
		<pubDate>Fri, 03 May 2013 14:00:40 +0000</pubDate>
		<dc:creator>Bryan Rindfuss</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Audrey Hepburn]]></category>
		<category><![CDATA[Dalton Trumbo]]></category>
		<category><![CDATA[Gregory Peck]]></category>
		<category><![CDATA[House Un-American Activities Committee]]></category>
		<category><![CDATA[Ian McLellan Hunter]]></category>
		<category><![CDATA[Princess Margaret]]></category>
		<category><![CDATA[Roman Holiday]]></category>
		<category><![CDATA[Slab Cinema]]></category>
		<category><![CDATA[Starlight Movies in the Garden]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28286</guid>
		<description><![CDATA[Reportedly based on Princess Margaret’s adventures in Italy, William Wyler’s timeless rom-com Roman Holiday tells a Cinderella story in reverse. Shot on location in Rome, the 1953 film follows curious Princess Ann (Audrey Hepburn) out of her royal confines and into the streets as she defects from a tedious tour of European capitals. Loopy from sedatives, Ann falls asleep in a park and lands in the care of Joe Bradley (Gregory Peck), an expatriate journalist tempted to cash in on his candid brush with royalty. Originally attributed to Ian McLellan Hunter, Roman Holiday’s Oscar-winning script is the work of Dalton Trumbo, a blacklisted writer who spent 10 months in prison after refusing to testify before the House Un-American Activities Committee. Slab Cinema screens the classic as part of its Starlight Movies in the Garden Series. Free, gates at 7:30pm, film at dusk Friday, San Antonio Botanical Garden, 555 Funston, (210) 207-3250, slabcinema.com.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Stay Current with the Pick of the Day: Anya Gallaccio &amp; Michael Menchaca</title>
		<link>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-anya-gallaccio-michael-menchaca/</link>
		<comments>http://blogs.sacurrent.com/index.php/stay-current-with-the-pick-of-the-day-anya-gallaccio-michael-menchaca/#comments</comments>
		<pubDate>Thu, 02 May 2013 14:00:28 +0000</pubDate>
		<dc:creator>Bryan Rindfuss</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Anya Gallaccio]]></category>
		<category><![CDATA[Artpace]]></category>
		<category><![CDATA[Damien Hirst]]></category>
		<category><![CDATA[Hudson (Show)Room]]></category>
		<category><![CDATA[Michael Menchaca]]></category>
		<category><![CDATA[preserve “beauty”]]></category>
		<category><![CDATA[Window Works]]></category>
		<category><![CDATA[Young British Artists]]></category>
		<category><![CDATA[“Autos Sacramentales”]]></category>
		<category><![CDATA[“Freeze”]]></category>
		<category><![CDATA[“they said there was a paradise way out west”]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28278</guid>
		<description><![CDATA[Flowers, chocolate, and other unusual suspects factor into the work of Scottish artist Anya Gallaccio, whom San Antonians may remember as the Artpace resident behind 1997’s “they said there was a paradise way out west.” Among the Young British Artists who emerged from the 1988 “Freeze” exhibition organized by Damien Hirst, Gallaccio creates installations likened to “wonderfully unreliable experiments.” Exemplified by preserve “beauty” — which entails 2,000 Gerbera daisies — these happenings drip, dry, decay, and smell — an evolution the artist describes as “both a performance and a collaboration.” Gallaccio returns to Artpace, in the Hudson (Show)Room, with a new project inspired by Texas geology, opening concurrently with local artist Michael Menchaca’s Window Works installation “Autos Sacramentales,” (above). Free, 6-8:30pm Thursday, Artpace, 445 N Main, (210) 212-4900, artpace.org. Check out our full online calendar of upcoming events here: calendar.sacurrent.com.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>National Poetry Month, Reading by Carmen Tafolla, Alicia Galvan, Bryce Milligan</title>
		<link>http://blogs.sacurrent.com/index.php/national-poetry-month-reading-by-carmen-tafolla-alicia-galvan-bryce-milligan/</link>
		<comments>http://blogs.sacurrent.com/index.php/national-poetry-month-reading-by-carmen-tafolla-alicia-galvan-bryce-milligan/#comments</comments>
		<pubDate>Mon, 29 Apr 2013 16:42:36 +0000</pubDate>
		<dc:creator>Scott Andrews</dc:creator>
				<category><![CDATA[ARTSLUT]]></category>
		<category><![CDATA[Alicia Galvan]]></category>
		<category><![CDATA[Byrce Milligan]]></category>
		<category><![CDATA[carmen tafolla]]></category>
		<category><![CDATA[Instituto Cultural de Mexico]]></category>
		<category><![CDATA[Janka Klescova]]></category>
		<category><![CDATA[Jim LaVilla-Havelin]]></category>
		<category><![CDATA[National Poetry Month]]></category>

		<guid isPermaLink="false">http://blogs.sacurrent.com/?p=28205</guid>
		<description><![CDATA[These excerpts are from my translation of the historical document written by Sor Juana in 1681 to Antonio Nunez de Miranda, her Father Confessor, defending her right to continue studying and writing. The document was discovered in Monterey, Mexico by Monsignor Aureliano Tapia Mendez, an eminent Sor Juana scholar. He published the document under the title, Carta de Sor Juana Ines de la Cruz a Su Confesor: Autodefensa Espiritual in the early 1980&#8242;s. The following excerpts are from my English translation of this document published in 1998, is Sor Juana: Poet, Nun, Feminist, Enigma: Autodefensa Espiritual: A Poet&#8217;s Translation:   My studies have been neither damaging or causing injury to anyone, because above all, they have been so extremely private, that I have not even had direction from a teacher, but singlehandedly I have had only myself and my work to count on.&#8221; Not allowing women to places set aside for men, could be because the state does not need them in order to govern like magistrates (whereby they are excluded for the same reason of honor) yet it does not protect them from what they should not be used for. But the private and public studies, who has prohibited them from the women? [...]]]></description>
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		<slash:comments>0</slash:comments>
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