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Contents

EDITORIAL

VOL. 28 | NO. 14 | APRIL 7-APRIL 13, 2016

STAFF WRITERS Meagan Flynn, Craig Malisow, Dianna Wray FELLOW Leif Reigstad EDITORIAL OPERATIONS MANAGER Richard Hebert CONTRIBUTORS Melissa Anderson, Jeff Balke, Sam Byrd, Brandon

Caldwell, Phaedra Cook, Willie D, Alexandra Doyle, Bilge Ebiri, D.L. Groover, Steve Jansen, Michael Nordine, Sean Pendergast, Alan Scherstuhl, Ellie Sharp, Bill Simpson, William Michael Smith, Randy Tibbits, A Wolfe WEB CONTRIBUTORS Jeff Balke, Sam Byrd, Ashley Clos, Phaedra Cook, Willie D, Alexandra Doyle, Jef With One F, Catherine Gillespie, Jack Gorman, Nicholas L. Hall, Whitney Hodgin, Alexandra Irrera, Matthew Keever, Erika Kwee, Chris Lane, Kristy Loye, Francisco Montes, Adam P. Newton, Joanna O’Leary, Jeremy Parzen, Sean Pendergast, Mai Pham, John Royal, Bob Ruggiero, David Sackllah, Ericka Schiche, Bill Simpson, Nathan Smith, William Michael Smith, Matt Stieb, Valerie Sweeten, Randy Tibbits, Marco Torres, Brooke Viggiano, Pete Vonder Haar ART ART DIRECTOR Monica Fuentes PRODUCTION PRODUCTION MANAGER Brian Cook LAYOUT EDITOR Mya Dale CORPORATE MARKETING GRAPHIC DESIGNER Natalie Silva GRAPHIC DESIGNER Sarah Wall ADVERTISING RETAIL SALES DIRECTOR Allisen Picos CLASSIFIED SALES DIRECTOR Juan Rojas OPERATIONS MANAGER Dana Donovan SENIOR ACCOUNT EXECUTIVES Joe Espelage, Char Koehler ACCOUNT EXECUTIVES Karinn Brenes, Joshua Brettschneider, Joel Cirilo,

Arielle Lipsen, Courtney Mitchell, Jennifer Smith, Leslie Taylor HOUSE ACCOUNT MANAGER Sophie Cole DIGITAL OPERATIONS COORDINATOR Jessica Candler DIGITAL MARKETING AND SALES COORDINATOR Lisa Fegen REGIONAL MARKETING DIRECTOR Jennifer Robinson MARKETING MANAGER Jordan Taylor PROMOTIONS COORDINATOR Colleen Sexton MARKETING INTERN Tessa Chronister

Mikel Galicia

Cover Story ▼

Onward Christian Soldiers

Donald Trump has been divisive wherever he goes and evangelicals — often incorrectly dismissed as a monolithic and easily led community — are no exception. JULIE LYONS |

PAGE 10

Featured Stories ▼

Hot Air

BUSINESS BUSINESS MANAGER Joseph Ferrara FINANCIAL ACCOUNTANT David Huffman STAFF ACCOUNTANT Abrahán Garza PUBLISHER Stuart Folb

VOICE MEDIA GROUP

Film

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Pizza Check

Music Playbill .................................... 38

Roy Luck

Industry and regulators say air quality is closely monitored near the Ship Channel. Researchers disagree.

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Food Editor Opening The Houston Press is looking for a Food Editor who will work with our lead food critic and other food writers to craft our restaurant and food coverage both online and in print. Candidates should be knowledgeable about food, write and report well, and be very organized and accurate. Knowledge of photography is a plus. The position is full-time and on staff with benefits. The Food Editor will report directly to the Editor-in-Chief. Interested applicants should email a résumé, cover letter and samples of their own food writing to margaret.downing@houstonpress.com. No phone calls.

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The Houston Press newsroom is looking for a part-time executive assistant who will be responsible for a variety of clerical duties and will report directly to the editor-inchief. Applicants should be available to work 20 hours a week, have computer skills, be accurate and organized, and have the ability to work well with both internal and external customers. Interested candidates should send a résumé and cover letter to margaret.downing@houstonpress.com.

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EDITOR Margaret Downing MANAGING EDITOR Michael Barajas WEB EDITOR Cory Garcia ARTS EDITOR Margaret Downing FOOD EDITOR Margaret Downing MUSIC EDITOR Chris Gray NEWS EDITOR Michael Barajas MUSIC LISTINGS EDITOR Tex Kerschen NIGHT & DAY EDITOR Susie Tommaney

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Houston Press April 7 - 13, 2016 6

| HOUSTON NEWS |

Hot Air Industry and

regulators say aIr qualIty Is closely monItored near the shIp channel. researchers dIsagree. DIANNA WRAY

ouston is the petrochemical epicenter of the United States, possibly the world. Yet we have no idea what chemicals the people who live near the industrial tangle of pipelines, train tracks, refineries and chemical plants along the Houston Ship Channel have to breathe in every day, according to new research from the Houston Advanced Research Center. For years, people have said that Houston, one of the most heavily polluted cities in the United States, is also one of the cities with the heaviest monitoring of air quality in the country. Between the Texas Commission on Environmental Quality, local governments and private industry, there are supposed to be more than 140 different kinds of air pollution monitors measuring the amounts of different chemicals wafting through the air all over the city, according to a recent study. (Private companies are allowed to self-report their emissions levels.)

VISIT HOUSTONPRESS.COM FOR MORE BREAKING NEWS AND FEATURES In fact, it’s claimed that Houston has more air-pollution monitors than any other city in the United States and possibly the world, according to one study published in January 2015. But despite what industry and government officials say, we know very little about what’s being emitted in the neighborhoods around refineries, according to Jay Olaguer, the program director for air quality science at HARC. Last year, Olaguer worked with a team of researchers from colleges and universities across the country to conduct a field study on the effects and sources of air pollution in neighborhoods near the Houston Ship Channel, including Galena Park, Manchester and Harrisburg. Their goal was to figure out how bad air pollution really was in the neighborhoods near the Ship Channel and to better pinpoint the source of those emissions. They worked out of three vans in February 2015, running tests and gathering data. By the time they were done, Olaguer says, researchers could better pinpoint the levels of pollution in those neighborhoods pressed up against Houston’s petrochemical complex along the Ship Channel. HARC researchers weren’t exactly shocked to discover benzene emissions in the area. The researchers, part of a HARC project called the Benzene and Other Toxics Exposure Study (BEE-TEX for short), found sig-

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was photographed dressed up as Gay Hitler, wearing a swastika armband, a fake Hitler mustache and Hitler wig, a pink sash (which is apparently gay?), and a big ol’ smile, all while doing the “Sieg heil” salute. Kyle Biedermann was caught red-handed. When the ExpressNews called him out on it, did he respond the way a normal, welladjusted Gay Hitler impersonator would and simply say he was sorry? Nope. Because Texas. From the Express-News: “What would be offensive about that photograph?” Biedermann asked indignantly on Wednesday. “This whole thing is about political correctness. It’s not a problem for me whatsoever.” That’s right. He’s Gay, he’s Hitler and he’s damn proud of it. There are a lot of reasons why he probably should be sorry, though (besides the obvious ones, like Hitler was a genocidal maniac Roy Luck/CC and it’s an offense to Jews, gays and literally everyone who isn’t a Nazi sympathizer). As with those of most conservative Christian political hopefuls, Biedermann’s campaign is based mainly on the promise to “preserve Texas values.” It’s hard to say how Gay Hitler promotes “Texas values.” The Express-News said Biedermann wrote an email to a voter last month, trying to explain the photo’s context: “Thanks for your interest in my campaign,” he wrote. “The explanation is simple. This was a fundraiser for the Food Pantry and the Needs Counsel with about 400 people with a [Saturday Night Live] theme…The costumes are supposed to be outrageous and Mine certainly was. Gay Hitler was a SNL character from the show which of coarse (sic) is a spoof.” Okay. So Biedermann isn’t really Gay Hitler; he was just dressed up that way as a joke. Er, he was stealing someone else’s joke. For charity. Gay Hitler…for charity. While Biedermann apparently didn’t bother condemning Hitler’s ideas or assuring the voter that he is not actually a Nazi sympathizer, he was quick to make sure the voter didn’t think he was (gasp!) gay. “I am not gay and never have been. Don’t know anything about Swingers Clubs and no desire to find out. I have an amazing wife.” Glad that’s been cleared up. Kyle Biedermann: definitely not gay, but maybe still Hitler. Biedermann told the Express-News that he’s running for office because people are looking for a führer “leader.” He’s one of a number of conservative activists sweeping the state, in the mold of Houston’s antiHERO leader Jared Woodfill, all aiming to shake up the Republican party and move it to the far, far right. If Biedermann is elected, he would likely be the first openly Gay Hitler to set foot in the Capitol Building. But if Texas politics keeps trending toward crazy, he may not be the last.

It’s not just the refineries that are belching benzene in the East End.

nificant amounts of benzene coming from the rail lines, the refineries and the Houston Ship Channel, which was what they’d expected. But researchers also discovered something new: that pipelines crisscrossing beneath the neighborhoods toting crude oil and natural gas were also sporadically belching large amounts of benzene into the air, as we’ve previously reported. These unpredictable emissions were releasing the carcinogen into the air at levels that were much higher than the levels recorded in the same areas in the 2011 National Emissions Inventory, the Environmental Protection Agency’s air pollution inventory system that is built using data collected from state and local agencies. The BEE-TEX researchers also used real human tissue to test how lung cells responded after being exposed to the air near the Ship ChanOlAGUER nel. (University of WANTS North Carolina scienTO MORE tists cultivated the ACCURATEly lung cells from canMEASURE THE cerous human lung POllUTION cells, and Olaguer snapped up the oplEVElS IN portunity to use this AREAS NEAR new technology in his THE SHIP study.) After four CHANNEl hours of being left out WHERE in the air in ManchesPEOPlE lIVE. ter near Valero’s Houston refinery, the lung cells showed signs of inflammation and asthmatic symptoms from the air pollution. The researchers also found that they were getting more accurate readings of air pollution in the neighborhoods by using vans and collecting the data in real time. State and local government air-quality monitoring stations are designed to stay in one place, so they won’t necessarily catch everything being released into the air. But being able to move

around made it easier to track any sudden changes in emissions, like a huge release of benzene, and measure how those releases sent the current air pollution levels in a specific area through the roof. The stationary monitoring equipment is unlikely to catch things like that, Olaguer says. Based on this research, Olaguer wants to change the air-quality monitoring systems to more accurately measure the pollution levels in areas near the Ship Channel where people live. It’s something that could completely change the way we monitor air pollution in fence-line neighborhoods, he says. “With this new approach, though, you’re really getting into what’s happening in real time,” he says. “This way, we don’t have to wait years and years to figure out what’s going on. If we could change the system, do much more immediate analysis and modeling right away in areas prone to this stuff, it could change the whole game entirely.”

“GAy Hitler” SeekS office gop polItIcs In texas just keeps

gettIng weIrder. LEIF REIGSTAD

onald Trump’s insanity has nothing on Texas, where the political scene has descended into complete and utter madness. The Travis County GOP chairman is a sexobsessed conspiracy theorist who promised to lick Barbara Bush’s butt if Hillary Clinton wins the general election. There’s a woman running for the board of education who thinks Obama was a gay prostitute and that baby dinosaurs rode Noah’s Ark. And now there is Gay Hitler. Yeah, that’s right. Gay Hitler. According to the San Antonio ExpressNews, a candidate for state representative

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April 7 - 13, 2016 Month XX–Month XX, 2014

John Ueland

Houston Press Houston Press

By JulIe lyOns

f we ever needed proof, we got it when Donald Trump opened his mouth at Liberty University and made his infamous reference to “2 Corinthians.” After wiping off the drool from laughing so hard, evangelicals knew with certainty that he was not one of us. Every American evangelical spanning the generations, whether raised on “flannel boards” (google it) or VeggieTales, knows you say “Second.” Good grief, Hillary Clinton — the antichrist herself, if you listen to some of my evangelical friends — had no problem navigating this basic biblical concept when she gave her victory speech in South Carolina and quoted First Corinthians. So no, evangelicals are not fooled by Donald Trump’s assertion that he’s a “good Christian.” Those who support him have generally made a hard-nosed calculation that he is their best chance of countering the Democratic Party’s liberal agenda. That’s all. This is the year of the evangelical, if you listen to the news at all. And it is the year of the evangelical myth. In April 2016, with Trump and Ted Cruz locked in mortal combat for the Republican nomination, with their respective measures of evangelical support cited and dissected in every primary, readers and viewers of American media would be forgiven for thinking that the vast majority of American evangelicals are white and Republican, marching in lockstep to register their continual alarm at the only two issues they care about, abortion and gay marriage. As a lifelong evangelical, I’m so used to these myths that I barely register an internal eye roll these days. I’ve encountered few evangelicals among my news media colleagues during a 30-year career, so I get that they miss the nuances of reporting on such an enormous, diverse, worldwide group. (There are hundreds of millions more evangelicals outside the United States than inside, especially in the developing world.) What I can’t excuse is the lack of curiosity, the default to stereotypes, and the whiff of condescension and religious bigotry that often seem embedded in their reports. Just do your dang job and actually talk to some evangelicals, I find myself saying. Then you’ll discover we’re not some intellectually deficient, exotic sect, congregating with Duggar-like swarms of children at bad church potlucks, secretly plotting ways to institute Old Testament-era theocracy. We don’t plant bombs at abortion clinics, and we’re not all like your >> p10 racist grandma.

Donald Trump has been divisive wherever he goes and evangelicals — often incorrectly dismissed as a monolithic and easily led community — are no exception.

houstonpress.com houstonpress.com

Onward ChrIstIan sOldIers

1 9

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onward Christian soldiers from p9

Leith Anderson, president of the National Association of Evangelicals, observes that news organizations “fairly often start with the perspective they want to hear,” seeking evangelical contacts who will parrot a presumed party line. Problem is, there isn’t one. Evangelicals — theologically conservative, born-again Christians — are united in their respect and reverence for the Bible, their focus on Jesus Christ and their desire to share the “good news” of the gospel; to evangelize, in other words. And that’s about it. Stumbling around in the fog of suppositions, the media are missing the bigger story about Evangelicals: that this year’s presidential election is exposing deep fissures within their ranks, especially among blacks and Hispanics who are profoundly disturbed by their fellow evangelicals’ support for Trump. They’re astonished by the tolerance for his divisive rhetoric concerning immigrants and the various people he categorizes as “losers.” These fissures aren’t new, but they are causing some to question whether “evangelical” will ever be a meaningful term again. To find that story, though, reporters would

Matzko, a Pennsylvania State University doctoral candidate, analyzed the results of the South Carolina Republican primary, won by Trump, and found that while Trump did well among self-described evangelicals, he didn’t do nearly as well among those who actually attended church. Evangelicals are, if anything, enthusiastic churchgoers. Matzko’s findings suggest that a good chunk of Trump’s so-called evangelical supporters really aren’t. They just say they are. “Churchgoing evangelicals are not leading the Trump wave,” says Dr. Russell Moore, one of the most trenchant observers of evangelicalism and president of the Southern Baptist Convention’s Ethics & Religious Liberty Commission. “And most evangelical leaders are not on board with this, either.”

he Reverend Henry Thomas Jr. has built his entire life on evangelical principles, believing that the Bible is his highest authority, that he should encourage non-Christians to commit to Christ, and that devotion to Christ is the only way to salvation. Leader of a predominantly black congregation, True Fellowship Baptist Church, of Katy, Thomas was brought up Southern Bap-

Media have done a lot to convey that impression, Thomas says, but “the label ‘evangelical’ has earned its own black eye.” Over the years, evangelicals have been “very vocal” about pro-life issues, he continues, but from a historical perspective, on matters of justice, of civil rights, “some of the most silent individuals when it comes to right and wrong have been evangelicals.” It is true that only a handful of white evangelical leaders affirmed civil rights for blacks early in the movement, and few took a stand that placed their own popularity at risk. There were notable exceptions: Pentecostal evangelist Oral Roberts, and Billy Graham, who in 1953 personally pulled down the ropes separating blacks and whites before a crusade. The National Association of Evangelicals, founded in 1942 to counter the drift toward liberal theology, consisted then and still is composed of predominantly white denominations. Yet black American Christians are remarkably conservative, both socially and theologically, Thomas contends. Two things developed in the decades since civil rights. “The more African-Americans have gained, we’ve kind of replaced our God with green

A much higher proportion of black Americans are evangelical than whites. have to sit down with evangelicals, great and small, and, you know, listen. And that is what the Houston Press set out to do, in a journey through the Texas heartland that proved at least two things: how confoundingly diverse evangelicals are, and that all roads (and conversations) lead to Donald Trump. “There’s a lot of us,” Anderson says. “And we represent as broad a cross-section of any identity group or constituency in the country.” Consider the reality: • A much higher proportion of black Americans are evangelical than whites. In a recent study by the Southern Baptist-affiliated LifeWay Research, 44 percent of African-Americans were defined as evangelical by faith and practice, compared to 29 percent of whites. Even Hispanic Americans registered a slightly higher percentage than whites: A surprising 30 percent are evangelical. • The number of evangelical voters is almost certainly inflated by clumsy polling. Dr. Robert Jeffress, pastor of First Baptist Dallas, put it most amusingly: “A lot of people in exit polls are asked, ‘Are you an evangelical?’ and [they] say yes — as opposed to being a satanist.” • While evangelicals of all ethnic backgrounds hold conservative views on abortion and gay marriage, they are not single-issue voters, nor is their activism confined to these cultural battlegrounds. Evangelicals have been at the forefront of numerous humanitarian and justice issues in the past 15 years, including HIV-AIDS in Africa, human trafficking and the exposure of genocide in Darfur. And few in the media seemed to take notice that the American men and women who stayed behind to treat Ebola patients in West Africa — in some cases contracting the disease themselves — were primarily members of evangelical organizations. • There is increasing evidence that Trump’s support among evangelicals has been significantly overstated. Historian Paul

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When deciding how to vote, Thomas says he asks a simple question: “Who do I think will have the best interests of all people?” The answer for him, he admits, has often been a Democrat. With his boys off playing sports on a sunny Saturday, Thomas gets philosophical about the allure of Trump among evangelicals. “I believe Trump represents the heart of America,” he says. The America reflected in the image of Donald Trump, he explains, looks like “entitlement, but also the results of historic hatred. The fruit of it.” When Thomas hears Trump’s slogan, “Make America great again,” he hears a subliminal message. “I think he’s saying, ‘Make America white again.’” Thomas hasn’t decided how he’ll cast his vote for president. This is the first election, he says, in which he has no level of comfort with any candidate. Anticipating that he’ll be left with “the best of two evils,” Hillary Clinton and Donald Trump, Thomas has thought of writing in the name of his son. He laughs.

n February, one of Thomas’s fellow Southern Baptists and Dallas Seminary grads, Dr. Robert Jeffress, had 30 seconds to pull his thoughts together before addressing an audience of thousands at a Donald Trump rally in Fort Worth. A master communicator,

tist, trained at the knee of his minister father in northeast Houston and was educated at one of the top evangelical seminaries, Dallas Theological Seminary. The pastor and father of four boys started a church from scratch in suburban Katy ten years ago with his wife, Felicia. Today, True Fellowship has about 150 members on the roll. Thomas had but one question when an evangelical friend suggested he sit for an interview: “Can I laugh?” And Thomas, who looks younger than his 45 years, laughs often during a long conversation on the Daniel Kramer front row of his simple but comfortably The Reverend Henry Thomas Jr. says most people think of white Republicans when they hear the word “evangelicals.” appointed church, gods,” Thomas says. And the divide between situated in a small warehouse complex. We Jeffress sounded a bit breathless but handled talk about his sports-crazy boys (baseball is those silent, white evangelicals and their his moment with poise: “I know three things king), the perils of starting a church and his black brothers and sisters has been swept unabout Donald Trump,” he said, listing the first der the rug, to the point where “we’re literally two. “He sincerely loves this country…He is reasons for locating in Katy (not enough afraid to touch it.” African-American churches). truly pro-life.” Then along came Donald Trump and his When I ask if he’s an evangelical, there is Last, he said, punctuating every word with pronouncements against Mexican and Musthe slightest hesitation in his voice before he his right fist, “Donald Trump cares about and lim immigrants, coupled with a pledge to answers yes. Then he turns serious. loves evangelical Christians!” protect the freedoms of evangelical Chris“I think the presentation of evangelical Jeffress, the popular pastor of 12,000-memtians. Thomas sees a contradiction with the has two code words: white and Republiber First Baptist Dallas, Fox News commentator teachings of Jesus Christ, who commands us and preacher of national renown, has emerged can. It is sort of looked at as a misnomer to love our neighbor and not merely protect for a person to say they can be Democratic as one of the most prominent evangelical sup>> p12 our own interests. and evangelical.” porters of Donald Trump. The trim,

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M Mikel Galicia

Presidential candidate Donald Trump has been a divisive candidate among Christian evangelicals, but Dr. Robert Jeffress, pastor of 12,000-member First Baptist Dallas, has been one of Trump’s most prominent evangelical supporters. onward Christian soldiers from p10

60-year-old pastor was happy to talk about what the media don’t get about evangelicals, and why he’s thrown his weight behind (but not his “endorsement” to) Trump, appearing at several rallies to date, at Trump’s request, he says. First among misconceptions about evangelicals, he says, is “that we are a monolithic group. I’ve never understood why pollsters refer to white evangelicals,” he says with a laugh. “In my church, we have many black and many Hispanic evangelicals as well.” Another misconception, he says, is that evangelicals are “hatemongers — that we’re angry, foaming at the mouth all the time. They do believe in certain absolute truths, but that doesn’t mean they’re hateful.” As in every conversation about politics these days, the subject shifts to Trump. How did Jeffress settle on Trump, when another candidate, Cruz, more closely aligns with the presumed evangelical agenda? “When I look at the four candidates [Marco Rubio had just dropped out], you know, only

April 7 - 13, 2016

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from Trump? Jeffress goes quiet for a moment. “Look,” he says, shifting to a softer voice, “my goal in life is not to convince people to vote for Donald Trump. That’s an issue people will have to come to grips with for themselves. The most important thing for anyone is their personal relationship with Jesus Christ.”

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two of those have actually led something of significance in their lives,” Jeffress said. John Kasich has been governor of Ohio, he noted, and Trump has led “a great business.” “When I’m looking for a leader, I want someone who has a track record of having led something.” He admits he is attracted to Trump’s decidedly non-evangelical temperament. Just a couple of weeks earlier, San Antonio pastor and author Max Lucado, a huge name among American evangelicals, had blogged about his disgust for Trump’s belligerent tone. Jeffress was happy to rebut that. “When I’m looking for a leader who’s gonna sit across the negotiating table from a nuclear Iran, I couldn’t care less about that leader’s temperament, tone or vocabulary,” Jeffress said. “Frankly, I want the meanest, toughest son of a gun I can find…” He makes just the tiniest pause before dropping the word “gun.” “…and I think that’s the feeling of a lot of evangelicals.” What about evangelicals of color, and the pain many feel in the face of pronouncements

ax Lucado bursts into laughter when told about Jeffress’s “son of a gun” comment. Maybe it’s because evangelical exemplars like him and Jeffress have to watch every word they say, and getting so close to the verbal edge yields a certain sliver of pleasure. Who knows? The dust has yet to settle from Lucado’s “Decency for President” blog post of February 24, which made it safe for evangeli-

cal leaders to criticize Trump publicly. On Lucado’s website alone, the essay has garnered more than 15 million reads and hundreds of comments and has elicited supportive calls from other prominent evangelicals. So Lucado, the 61-year-old pastor of Oak Hills Church in San Antonio and a best-selling author, is wellacquainted with the power of words. And he has some choice thoughts about Trump’s. Trump, he says, talks like a bully. “The language he uses is just full of threats, condescending. I’m stunned at the way he looks down on people and makes comments about rapists and murderers crossing the border, sweeping generalizations…comments about Carly Fiorina’s looks, comments about menstrual cycles. That’s locker-room terminology.” Middle-school locker rooms, no less, he notes. “Jesus said, ‘Out of the overflow of the heart, a person speaks.’ So if his rhetoric is this malicious, then I think it’s enough to give us pause and ask about the sincerity of his heart.” Lucado says he’d have nothing to say about Trump if the candidate hadn’t called himself a Christian. Even so, it took a series of audacious Trumpisms to push Lucado over the edge and into the role of political commentator. “The caution lights started flashing when [Trump] spoke at the Liberty University campus,” the school founded by Moral Majority leader Jerry Falwell, “and said, ‘I love the Bible; it’s even better than [my book] The Art of the Deal.’” >> p14

Karen James

San Antonio pastor and author Max Lucado has blogged about his disgust for Trump’s belligerent tone.

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onward Christian soldiers from p12

Crystal Gamboa, 26, is unconcerned. “We’re not really political,” she says. “Our truth is God, and for us, as long as you have When Trump veered into rotten theology, him in the picture, everything is well. I don’t claiming he had no reason to ask God for forput my belief in Donald Trump. I don’t put my giveness, Lucado couldn’t restrain himself any belief in Ted Cruz. I put my belief in Jesus longer. “Either quit calling yourself a Christian,” Christ. I hold onto his truth and his word. he said, describing his thought process, “or let That’s where we put our life.” the faith begin to define your life.” Why is this church so diverse? I ask. Lucado wrote his blog post, asking, “De“They make you feel welcome,” says Julius cency matters, right?” Before posting, he sent it Garcia, 27, her boyfriend. to the Trump campaign through a friend who A lot of churches try to make you feel welguaranteed he could get it to the “inner circle.” come. What’s different here? “I never heard back,” Lucado says, “and Martha Lockett walks over and joins the that’s when I heard the Father’s blessing, like I’d conversation. “I’ve been going to Lakewood gone through the necessary steps to contact since 1978,” she says. “I just watched it for them, because Jesus said that if you have someyears, and it’s always been consistent. The thing against your brother, first go to him.” The [Osteen] family has always reached essay posted on Lucado’s website out to people no matter your race, on February 24, and two days later your color, creed, gender, whatever ran in the Washington Post. It — they just wanted to show you love. struck a chord with evangelicals all And you feel that.” over the country who were strugAnother woman, Chandel Loy, gling with what to tell their kids joins in as well. “I feel a calling to vote about Trump, let alone their confor Trump, actually,” she says. Loy is gregations. It also generated a white; Lockett is black. Both women much smaller amount of negative pause to acknowledge that there are feedback, with a few commenters many viewpoints at Lakewood. “But employing verbiage as vituperative I definitely felt a spiritual draw [to as Trump’s. Trump],” Loy says. “I know it’s gonna Lucado offers a solution: that sound kind of crazy, but I felt a spiriTrump simply present himself as a tual connection with Christ on that.” secular candidate. “Then he can Lockett listens politely with rant and rave and be as pompous as what seems like the patience of her Nebuchadnezzar, and who cares?” 63 years. Loy’s sense of a “calling” to back Trump is a topic of some harifa Stevens, a 41-year-old discussion, especially among Penwriter and sometime blogtecostal and charismatic evangeliger with degrees from illuscals. As some see it, God has chosen trious Columbia University and Donald Trump as his human agent Dallas Theological Seminary, is to carry out divine purposes, much stumped by the first question: as he chose, in biblical times, ves“Are you an evangelical?” Stesels as varied as a pagan king vens, a wife and mother of two (Cyrus, who gave the exiled people who works for a well-known of Israel permission to return to evangelical ministry, pauses for a their homeland) and a donkey that moment and gazes at the far corCourtesy of Lakewood Church stopped in its tracks, opened its ner of the living room in her mouth and verbally rebuked the comfortably disheveled Dallas Lakewood Church has an impressively diverse congregation. false prophet Balaam. If God can home. “I don’t know,” she finally speak through a donkey, the logic goes, he can things that Jesus cares about. ‘Blessed are the sisterly hugs to white people. says, softly. speak and act through Trump. God’s use of a poor’ never comes out of people’s mouths.” Among my evangelical friends, I’ve heard I try for an easier question. “What is an human vessel doesn’t imply his endorsement, She stops to laugh loudly. Jesus’ beatitudes plenty of gripes about Osteen over the years. evangelical?” seem so incongruous with the rhetoric of this He doesn’t talk about sin; he barely cites Scrip- though a good number of evangelicals extend “There are two answers to that,” Stevens rethat as well to Trump. acrimonious election year. ture; he’s preaching a self-help, prosperitysponds. “An evangelical is someone who be“My vote’s not out yet. The jury’s not out,” Stevens goes sober again as she dishes up tinged gospel. Some or all of that might be true, lieves in and wants to share the good news of Lockett says. “I feel more of a calling to pray. I silver-dollar pancakes. “Trump is just doing but he must be doing something right at Lakethe gospel, because that good news has saved listen to as much of it as I can tolerate, and I just blatantly what [other evangelicals] did with wood. Diversity never happens by accident in that person, and they want other people to be start praying that God would give us a candidate dog whistles,” she says. “And I think it’s horrievangelical America. saved. That’s the purity of the term. who reflects his heart. And I don’t know who fying and pathological how unfeeling my It helps to have God’s sound system. Pre“But that’s not how it’s being used. In poputhat candidate is.” brothers and sisters can be regarding me. Am I cisely at 7 p.m., a stage rises amid flashing lights, lar parlance, an evangelical is someone against Loy responds with equal courtesy. “Well, crazy? Does God care about people who look revealing a multiethnic crew of musicians and everybody who’s not himself. An evangelical is I’ve prayed about it, and I feel I have an underlike me? The testimony of love and unity that’s singers. The bass is powerful enough to someone who hates abortion and hates homostanding of [Trump]. I think he’s a good man. I supposed to prove the veracity of the gospel — straighten your teeth. sexuals. Or someone who will always vote Refeel like he’s misunderstood a lot, actually.” Does that mean the gospel is not real? I’m literAfterward, Osteen preaches a simple mespublican. Jesus is like a convenient foil for Just about then, Lakewood personnel ask us ally having that conversation with myself sage about hope, telling how his father was whatever the political agenda is. I don’t want to to make our way to the doors. The church is when I see what I see.” raised dirt-poor in Paris, Texas. An encounter be associated with that.” closing up for the night. Loy exits with her husIf Trump wins, I ask, will “evangelical” be a with Jesus Christ turned a cotton-picking teen A daughter of Jamaican immigrants who band, and Lockett and I walk to the lobby, in a nowhere town into a man of great dreams grew up in New York, Stevens can’t get on board tainted label in her eyes? where Joel Osteen has just finished shaking the “It’s already tainted,” she says. who went on to found Lakewood Church. with any of the major presidential candidates When the service ends, I make a beeline for a hands of hundreds of people. touting evangelical values this year. She is black; “Look at [the apostle] Peter — he was impetHispanic couple seated in the top row of the her husband, Jonathan, a fellow Dallas Semi’m on the way to Lakewood Church, the uous, hotheaded. Look at Paul — he was former home of the Houston Rockets. Osteen nary grad, is white. Their young boys are biggest church in America. I’m told I’ll learned, a writer, thoughtful,” Lockett says. has just extracted himself from a social-media brown-skinned. Life looks different from their find a picture of evangelical harmony “And look at Luke. They all had different assigncontroversy; it was reported that he had enfront window. here, where Pastor Joel Osteen projects rements, but they all had the same Lord. dorsed Donald Trump for president. Not true, “The country is not a theocracy, and we can’t lentless optimism to his congregation, which “And God doesn’t call us all to be the same. Lakewood insisted, though Osteen has called expect it to function that way,” she says. “I don’t averages 45,000 worshippers a week plus But he brings us all to the cross.” think that alienating people who are at odds millions of television viewers. Not long before Trump a “friend” of his ministry. with us will bring them to the gospel.” Stevens moves to the kitchen to mix up pancake batter for her younger son, Zion. She relates how she stopped having political conversations at her workplace after a particular exchange concerning Trump. “Well, love him or hate him,” a male colleague said, “he tells it like it is.” “I’m like, What is the ‘it’ that he tells ‘it’ like it is?” Stevens asks. “Is he saying that it’s really cool for you not to think before you speak? Is ‘it’ being a racist, a misogynist, a xenophobe? Is this what you want to say but haven’t had the guts to say?” She flips a pancake while her son absorbs himself in Curious George. “The evangelical wing of the Republican base has shown itself not to care about the

this, I hear from a black evangelical friend whose husband has been researching the parallels between Trump and Hitler. Few of my white evangelical friends, I conclude, have any idea how their support for Trump — or, just as disturbing, their silence — is a cause of great hurt to evangelicals of other ethnicities. I hadn’t discerned the depth of pain myself. It is Saturday night, and Osteen will preach tieless. I take a seat with a bird’s-eye view of the stage and audience, watching the people file in. I’ll just cut to the chase: In 50 years of churchgoing, I have never seen such a diverse congregation. I watch their interactions, their seating choices, because these are telling to me. I see blacks sitting next to Indian women in saris and chatting cordially, and Hispanic ladies giving

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tUESDay

WEDNESDay

This singer-storyteller is a long way from Sesame Street.

Tell roving Ghana ThinkTank about diversity problems.

Houston Rockets defend against the Sacramento Kings.

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Signature Storyteller Bridget Barkan has come a long way since her

days as a child actress on Sesame Street, and the New York-based talent has developed quite the range: actress, singer, multimedia storyteller. Barkan has gone on to appear in films by John Slattery and Brian De Palma, as well as on television’s The Knick and Law & Order: Special Victims Unit. For one night only, Barkan (along with opening act Brant Croucher) is bringing a range of characters based on real people, personal stories, conversations with the audience and a set list of ear-pleasing original riffs on jazz, R&B, blues and folk in Lott Entertainment’s Joe’s Pub Series. “Every show is always new, but there’s always a tale that is woven to my journey as a woman, as a spirit, as an artist, as a child ac-

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“Anyone who has an idea, the drive to create, is able to participate,” says Jonathan Beitler, spokesperson for organizer the Orange Show Center for Visionary Art. Main Street Drag is 9 a.m. to 1 p.m. Thursday beginning at Memorial Park, 7500 North Picnic Lane; Happy Hour Thursdays is 6 to 8 p.m. at 5601 Main. For information about all events, call 713-926-6368 or visit thehoustonartcarparade.com. SAM BYRD

FRI

PoliticS redux

4/8

Aristophanes’s comedy The Birds is getting a 21st-century facelift courtesy of Philip Hays (his concept for the immersive theater experience, The Whale; or Moby-Dick, blew us away last year). But why this play? Why now? As the saying quite-nearly goes, ancient theater is all Greek to me. Hays, who pulls double duty on both directing and script adaptation, is quick to retort: “It’s pretty topical considering the light of the current political situation.” Breaking the show down, Hays selects his words carefully: “It’s a satire on the early days of de-

W W W . h O U S t O N P R E S S . c O m / c a l E N D a R

mocracy. It’s about an opportunist who takes advantage of gullibility. [The opportunist] takes the passion to be powerful and turns [that passion] into something to aggrandize, to make himself bigger.” Sound familiar? Maybe we haven’t come so far from 414 BC. Featuring a cast of Houston favorites including Julia Traber, Luis Galindo and Greg Cote, The Birds is, Hays says, a fun blend of original music, Abbott-and-Costello-style shenanigans and good, old-fashioned (as the director puts it) “phallic humor.” Previews are at 8 p.m. April 6-7. Opens April 8, continuing 8 p.m. Thursdays, Fridays and Saturdays and April 11 and 20; 2:30 p.m. Sundays. Through April 24. 4617 Montrose. For information, call 713-963-9665 or visit classicaltheatre.org. $25. VIC SHUTTEE

uni-BrowS are Back

What’s not to love about Frida Kahlo de Rivera? This iconic Mexican artist channeled her personal pain to produce surrealist folk art, often in the form of self-portraits, and received more fame after death than during her life, although her affair with Marxist revolutionary Leon Trotsky did cause a stir. East End Studio Gallery’s Frida Festival celebrates with art, mu-

sic, vendors and — not one, but two — Frida lookalike contests. It’s a fairly easy costume to pull off: Pencil in a uni-brow and a lady mustache, add a few flowers to your hair, then place a pet monkey on your shoulder. Over the years, the contest became a little too popular and things soon came to a head. “Every year we would get lots of different children. They would usurp the adults,” says Lizbeth Ortiz, gallery curator and artist. Now they hold the contest for adults on opening night and the contest for children at the festival’s closing event. The adult lookalike contest is 8 p.m. Friday and the children’s lookalike contest is 7:30 p.m. April 22. The gallery is open by appointment only, April 8-22. 708 Telephone. For information, email eestudiogallery@gmail.com or visit fridafestival.com. Free. SUSIE TOMMANEY

SAT

4/9

Family tree

Andy Noble has transformed his family’s struggles (his grandparents fled Germany during the Holocaust) into a loving tribute honoring both East End Studio Gallery celebrates Frida with art and lookalike contests.

Houston Press Press Houston

tress,” says Barkan. “I’m always attempting to find ways to share my story and relate it to the universal struggle to find [both] love within, and love within our community.” Barkan says her act is “very moment-to-moment” and that she’s still figuring things out. “But I know it will be raw, truthful and humorous. Every show is an opportunity to push myself to something I’ve never done.” 8 p.m. Thursday. The MATCH, 3400 Main. For information, call 713-521-4533 or visit matchouston.org. $25. VIC SHUTTEE

Start your engineS

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Thursday’s Main Street Drag kicks off a weekend of events when mini-parades of art cars spoke out in five directions from Memorial Park to visit schools, hospitals, nursing homes and a few other stops. Later this afternoon at the Museum of Fine Arts, Houston’s Happy Hour Thursdays, check out the public debut of the Reagan High School art car while enjoying specialty cocktails, food trucks and a DJ. Friday night brings the Legendary Art Car Ball, presented by Arts Brookfield, and Saturday is the 29th Annual Houston Art Car Parade, followed by an awards ceremony and brunch on Sunday. Because of construction on Allen Parkway, Saturday’s parade will roll through downtown Houston, but the outrageous excitement we’ve come to expect remains the same. Anything with wheels is fair game for the procession, including cars, bicycles, unicycles and skates.

|| Contents NEWS | Feature | Night+Day | Film | Stage | Art| |CaFe Cafe| |musiC Music || ClassiFied Classified || Contents| |HOUSTON Hair Balls | Feature | Night+Day | Film | stage | art

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the humor, wit and irreverence of his grandmother and the spunky strength of his grandfather, Hans. Drawing inspiration from their stories, NobleMotion Dance (Noble is co-artistic director) presents a multidisciplinary dance program, L’Dor Vador: Poetry and Dance from Three Generations of a Jewish Family. Hans was orphaned at four, lived through World War II and the abuses of a stepfather and, at one point, was even buried alive. Noble says that his grandfather had every reason to be angry, yet was one of the most just individuals he ever knew. L’Dor Vador, which translates to “from generation to generation,” touches on themes of Jewish culture and the Holocaust, and includes poetry by Noble’s grandparents and mother, as well as choreography by co-artistic director (and wife) Dionne Sparkman Noble and company members. “It’s good when I don’t know who came up with what,” says Noble. The program is presented in collaboration with Evelyn Rubenstein Jewish Community Center of Houston, with sponsorship by Holocaust Museum Houston. 8 p.m. Saturday, 3 p.m. Sunday. 5601 South Braeswood. For information, call 713-551-7255 or visit erjcchouston.org. $20 to $30. KATRICIA LANG

exPect the unexPected

Texas is home to some of the greatest wrestlers of all time, men and women who take their craft seriously, even when it involves being a wrestling mortician or being nicknamed “The Bionic Redneck.” Doomsday Wrestling has been adding to the history of Texas wrestling since 2003 and is bringing its brand of “comedywrestling” to Market Square Park. Unlike what you see on TV, this show is supposed to be funny, and anything can happen. It’s the soap opera world of professional wrestling taken to its most extreme conclusion. “Aliens might invade. There might be time-traveling wrestlers from the future. Maybe a monster is under the ring,” says Doomsday Wrestling’s Tex Lonestar. Before the hijinks in the ring, there’s a DJ set by the most appropriate act for this sort of thing: local favorites Wrestlers. All told, it’ll be the most fun you’ll have around a wrestling ring this year. 7 p.m. Saturday. Market Square Park, 301 Milam. For information, call 713-650-3022 or visit marketsquarepark.com. Free. CORY GARCIA

SUN

Flower Power

4/10

If you’re bull-headed and refuse to acknowledge that the 52nd Annual Bluebonnet Festival, in Chappell Hill, is the Official State of Texas Bluebonnet Festival, you’re pretty much breaking the law. During the 75th Texas Legislature, in 1997, state lawmakers (in House Concurrent Resolution 116) designated the unincorporated Washington County community, population 600, as the hosts of a celebration that gives props to our state flower. The event began in 1964 with the much smaller-scale Bluebonnet Antique Show. “It was down Main Street and only had a few participating stores and vendors,” says Joel Romo of Texana Public Affairs. But the festival grew steadily each year and experienced a record attendance of up to 40,000 folks in 2014. This year’s edition includes more than 250 juried booths and vendors from all

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over the country and seven bands spread across two days. “As a native born and raised in Chappell Hill, my favorite part is the people enjoying the area,” says Romo. The Main Street Historic District also features five preserved buildings around 100 years old. 9 a.m. to 6 p.m. Saturday, 10 a.m. to 5 p.m. Sunday. Main Street and Poplar, Chappell Hill, Texas. For information, call 979-836-6033 or visit chappellhillmuseum.org/ bluebonnet.html. Free. STEVE JANSEN

good day For a race

In the world of endurance races, Galveston’s Memorial Hermann IRONMAN 70.3 ranks as one of the better courses for both spectators and athletes. We’ve got the flat terrain that makes for a fast 56-mile bike course (though wind is always a factor), and the 1.2-mile swim in Offatts Bayou is relatively calm compared to the choppiness of ocean waters. The big payoff for everybody comes with the 13.1-mile run. “The whole Moody Gardens property, the pyramids, they run through Palm Beach on the backside — three times as well — so there’s a lot to keep their attention while they’re running,” says Greg Pennington, Iron Star Triathlon race director. For spectators, there’s one sweet spot in the course near the Visitor Center, at the five-mile marker, where the athletes touch in twice, so it’s both a great place to cheer on your team, and also duck inside the Aquarium Pyramid for entertainment. A lot of regional tri clubs are participating, so another great spot to watch is near “Team Tent Row,” with about 40 tents from participating tri teams. “That’s a huge cheering area besides the finish line area,” says Pennington. 7 a.m. Sunday. Moody Gardens, 1 Hope Boulevard, Galveston. For information, visit ironman.com. Participation is closed; free to watch. SUSIE TOMMANEY

MON

ruSSian romance

Monday; 2 p.m. Sunday. 3301 Cullen Boulevard. Through April 11. For information, call 713-743-3313 or visit uh.edu/class/music/opera/ current-season. $12 to $20. MARGARET DOWNING

oPening day

After some pleasantly surprising and exciting baseball last year, the Houston Astros play their first home series of the 2016 season against the 2015 World Series champs, the Kansas City Royals. For four straight nights, the Astros will be batting against a three-headed monster of a bullpen that includes Joakim Soria, Kelvin Herrera and Wade Davis, arguably the best closer in the league. “Baseball fans finally have something to be excited for after all these years of mediocrity or worse,” says Adam Clanton, host of The Bot-

and graphic novels into art. Festival visionary Karen Farber, who serves as executive director of organizer the University of Houston Cynthia Woods Mitchell Center for the Arts, says that this is the third year for the festival, which brings together fragmented and disparate interdisciplinary works in a way that reaches people who don’t usually go to art events. “The target audience is going to be people who like adventure, and who will go from one event to another one just for the experience of trying something new.” The offerings are both international and local, with participation by several Houston artists. Through April 17. At various locations in Houston, including The MATCH, 3400 Main. For information, call 713-521-4533 or visit countercurrentfestival.org. Free. SUSIE TOMMANEY Home opener for Houston Astros is Monday.

4/11

It’s a relatively new opera — although as Buck Ross, director of the University of Houston’s Moores Opera Center, puts it, “I think a lot of people think it’s been an opera for years.” Probably because its themes of love, loss, tragedy and heartbreak are perfect for this art form. It’s Anna Karenina with music by David Carlson, which was only first launched in 2007. Based on the book by Leo Tolstoy, it tells the story of the title character, who, while married, has an affair with Count Vronsky and has to choose between staying with her husband or leaving behind her young son to go off with her lover. UH is known for its blend of new operas along with the classics, and Ross is careful to pick the more modern (usually lesser-known) works with an eye to what audiences want to see. “It’s a big, sweeping, cinematic, romantic score. I think it’s very audience-friendly.” While the opera had to cut out many characters in Tolstoy’s intricate plot (the two-act work still has about 20 scenes), it retains the parallel (and happier) story of Levin, who loves Princess Kitty, and, in fact, makes them the epilogue, Carlson says. He used elements of Russian music including a variation on the Tsar Hymn for his score. This is the final opera for this season for Moores, so this would be a good time to acquaint or reacquaint yourself with some rising talent. Sung in English with English surtitles. 7:30 p.m. Friday, Saturday and

Houston Astros

tom Line on SportsTalk 790. “The Astros have the best potential and best talent out of any of Houston’s major professional sports teams. A division title, what would potentially be the Astros’ first in 15 years, is certainly in the conversation this season.” There’s an opening day street fest for ticketholders from 2 to 6:30 p.m. Monday on Crawford Street between Texas and Congress (wear your Astros orange); the game begins at 7:10 p.m. Minute Maid Park, 501 Crawford. For information, call 1-877-927-8767 or visit astros.com. $39 to $159. BILL SIMPSON

TUE

4/12

Seeking adventure?

Step outside your comfort zone, because this year’s CounterCurrent16 — a festival of bold, experimental art — calls for plenty of audience participation. You may be asked to don headphones, have your problems analyzed by somebody in Ghana, jump inside a bouncy house or stumble upon a broken car surrounded by mysterious figures. Even the more traditional events are decidedly noncomformist, like pairing dancers with video and challenging each to perform on a tiny stage, or transforming workshops on fictional violence

you’re wearing that?

Grab the picnic basket, a blanket and the kids for an outdoor excursion with Express Children’s Theatre. The company, which delivers 250 performances per year at schools and community-based locations around the greater Houston area, is making a one-day appearance to present its modern-day adaptation of Hans Christian Andersen’s The Emperor’s New Clothes. In this version, an adolescent Tejano star learns about fame the hard way when he agrees to wear a bizarre new wardrobe in this new bilingual musical adaptation. Expect contemporary nuances like YouTube, teen singing sensations and talent agents peppered throughout the show. The family-friendly production features live music and singing from a multicultural cast. “We mix it up because this is what families look like,” says Executive Director Tim FriedFiori. “Houston is so international, and families are so blended, that we want kids to see themselves represented onstage.” As with all great fairy tales, there’s a moral to embrace. “The story really is about authenticity, and that never goes out of style,” said Fried-Fiori. 11 a.m. Tuesday. Miller Outdoor Theatre, 6000 Hermann Park. For information, call 281-373-3386 or visit milleroutdoortheatre.com. Free. SAM BYRD

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Cannes. Sundance. Toronto. New York. Please. “[WorldFest] is the oldest indie film festival in the whole wide world,” says Hunter Todd, chairman and founding director of WorldFest Houston International Film and Video Festival. “Yup, Cannes, Venice and Berlin are older, but they focus on major studio films. And a remarkable thing — I seem to have outlived all the other festival directors, and am now the longestrunning film festival director in the world,” adds the excitable Todd. “We did literally discover Spielberg, Lucas, Ang Lee, the Coen Brothers, Ridley Scott, Randal Kleiser and John Lee Hancock — he was a Houston lawyer who told me that we saved him from a lifetime of suing people — all with their very first awards.” The beefy lineup at the 49th annual WorldFest backs up the big talk by Todd, who has won more than 100 awards for film excellence. Opening night (Friday, April 8) showcases Pasadena/Houston director Bo Brinkman with the premiere of his drama-comedy film The Last Man Club. Another standout film is Wednesday’s Rum Runners, directed by William Nelson (who will be in attendance), based on actual events during the Prohibition era. 9 p.m. Wednesday. AMC Studio 30, 2949 Dunvale. For more information, call 713-965-9955 or visit worldfest.org. $12.50. The festival opens April 8 and runs through April 17; tickets range from $7.50 to $600. STEVE JANSEN

game on

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ight+Day listings are offered as a free service and are subject to space restrictions. Submissions should be sent 21 days prior to issue date to Night+Day Editor Susie Tommaney by e-mail (calendar@houstonpress.com), online (houstonpress.com/submit-event), phone (713-280-2483) or mail (Houston Press, 2603 La Branch, Houston TX 77004). Resubmit continuing items monthly. Search our complete listings online.

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As they continue to fight for playoff position, the Houston Rockets end their whirlwind regular season at home against the Sacramento Kings, who feature arguably the best big man in the game in DeMarcus Cousins, who torched Houston for 26 points and 12 rebounds in a Kings win last December. Overall, the Rockets are two to one against the Kings this season. “The best part about these two teams meeting is they each have a true big man who bangs in the paint,” says Adam Clanton, Houston Rockets radio broadcaster and co-host of The Bottom Line on SportsTalk 790. “Centers like Dwight Howard and Boogie Cousins, most comfortable hanging out under the rim or on the block, are a dying breed, but it still makes for incredible entertainment on the basketball court. Both have strong personalities and aren’t afraid to get a technical foul.” Howard focuses on the defensive side of the ball and is Houston’s best rebounder, but Cousins has a soft touch around the basket, has superb court vision and can even spread the floor with his jump shot. 7 p.m. Wednesday. Toyota Center, 1510 Polk. For information, call 866-446-8849 or visit rockets.com. $20 to $3,500. BILL SIMPSON

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Film

Too bad The Boss isn’t up to her level.

BY MELISSA ANDERSON

The Boss still founders, almost capsizing in its final third.

cone. (Steve Mallory, who met both McCarthy and Falcone as a fellow Groundling, also has a screenplay credit.) McCarthy’s long history with the character likely accounts for the fact that The Boss, at least initially, has a tighter plot than Tammy and is less reliant on dumb throwaway gags. But like the earlier movie, The Boss gives its star few, if any, hitting partners. It’s a baffling decision, considering that McCarthy is not only a terrific ensemble performer, as her breakthrough turn in Bridesmaids demonstrated, but also a generous lead when working with a scene-stealing supporting cast, evidenced in last year’s riotous Spy. McCarthy’s castmates this time out include Kristen Bell, playing Claire, the one-time assistant Michelle turns to after serving a four-month jail sentence for insider trading. The disgraced one-percenter moves in to the Chicago walk-up where her ex-employee, a single mom, is raising her tween daughter, Rachel (Ella Anderson).

Rebuilding Year

In Demolition, a finance bro finally gets hands-on and feels something. BY BILGE EBIRI

ean-Marc Vallée’s Demolition presents an interesting experiment: What if you told a story of tragedy but withheld all the tenderness and emotion from it, so that you were left — at least until the very end — with just literal and figurative wreckage, disconnected fragments seeking to be put back together? Believe it or not, that idea might be what saves Demoli-

Claire proves a dull foil: She may upbraid her former overseer, but her chastisement is always softened by Bell’s inveterate sunny blandness. (I wish Bell’s part had gone to Cecily Strong, the SNL star who here plays Claire’s supervisor at a miserable office job; as is the case with her bit role in The Bronze, a patchy comedy released a few weeks back, Strong’s talents are completely underutilized in The Boss.) McCarthy must also share the screen with Peter Dinklage, an actor with no demonstrable gift for comedy, who plays Michelle’s vengeful ex-lover Renault. Complications arising from the scorned swain’s payback scheme, plus Michelle’s invariable redemptive quest to be incorporated into the nuclear unit of Claire and her daughter, set off the disastrous last act. These closing scenes include a wearying caper to retrieve documents from Renault’s office, a plot thread that too prominently features the acharismatic Tyler Labine (as Claire’s boyfriend) and feeble dick-suck-

tion, which is otherwise a facile story of a man alienated from his life. But it can be hard to watch, too, and not always in a good way. The film opens with investment banker Davis Mitchell (Jake Gyllenhaal) bantering along with his wife Julia (Heather Lind) when a stranger’s car smashes into theirs. Waking up in a hospital waiting room, Davis learns that Julia has died. He’s shaken, but cold; the most emotional he gets is when a vending machine fails to give him his candy bar. Later that night, he writes a complaint letter — the first of many — to the vending company. In it, he starts to go into detail about his life and the state of his mind, confessing that he never really understood his wife, that he doesn’t deserve his wealth and station. His empty house and lack of grieving visitors seem to bear this out. We

ing jokes. Better are the lesbo jabs that Michelle makes during Rachel’s scout-group meeting (here called the Dandelions) — a gathering that provides McCarthy with two equals: the indignant matron played by Annie Mumolo (who co-wrote Bridesmaids with Kristen Wiig) and, in her screen debut, Eva Peterson as Chrystal, a terrifying classmate of Rachel’s who becomes Michelle’s top lieutenant in her Dandelion takeover. The rapport between the veteran comic genius and the neophyte, even in the few scenes they share, suggests that McCarthy may next want to buddy up not with a peer (like Sandra Bullock in The Heat) or with someone a generation older (Susan Sarandon in Tammy) but with a kid at least 30 years her junior. The Boss Directed by Ben Falcone. With Melissa McCarthy, Kristen Bell, Peter Dinklage, Kathy Bates, Annie Mumolo and Eva Peterson. Rated R.

see him at a funeral reception for Julia, practicing crying in front of a mirror. We see him going back to work the next day, oblivious to the grief he’s supposed to be feeling. “Repairing the human heart is like repairing an automobile. Just examine everything, then you can put it all back together,” Davis is told early on. And so he starts to take apart the things in his life that aren’t working properly: a leaking fridge, a creaky bathroom stall door, a malfunctioning light fixture. Pretty soon, he’s graduated to bigger projects: Seeing a work crew demolishing a house, he asks to join in, and he soon relishes taking giant hammers to walls. “None of it is real,” he had said about the money he handled as a banker. “I can’t hold any of it in my hands.” Well, now he has something material to handle and break >> p22

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Hopper Stone

Houston Press HOUSTON PRESS

she-wolf of Wall Street with a spiky ginger Suze Orman shag, Michelle Darnell, the antiheroine of fitfully funny The Boss, is the latest of the Rabelaisian wonders played by Melissa McCarthy. The actress specializes in characters with indestructible bravado, no matter where they stand on the socioeconomic ladder; Michelle, “the “47th-wealthiest woman in the world,” joins the swaggering sorority formed by Megan in Bridesmaids (2011), Mullins in The Heat (2013) and even Tammy in, uh, Tammy (2014). That last film, a muddle of half-thought-out ideas, was ineptly directed by Ben Falcone, McCarthy’s husband. That the spouses re-teamed for The Boss made me worry that go-it-alone Michelle’s definition of family — “an anchor that will make you sink” — would prove all too accurate. The Boss is a better film than Tammy, but it still founders, almost capsizing in its sloppy final third. Yet The Boss’s opening moments showcase McCarthy’s brilliance at basking in excess. And wearing it: Outfitted in turtlenecks that stretch to the chin and bows the size of spinnakers, her ensembles suggesting what might result if Wendy and Lisa developed their own line at Eileen Fisher, Michelle is a paragon of tailored too-much-ness. After a prologue shows the future magnate being repeatedly returned to a Catholic orphanage by cowed foster families, rejections that forge her steely resolve, the adult tycoon makes her entrance to the stage of an arena packed with frenzied acolytes on the back of an ablaze phoenix (“my totem animal”). In her seminar — part TED Talk, part Ozzfest, part Hot 97 Summer Jam — Michelle lets the screaming hordes know that no indulgence, no matter how byzantine or bizarre, is out of her price range: “I had Destiny’s Child reunite and come to my personal living room just so I could watch them break up again.” That’s just one of many hilarious scenarios we are left to imagine — another is Michelle telling an enemy that his sainted dead wife is “fuckin’ IT guys in hell” — and McCarthy’s delivery and timing are, as ever, flawless. “My tongue has always been my sword,” Michelle boasts, words that also apply to the woman who plays her. McCarthy created the bumptious mogul roughly 15 years ago while a member of the Los Angeles improv troupe Groundlings; as she did with Tammy, the actress co-wrote the script of The Boss with Fal-

Melissa McCarthy: Genius

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Rebuilding Year from p21 apart. And we know it’s all a substitute for his own dysfunctional life. (As he himself confesses, “Suddenly, everything has become a metaphor.”) There’s somehow always a single mother involved in these stories of a man’s self-discovery, so into Davis’s life comes Karen Moreno (Naomi Watts), the customer-service rep for the vendingmachine company. Touched by his letters, she calls him one night at 2 a.m. She refuses to meet him in person at first, but he soon finds her, and a non-sexual friendship is struck. (Remember, this is a movie about a man who can’t feel anything). She has a troubled young teenage son, Chris (Judah Lewis), who paints his fingernails black,

bangs away at a drum set and toys around with a gun belonging to her erstwhile tough-guy boyfriend Carl (C.J. Wilson). Demolition is a strange movie, partly by design. The screenplay (by Bryan Sipe) is filled with clichés and contrivances: a working-class regular on Davis’s morning commute to whom he confesses that he didn’t love his wife? Check. A bonding moment over a classic rock song? Check. A scene in which Davis takes a hammer to his own house? Check. A doctor’s visit where he points to the area around his heart and says he’s numb there? Check. Since the film has purposefully set aside all the emotional connective tissue that might make sense of these elements, it all kind of hangs there, familiar but purposeless.

But Gyllenhaal and Watts’s yin-yang performances help things along. He nails Davis’s boyish curiosity, the quiet, wide-eyed uncertainty of someone discovering the world for the first time. (If they ever remake the alien-visitor romance Starman, he should be the first actor they call.) She expertly mixes vulnerability with wariness; we sense that Karen longs to connect with this strange man, but has seen enough in her life to know that she doesn’t want to get hurt. Chris Cooper, meanwhile, is surprisingly touching in a thankless part, as Davis’s father-in-law and boss — a sure-of-himself, stick-up-his-ass corporate overlord. In fact, for much of the film, he’s the only character who gets to show genuine feeling. But back to that experiment, the idea of withholding almost all tenderness until the film’s very

end. It’s not random: It mirrors Davis’s own journey. He has to break down his life and rebuild it in order to feel something, and it’s hard not to sense that Vallée and Sipe are doing the same thing with their film, presenting pieces in search of a whole. And while these fragments don’t all quite come together, Demolition does close out with a series of emotional bursts that have an undeniable cumulative power and retroactively justify its hesitant, disconnected quality. Amazingly, if awkwardly, the experiment works.

Demolition Directed by Jean-Marc Vallée. With Jake Gyllenhaal, Naomi Watts, Chris Cooper, Judah Lewis, C.J. Wilson, Polly Draper and Malachy Cleary. Rated R.

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Sky sets its sights on a planned strike in Kenya that, besides taking out a few high-profile targets about to embark on a suicide mission, will likely result in the death of a little girl selling bread near the point of impact. Key players confined to cold, official rooms on different continents realize the danger just in time to debate whether or not to move forward anyway: Helen Mirren is the trigger-happy colonel hoping to fire now and ask questions never, the late Alan Rickman is a lieutenant general tasked with convincing governmental higher-ups of the strike’s urgency and Aaron Paul is one of two reluctant pilots actually controlling the drone from a base in Las Vegas. This is the Batman v Superman: Dawn of Justice — Thunderous, ponderous, and occasionally exciting, Zack Snyder’s Batman v. banality of necessary(?) evil in 2016. The problem with Superman opens with one of those grim proclamations movies depicting the banality of anything, of course, is that the creators of modern superhero movies are so that they tend to be pretty banal themselves; in setting out fond of: “There was a time above, a time before,” intones to be the exception to that rule, Eye in the Sky only proves the voice of Bruce Wayne (Ben Affleck), over a childhood it. Accounting for nearly half the film, the centerpiece flashback to his parents’ death at the hands of a mugger. sequence begins in earnest with Mirren sending an IM He continues: “But things fall apart, things on Earth, and to Rickman to alert him that things are a go on her end. what falls…is fallen.” Look, the guy’s a masked vigilante, Rickman then argues with a room full of suits over the legal not a philosopher-poet. Unfortunately, that’s just what and political implications of the strike for the remainder Batman v. Superman keeps trying to turn him into. And not of his time onscreen. It’s the war on terror as backroom just Bruce Wayne, but nearly every character in this ultimate chamber drama, a who-watches-the-watchmen descent superhero match-up gets reams of dialogue about good into moral culpability in a system designed to avoid it. But Eye in the Sky engages these questions with such inelegance that its main resonance comes from featuring Rickman’s final in-the-flesh performance. Rated R. (Michael Nordine) The Girl in the Photographs — The makers of the grim, film-schoolsloppy horror-thriller The Girl in the Photographs never flesh out their provocative thesis: Photography is a predatory act that allows photographers to control their subjects. Neophyte director Nick Simon and his two co-writers juxtapose egotistical fashion photographer Peter (Kal Penn) with a pair of smalltown serial killers who document/ fetishize their crimes through photo souvenirs. But Peter doesn’t have Clay Enos much in common with androgynous murderer Tom (Luke Baines) and his Batman v Superman: Dawn of Justice hulking, silent partner Gerry (Corey Schmitt) beyond mutual love of juvenile insults like “the and evil and man and god and virtue and sacrifice and our [Nicorette] gum tastes like garlic semen,” hatred of women fallen, fallen world. By the time Kevin Costner shows up to and jocks and fascination with camera-shy subject/victim relate a folksy memory about some drowning horses (don’t Colleen (Claudia Lee). Colleen, the girl of the title, may be ask), you might find yourself stifling giggles. But laughing similarly sketch-thin, but her deliberate lack of definition — seemingly ever — is the last thing Snyder wants you to is the film’s most compelling aspect. She quits her job as do. The director clearly wants his film to mean something. a supermarket cashier and sheepishly admits to her boss For much of it, Superman (Henry Cavill) is treated as an that she doesn’t know what she’ll do after she moves out absolute — more a philosophical conundrum than a man. of town — since she doesn’t yet know who she wants to The script draws explicit connections between him and be, she could be anyone. Then again, while following so drone warfare, and there are endless discussions about enigmatic a heroine may sound intriguing, it’s Peter who whether we can trust one person to have all that power. As dominates this unfocused but basically predictable slasher the heroes’ differences get egged along by young, irritating narrative. He drinks, bellows and pouts through every tech billionaire Lex Luthor (played by Mark Zuckerberg interaction, usually getting his way in the end — even when himself, Jesse Eisenberg), the film spends much of its first he inexplicably convinces his mercurial girlfriend Rose half in both literal and figurative slow-motion, as characters (Miranda Rae Mayo) to forget about his open flirtations mutter and mull and ponder these issues, often in the least with Colleen and jump his bones anyway. Peter’s aggressive compelling ways. Rated PG-13. (Bilge Ebiri) personality may be effectively alienating, but never in a Hello, My Name Is Doris — Why is it that little movies about being out of step so often wind up feeling the same? Not rewarding way. Rated R. (Simon Abrams) Krisha — Brash yet intimate, writer/director/editor Trey Edlong into Michael Showalter’s Hello, My Name Is Doris, a ward Shults’s observant, unnerving first feature transcends comedy about a misfit frump pining for a much younger the notion of a “promising debut.” Here, the promise is hunk, the unlikely target of the heroine’s affections muses already fulfilled on the screen, which bustles with chaotic to his friends, “She’s weird, but she’s a good kind of weird.” family life — and prickles with anxiety. Krisha is a heartsick Can you name an indie comedy of the Sundance era where family story that plays as psychological horror, its themes some variation of that line wouldn’t fit? For decades, “good of estrangement and addiction juiced at every moment by kind of weird” has been the unspoken thesis of precious, Shults’s vigorous — even pushy — expressionism. Steel life-affirming comic studies of good-hearted muddlers yourself for wheeling terror as sixty-something Krisha maybe starting to get themselves together. What’s of (Krisha Fairchild), visiting her sister’s home for her first interest in Doris isn’t the story our misfit shuffles through holiday get-together in who knows how long, walks in or the lessons that she learns; it’s the pleasure of seeing furious circles in the kitchen as the turkey entrusted to Sally Field fit herself into that misfithood. The script ofher roasts and she discovers that the timer has gone missfers occasional laughs and insights, but the film belongs

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h to Field, even if hertcharacter is a fussed-over concoction Bolshoi Ballet’s Don Quixote: Broadcast live to cinema screens of too many traits, from Moscow, with Fadeyechev’s critically acclaimed stagonthe kind of cocktail whose base liquor M the splashes of quirk. The best scenes gets lost among ing, Ludwig Minkus’s famous score, and brand-new sets e set an emboldened Doris loose against a jokey burlesque and costumes. Price varies by location; visit fathomevents. h t of millennial Brooklyn. The satire is warm, and the joke com for participating venues. Sunday, April 10, 11:55 a.m., f o that, in superficial ways, Doris and her vintage becomes $19.49. Edwards Houston Marq’e Stadium 23 & IMAX, 7620 finery fit right in. The drama follows, sometimes with truth Katy Freeway, 713-263-7843, regmovies.com. in it: In her 60s, she can be their friend, their tchotchke, Chimes at Midnight: Part of MFAH’s Restorations & Revivals series, this 1965 film is the culmination of a lifelong obsestheir mascot, but she probably can’t be their lover. That sion with Shakespeare’s Sir John Falstaff. Orson Welles this comes as news to her ensures that this lively, engaging directed and also starred in the film, and has been quoted comedy never comes to full life despite Field’s exuberance. as saying that if any of his many films could get him into What are we supposed to get from watching a naif learn a heaven, this would be the one. Costars Keith Baxter, Sir lesson we already know? Rated R. (Scherstuhl) I Saw the Light — Writer/director Marc Abraham’s life-of-theJohn Gielgud and Jeanne Moreau. Thursday, April 7, 1 p.m., legend drag I Saw the Light (starring Tom Hiddleston and $9. Museum of Fine Arts, Houston - Brown Auditorium Elizabeth Olsen) makes no big deal of Hank Williams’s Theater, 1001 Bissonnet, 713-639-7515, mfah.org/films. songs, or their composition, or of what hard study of Chocolat: Based on the novel by Joanne Harris, Chocolat stars the mysterious woman who opens a Americans more and vernacular it would take to craft After Expiration Juliette $1 offBinoche until as 5/31/16 chocolate shop. As this is during Lent, the temptation them. It suffers, I expect, from Hollywood’s post-Walk becomes too much for the pious townsfolk, and events Hard fear of committing to howler clichés in the musician soon come to a head with the arrival of a handsome Irish biopic. Jake Kasdan’s towering 2007 comedy stands as Gypsy (Johnny Depp). Popcorn and refreshments provided. one of the most consequential works of film criticism in the Thursday, April 7, 1:15 and 6:15 p.m., free. Kris Bistro & Wine last 10 years: It killed dead the genre it parodied. Abraham Lounge, 7070 Allensby, 713-358-5079. eschews not just cliché but also context and even meaning. Hank never exhibits any religion, and he never walks the straight-and-narrow, but the film ends with a communal singalong of “I Saw the Light,” a song vowing a life of joyVisiT HOusTONpRess.cOm ous Christian piety. How did Hank come to write it? What fOR aDDiTiONal film did he feel about not living up to it? The film that bears that song’s title does nothing to earn it. It’s like Abraham cOVeRaGe is only dramatizing the first line: “I wandered so aimless, life filled with sin.” Hiddleston grows gaunt and wild-eyed The Cinema Social: Event founder Eric Espinoza wants to try something new. Films from local artists will be shown in as the film passes. I found him more convincing in the late various rooms, and people can drink alcohol and move reels, when he’s turned mean and antsy after Audrey has freely throughout the art gallery space. For information, left him and he’s bouncing between potential next wives. visit thecinemasocial.com or elrinconsocial.com. Saturday, The second of Abraham’s ideas seems to be that, without April 9, 8 p.m.-midnight, free. El Rincon Social, 3210 Audrey to tend to him, Hank became ever more lost. But Preston, 281-639-0252, elrincon.weebly.com. he’d never be so gauche as to have a character say that out loud, just as he won’t show us Hank discovering that The Colorado: A Film Oratorio: Mark Rylance narrates this immersive multimedia eco-cantata in which a team of his music reaches people. Rated R. (Scherstuhl) Marguerite — Willful ignorance as a character trait typically filmmakers, composers, musicians and singers leads a evokes annoyance in those who witness it — at least in real 1,500-mile visual and aural journey through the Colorado life. In many French films, however, a character who’s willfully River Basin, from the Rocky Mountains through the Grand ignorant is portrayed in the twee manner, encouraging us to Canyon, from Hoover Dam to drought-plagued California. believe it is their blissful view of the world we should accept, Presented by Da Camera of Houston and featuring Roomful not the real one. In the beloved Amélie, Audrey Tautou’s title of Teeth, Glenn Kotche and Jeffrey Zeigler. Tuesday, April character romps through the world with rose-colored glasses, 12, 8 p.m., $30 to $65. Wortham 500 T H E ETheater DY T HCenter, E B AT E Texas, S OLD but imagine for a moment that every step of the way, Amélie’s 713-237-1439, MOwww.worthamcenter.org. OR E S OPE R A C EN T E R friends are quietly looming with bad news: that all of her Don’tBlink:MFAH has a tremendous repositoryof filmsby legendary p one r e sofethe nts photographer Robert Frank (born 1924). This will be fantasies are bullshit. This is Marguerite. Catherine Frot, who first public screenings of a new feature-length documentary may not be recognizable to American audiences but who has about the Swiss-born Frank, directed by his longtime editor and an illustrious career in France, plays Marguerite, a middle-aged, collaborator, Laura Israel. Friday, April 8, 7 p.m., $9. Museum of lovelorn baroness who possesses all the faculties for enjoying Fine Arts, Houston - Brown Auditorium Theater, 1001 Bissonnet, music and none of the talent to sing, despite her many efforts. showtimes 713-639-7515, mfah.org/films. At the heart of the story is a lie that becomes a bigger lie, as addressing everyone who surrounds Marguerite is complicit in feeding FotoFest at MFAH: The museum screens recent 08films | 7:30 p.m. the environmental themes of the FotoFest 2016 Biennial. her delusions of vocal grandeur. But it is Frot’s performance 09 |is7:30 p.m. Life-Raft Earth is April 9; Racing Extinction April 9-10, — full of warmth, humor and hope — that carries the story Watermark is April 15 and Ice and the Sky is April 16. Saturday, and even leads to some laugh-out-loud moments. The film 2:00Friday, p.m. April 9, 6 and 7:30 p.m.; Sunday, April10 10, 5| p.m.; around her mimics the composition of an oil painting. Crushed April 15, 7 p.m.; Saturday, April 16, 7 p.m., $9. Museum blacks abound, with accents of Prussian blue and a muted red 11 |Theater, 7:30 1001 p.m. of Fine Arts, Houston - Brown Auditorium creating a textured look, where the edges seem to dissolve Bissonnet, 713-639-7515, mfah.org/films. into a black velvet curtain, all of it framing Marguerite and the motley crew of characters who come to love and support Inside Out: Part of Bank of America Screen on the Green, which offers favorite movies under Houston’s skyline. her. Their dialogue is filled with deliberate, telling lines, and Pre-screening contests and activities begin one hour prior. director Xavier Giannoli allows these characters to develop in small but surprising ways. Rated R. (A Wolfe) By David Carlson Saturday, April 9, 8:30 p.m., free. Discovery Green Conservancy, 1500 McKinney, 713-400-7336, discoverygreen.com. Buck Ross producer/director & Raymond Mistri Harvey conductor (Champions): An alcoholic prophet incites loyal but misguided fans in a desolate village as they watch the 1969 Czech In 19th-century Imperial Russia, a woman trapped national hockey team play Russia. Free popcorn, cash bar and in a loveless marriage falls for a dashing officer kolaches;with doors open at 6:30 p.m. Reservations requested; 49th Annual WorldFest Houston International Independent FilmDavidcall 713-628-2060 tragic results. American composer Carlson has or email events@czechcenter.org,. Friday, indiea film festivalscore in thethat world runs withApril 8, 7 p.m., Festival: The oldest written sweeping seethes passion andfree. Czech Center Museum Houston, 4920 April 8-17. For information, visit worldfest.org. San Jacinto, captures the Russian soul of Friday, Tolstoy’s famous novel.713-528-2060. April 8, 8 and 8:30 p.m.; Saturday, April 9, 3, 5, 7 and 9 New Music from Near and Far, III: In addition to musical works by These will be the first university performances of Houston composers (Musiqa artistic board member Marcus p.m.; Sunday, April 10, 1, 3, 5, 7 and 9 p.m.; April 11-15, 7 the professional runs at Musiqa composer emeritus Rob Smith), a Maroney and and 9 p.m.; Saturday,opera April 16,following 1, 3, 5, 7 andits9 sucessful p.m.; Sunday, Florida and Studio Opera30, Theatreshort of St.film Louis. by Ingo Putze, Solo Finale, will be screened. SatApril 17, 1, 3, 5 and 7 p.m.,Grand $7.50 toOpera $600. AMC Sung in thewww.amctheatres.com/ original English with Englishurday, surtitles. April 9, 7:30 p.m., $26.75 to $47.75, 713-524-5678, 2949 Dunvale, 713-977-4431, musiqahouston@gmail.com, musiqahouston.org. Hobby movie-theatres/amc-studio-30. Bill: This Monty Python-esque farce about William ShakeCenter for the Performing Arts, 800 Bagby. Pre-opera lecture with the composer 45 minutes prior speare’s lost years and escapades includes exclusive Take The Stage: Houston Texan Chester Pitts and Houston Balto curtain. let’s Lauren Anderson co-host this event in which children behind-the-scenes bonus content; presented by Fathom www.music.uh.edu/opera can walk the red carpet on the way to a public screening Events and BBC713 Worldwide. Price varies by location; visit - 743 - 3313 of this new television show for kids. Doors open at 6 p.m. fathomevents.com for participating venues. Monday, April Thursday, April 7, 6:30-8 p.m., free. Children’s Museum 11, 7 p.m., $16.24. Edwards Houston Marq’e Stadium 23 & of Houston, 1500 Binz, 713-522-1138, cmhouston.org. IMAX, 7620 Katy Freeway, 713-263-7843, regmovies.com.

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ing. The camera spins, of course, just as it zips across the floor in dog’s-eye zooms, or, later, tracks slowly down a too-narrow hallway bedecked in photos of relatives and edged with the darkest of darkness. This young maximalist is committed at each moment to the extremes of everyday feeling, to lighting in you the conflagration already raging in his troubled heroine. Shults dares to exhaust, to overwhelm, to upset. The amateur cast, Shults’s own friends and family, ranges from convincing (the blithe, brawling teen boys) to hilarious (Chris Doubek as Krisha’s cranky doctor brother-in-law) to extraordinary (Krisha and Robyn Fairchild, Shults’s aunt and mother, real sisters acing big, teary scenes). Shults (who plays a small key role himself) filmed Krisha over nine days in his mother’s house, and he’s packed it and his frame with raw life suggestive of Cassavetes. Rated R. (Alan Scherstuhl)

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April 7 - 13, 2016

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| film capsules |

Film

OPENING

Eye in the Sky — Gavin Hood’s drone-warfare drama Eye in the

Sky sets its sights on a planned strike in Kenya that, besides taking out a few high-profile targets about to embark on a suicide mission, will likely result in the death of a little girl selling bread near the point of impact. Key players confined to cold, official rooms on different continents realize the danger just in time to debate whether or not to move forward anyway: Helen Mirren is the trigger-happy colonel hoping to fire now and ask questions never, the late Alan Rickman is a lieutenant general tasked with convincing governmental higher-ups of the strike’s urgency and Aaron Paul is one of two reluctant pilots actually controlling the drone from a base in Las Vegas. This is the Batman v Superman: Dawn of Justice — Thunderous, ponderWe payoftop dollar for Movies, banality necessary(?) evilyour in 2016. The problem with ous, and occasionally exciting, Zack Snyder’s Batman v. movies depicting the banality of anything,ofof course, is Superman opens with one of those grim proclamations Music, & Games. Thousands that they tend to be pretty banal themselves; in setting out that the creators of modern superhero movies are so pre-owned DVDs and CDs from $3.99! to be the exception to that rule, Eye in the Sky only proves fond of: “There was a time above, a time before,” intones Accounting for nearly half the film, centerpiece the voice of Bruce Wayne (Ben Affleck), over a childhood Allit.discs guaranteed to play likethenew. sequence begins in earnest with Mirren sending an IM flashback to his parents’ death at the hands of a mugger. to Rickman to alert him that things are a go on her end. He continues: “But things fall apart, things on Earth, and Rickman then argues with a room full of suits over the legal what falls…is fallen.” Look, the guy’s a masked vigilante, and political implications of the strike for the remainder not a philosopher-poet. Unfortunately, that’s just what of his time onscreen. It’s the war on terror as backroom Batman v. Superman keeps trying to turn him into. And not chamber drama, a who-watches-the-watchmen descent just Bruce Wayne, but nearly every character in this ultimate 6412 North into moral culpability in a system designed to avoid it. superhero match-up getsMain reams Street of dialogue about good But Eye in the Sky engages these Houston, TX 77006 questions with such inelegance that its main resonance comes Houston Locations 65 HOUSTON LOCATIONS from 6508 featuring Rickman’s final 713-782-5511 HEIGHTSHEAD@GMAIL.COM 6508Westheimer Westheimer 713-782-5511 in-the-flesh performance. Rated 7333 FM 1960 West 281-586-8000 11803 Wilcrest 281-495-5577 www.heightsheadsmokeshop.com R. (Michael Nordine) 11803 5003 HwyWilcrest 6 North281-495-5577 281-855-6600 The Girl in the Photographs — The 5003Westheimer Hwy 6 North 281-855-6600 14289 281-679-9664 makers14289 of theWestheimer grim, film-school281-679-9664 4835horror-thriller Fairmont Parkway 281-991-0447 new sloppy The Girl in the 4835 Fairmont Parkway 281-991-0447 Photographs never flesh out their provocative thesis: Photography is a predatory act that allows photographers to control their subjects. Neophyte director Nick Simon and his two co-writers juxtapose egotistical fashion photographer Peter (Kal Penn) with a pair of smalltown serial killers who document/ fetishize their crimes through photo souvenirs. But Peter doesn’t have Clay Enos much in common with androgynous murderer Tom (Luke Baines) and his Batman v Superman: Dawn of Justice hulking, silent partner Gerry (Corey and evil and man and god and virtue and sacrifice and our Schmitt) beyond mutual love of juvenile insults like “the fallen, fallen world. By the time Kevin Costner shows up to [Nicorette] gum tastes like garlic semen,” hatred of women relate a folksy memory about some drowning horses (don’t and jocks and fascination with camera-shy subject/victim ask), you might find yourself stifling giggles. But laughing Colleen (Claudia Lee). Colleen, the girl of the title, may be — seemingly ever — is the last thing Snyder wants you to similarly sketch-thin, but her deliberate lack of definition do. The director clearly wants his film to mean something. is the film’s most compelling aspect. She quits her job as For much of it, Superman (Henry Cavill) is treated as an a supermarket cashier and sheepishly admits to her boss absolute — more a philosophical conundrum than a man. that she doesn’t know what she’ll do after she moves out The script draws explicit connections between him and of town — since she doesn’t yet know who she wants to drone warfare, and there are endless discussions about be, she could be anyone. Then again, while following so whether we can trust one person to have all that power. As enigmatic a heroine may sound intriguing, it’s Peter who the heroes’ differences get egged along by young, irritating dominates this unfocused but basically predictable slasher tech billionaire Lex Luthor (played by Mark Zuckerberg narrative. He drinks, bellows and pouts through every himself, Jesse Eisenberg), the film spends much of its first interaction, usually getting his way in the end — even when half in both literal and figurative slow-motion, as characters he inexplicably convinces his mercurial girlfriend Rose mutter and mull and ponder these issues, often in the least (Miranda Rae Mayo) to forget about his open flirtations compelling ways. Rated PG-13. (Bilge Ebiri) with Colleen and jump his bones anyway. Peter’s aggressive personality may be effectively alienating, but never in a Hello, My Name Is Doris — Why is it that little movies about rewarding way. Rated R. (Simon Abrams) being out of step so often wind up feeling the same? Not long into Michael Showalter’s Hello, My Name Is Doris, a Krisha — Brash yet intimate, writer/director/editor Trey Edward Shults’s observant, unnerving first feature transcends comedy about a misfit frump pining for a much younger the notion of a “promising debut.” Here, the promise is hunk, the unlikely target of the heroine’s affections muses to his friends, “She’s weird, but she’s a good kind of weird.” already fulfilled on the screen, which bustles with chaotic family life — and prickles with anxiety. Krisha is a heartsick Can you name an indie comedy of the Sundance era where family story that plays as psychological horror, its themes some variation of that line wouldn’t fit? For decades, “good of estrangement and addiction juiced at every moment by kind of weird” has been the unspoken thesis of precious, Shults’s vigorous — even pushy — expressionism. Steel life-affirming comic studies of good-hearted muddlers yourself for wheeling terror as sixty-something Krisha maybe starting to get themselves together. What’s of interest in Doris isn’t the story our misfit shuffles through (Krisha Fairchild), visiting her sister’s home for her first MONTROSE: or the lessons that she learns; it’s the pleasure of seeing holiday get-together Rd. in who knows how long, walks in 1618 Westheimer • 713-523-8701 furious circles in the kitchen as the turkey entrusted to Sally Field fit herself into that misfithood. The script ofBuff aloExchange.com her roasts and she discovers that the timer has gone missfers occasional laughs and insights, but the film belongs

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to Field, even if her character is a fussed-over concoction of too many traits, the kind of cocktail whose base liquor gets lost among the splashes of quirk. The best scenes set an emboldened Doris loose against a jokey burlesque of millennial Brooklyn. The satire is warm, and the joke becomes that, in superficial ways, Doris and her vintage finery fit right in. The drama follows, sometimes with truth in it: In her 60s, she can be their friend, their tchotchke, their mascot, but she probably can’t be their lover. That this comes as news to her ensures that this lively, engaging comedy never comes to full life despite Field’s exuberance. What are we supposed to get from watching a naif learn a lesson we already know? Rated R. (Scherstuhl) I Saw the Light — Writer/director Marc Abraham’s life-of-thelegend drag I Saw the Light (starring Tom Hiddleston and Elizabeth Olsen) makes no big deal of Hank Williams’s songs, or their composition, or of what hard study of Americans more and vernacular it would take to craft them. It suffers, I expect, from Hollywood’s post-Walk Hard fear of committing to howler clichés in the musician biopic. Jake Kasdan’s towering 2007 comedy stands as one of the most consequential works of film criticism in the last 10 years: It killed dead the genre it parodied. Abraham eschews not just cliché but also context and even meaning. Hank never exhibits any religion, and he never walks the straight-and-narrow, but the film ends with a communal singalong of “I Saw the Light,” a song vowing a life of joyous Christian piety. How did Hank come to write it? What did he feel about not living up to it? The film that bears that song’s title does nothing to earn it. It’s like Abraham is only dramatizing the first line: “I wandered so aimless, life filled with sin.” Hiddleston grows gaunt and wild-eyed as the film passes. I found him more convincing in the late reels, when he’s turned mean and antsy after Audrey has left him and he’s bouncing between potential next wives. The second of Abraham’s ideas seems to be that, without Audrey to tend to him, Hank became ever more lost. But he’d never be so gauche as to have a character say that out loud, just as he won’t show us Hank discovering that his music reaches people. Rated R. (Scherstuhl) Marguerite — Willful ignorance as a character trait typically evokes annoyance in those who witness it — at least in real life. In many French films, however, a character who’s willfully ignorant is portrayed in the twee manner, encouraging us to believe it is their blissful view of the world we should accept, not the real one. In the beloved Amélie, Audrey Tautou’s title character romps through the world with rose-colored glasses, but imagine for a moment that every step of the way, Amélie’s friends are quietly looming with bad news: that all of her fantasies are bullshit. This is Marguerite. Catherine Frot, who may not be recognizable to American audiences but who has an illustrious career in France, plays Marguerite, a middle-aged, lovelorn baroness who possesses all the faculties for enjoying music and none of the talent to sing, despite her many efforts. At the heart of the story is a lie that becomes a bigger lie, as everyone who surrounds Marguerite is complicit in feeding her delusions of vocal grandeur. But it is Frot’s performance — full of warmth, humor and hope — that carries the story and even leads to some laugh-out-loud moments. The film around her mimics the composition of an oil painting. Crushed blacks abound, with accents of Prussian blue and a muted red creating a textured look, where the edges seem to dissolve into a black velvet curtain, all of it framing Marguerite and the motley crew of characters who come to love and support her. Their dialogue is filled with deliberate, telling lines, and director Xavier Giannoli allows these characters to develop in small but surprising ways. Rated R. (A Wolfe)

F i l m - Re p e r to r y a n d S p e c i a l S c re e n i n g s 49th Annual WorldFest Houston International Independent Film Festival: The oldest indie film festival in the world runs

April 8-17. For information, visit worldfest.org. Friday, April 8, 8 and 8:30 p.m.; Saturday, April 9, 3, 5, 7 and 9 p.m.; Sunday, April 10, 1, 3, 5, 7 and 9 p.m.; April 11-15, 7 and 9 p.m.; Saturday, April 16, 1, 3, 5, 7 and 9 p.m.; Sunday, April 17, 1, 3, 5 and 7 p.m., $7.50 to $600. AMC Studio 30, 2949 Dunvale, 713-977-4431, www.amctheatres.com/ movie-theatres/amc-studio-30. Bill: This Monty Python-esque farce about William Shakespeare’s lost years and escapades includes exclusive behind-the-scenes bonus content; presented by Fathom Events and BBC Worldwide. Price varies by location; visit fathomevents.com for participating venues. Monday, April 11, 7 p.m., $16.24. Edwards Houston Marq’e Stadium 23 & IMAX, 7620 Katy Freeway, 713-263-7843, regmovies.com.

Bolshoi Ballet’s Don Quixote: Broadcast live to cinema screens

from Moscow, with Fadeyechev’s critically acclaimed staging, Ludwig Minkus’s famous score, and brand-new sets and costumes. Price varies by location; visit fathomevents. com for participating venues. Sunday, April 10, 11:55 a.m., $19.49. Edwards Houston Marq’e Stadium 23 & IMAX, 7620 Katy Freeway, 713-263-7843, regmovies.com. Chimes at Midnight: Part of MFAH’s Restorations & Revivals series, this 1965 film is the culmination of a lifelong obsession with Shakespeare’s Sir John Falstaff. Orson Welles directed and also starred in the film, and has been quoted as saying that if any of his many films could get him into heaven, this would be the one. Costars Keith Baxter, Sir John Gielgud and Jeanne Moreau. Thursday, April 7, 1 p.m., $9. Museum of Fine Arts, Houston - Brown Auditorium Theater, 1001 Bissonnet, 713-639-7515, mfah.org/films. Chocolat: Based on the novel by Joanne Harris, Chocolat stars Juliette Binoche as the mysterious woman who opens a chocolate shop. As this is during Lent, the temptation becomes too much for the pious townsfolk, and events soon come to a head with the arrival of a handsome Irish Gypsy (Johnny Depp). Popcorn and refreshments provided. Thursday, April 7, 1:15 and 6:15 p.m., free. Kris Bistro & Wine Lounge, 7070 Allensby, 713-358-5079.

VisiT HOusTONpRess.cOm fOR aDDiTiONal film cOVeRaGe The Cinema Social: Event founder Eric Espinoza wants to try

something new. Films from local artists will be shown in various rooms, and people can drink alcohol and move freely throughout the art gallery space. For information, visit thecinemasocial.com or elrinconsocial.com. Saturday, April 9, 8 p.m.-midnight, free. El Rincon Social, 3210 Preston, 281-639-0252, elrincon.weebly.com. The Colorado: A Film Oratorio: Mark Rylance narrates this immersive multimedia eco-cantata in which a team of filmmakers, composers, musicians and singers leads a 1,500-mile visual and aural journey through the Colorado River Basin, from the Rocky Mountains through the Grand Canyon, from Hoover Dam to drought-plagued California. Presented by Da Camera of Houston and featuring Roomful of Teeth, Glenn Kotche and Jeffrey Zeigler. Tuesday, April 12, 8 p.m., $30 to $65. Wortham Theater Center, 500 Texas, 713-237-1439, www.worthamcenter.org. Don’tBlink:MFAH has a tremendous repository of films by legendary photographer Robert Frank (born 1924). This will be one of the first public screenings of a new feature-length documentary about the Swiss-born Frank, directed by his longtime editor and collaborator, Laura Israel. Friday, April 8, 7 p.m., $9. Museum of Fine Arts, Houston - Brown Auditorium Theater, 1001 Bissonnet, 713-639-7515, mfah.org/films. FotoFest at MFAH: The museum screens recent films addressing the environmental themes of the FotoFest 2016 Biennial. Life-Raft Earth is April 9; Racing Extinction is April 9-10, Watermark is April 15 and Ice and the Sky is April 16. Saturday, April 9, 6 and 7:30 p.m.; Sunday, April 10, 5 p.m.; Friday, April 15, 7 p.m.; Saturday, April 16, 7 p.m., $9. Museum of Fine Arts, Houston - Brown Auditorium Theater, 1001 Bissonnet, 713-639-7515, mfah.org/films. Inside Out: Part of Bank of America Screen on the Green, which offers favorite movies under Houston’s skyline. Pre-screening contests and activities begin one hour prior. Saturday, April 9, 8:30 p.m., free. Discovery Green Conservancy, 1500 McKinney, 713-400-7336, discoverygreen.com. Mistri (Champions): An alcoholic prophet incites loyal but misguided fans in a desolate village as they watch the 1969 Czech national hockey team play Russia. Free popcorn, cash bar and kolaches; doors open at 6:30 p.m. Reservations requested; call 713-628-2060 or email events@czechcenter.org,. Friday, April 8, 7 p.m., free. Czech Center Museum Houston, 4920 San Jacinto, 713-528-2060. New Music from Near and Far, III: In addition to musical works by Houston composers (Musiqa artistic board member Marcus Maroney and Musiqa composer emeritus Rob Smith), a short film by Ingo Putze, Solo Finale, will be screened. Saturday, April 9, 7:30 p.m., $26.75 to $47.75, 713-524-5678, musiqahouston@gmail.com, musiqahouston.org. Hobby Center for the Performing Arts, 800 Bagby. Take The Stage: Houston Texan Chester Pitts and Houston Ballet’s Lauren Anderson co-host this event in which children can walk the red carpet on the way to a public screening of this new television show for kids. Doors open at 6 p.m. Thursday, April 7, 6:30-8 p.m., free. Children’s Museum of Houston, 1500 Binz, 713-522-1138, cmhouston.org.

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| Stage CapSuleS |

Stage

Capsule reviews by Jessica Goldman and D.L. Groover Detroit ’67 The 1967 riots are central in Dominique Moris-

Detroit ‘67 mediocre light comedy with dull dashes of riot narrative sprinkled in. We meet Chelle and Lank as they are setting up an illegal after-hours club in the basement of their late parents’ house. The two may enjoy the same plethora of Motown hits that feature prominently in this script, but when it comes to their futures, the siblings aren’t singing

| art CapSuleS |

Art

Capsule reviews by Randy Tibbits and Susie Tommaney “Airport” As recently as two years ago, Sergey Prokofiev

Europe and the United States in the 1920s and 1930s, but it sparkles nonetheless. It may be the dresses, by haute couture legends Jean Patou, Paul Poiret, Lanvin, Fortuny and others, that are best. Or is it the perfume bottles, tiny sculpted marvels of elegance and vanity, with names like Fête de Nuit, Ce Soir ou Jamais, Les Ailes de Paris (Festival of Night, Tonight or Never, Wings of Paris)? Or maybe the photographs by Brassaï, Aaron Siskind and André Kertész, whose “Satiric Dancer” is an angled, upended marvel? No, definitely the dresses. But no need to choose. They’re all here and more. The show is a great reason to reread F. Scott Fitzgerald’s The Great Gatsby — Fitzgerald gave the name to The Jazz Age — and to re-watch Woody Allen’s Midnight in Paris. And watch out as you head over to MFAH: You may get a glimpse of Gatsby’s fatal yellow roadster as it flashes by through the shimmering night to the sound of jazz on the way to another midnight party. Through June 5. 1001 Bissonnet, 713-639-7300, mfah.org — RT “In the Wake” We’re still talking about 2010’s BP oil spill disaster — the massive blowout that killed 11 people and sent millions of barrels of crude oil gushing into the Gulf of Mexico — resulting in the largest marine oil spill in United States history. One of the photographers at the scene was Madrid-born, Seattle-based Daniel Beltrá, who photographed the disaster from the air, capturing both the beauty of the deep blue ocean and the horror of the wide swaths of red pollutant spreading out from its toxic source. For that work, he was named 2011 Wildlife Photographer of the Year, an award given annually by London’s Natural History Museum. Five pieces from Beltrá’s “Spill” series are on display at Houston Center for Photography in a group show exploring our impact on water, as well as our attempts to make good on the damage done by humanity. The Stockholm-based artist duo Bigert & Bergström, known for their large-scale public works, have four UV-printed photographic sculptures from their “The Drought” series in the show; the trio of multifaceted acrylic sculptures that glow from within would make a puzzler proud. Anaïs Tondeur has an interesting short film about the mysterious disappearance of the volcanic island Nuuk; we know it existed in 2012 and it has since completely vanished beneath the ocean surface. Also on view are works by Caleb

Cain Marcus, Leah Dyjak, Lori Hepner, Constance Hockaday and Ian van Coller. Through May 8. 1441 West Alabama, 713-529-4755, hcponline.org. Free. — ST “We Chat: A Dialogue in Contemporary Chinese Art” The Cultural Revolution is “so last week,” at least as far as the young (born after 1976) artists featured at Asia Society Texas Center are concerned. For these creatives, the (recently lifted) one-child policy was the norm, the skyline of their cities is continually evolving and Mao Zedong was a Communist Party leader from history books. No Man City, a massive 25-foot-wide sculpture of white Tyvek on acrylic, is sublime perfection. Morphing from a three-tiered symmetrical city to a deconstructed and geometric inverted cone, it’s all shadows and light. Artist Jin Shan has a great back story (he once installed a life-size fountain, a replica of himself, standing and peeing into a canal); this piece is decidedly more traditional, paying homage to his father, a classically trained painter who made backdrops for Chinese opera.

VISIt HOuStONpreSS.COM FOr aDDItIONal art aND Stage COVerage Liu Chuang dabbles in conceptual art, and for his Love Story (1) installation, the artist was moved by the loneliness and longing found in the migrant workers of Chenzhen. At a street corner lending library, Liu discovered that people wrote all kinds of things in the margins of romance novels. The books are displayed on a table, with color-coded rocks giving clues to the translated-into-English messages written on the wall. Graffiti-esque pieces by Sun Xun feature anthropomorphic animals as allegories (a movie camera represents government surveillance, while a gas mask references Beijing’s pollution); and Ma Qiusha’s video reveals a razor blade in her mouth, symbolizing her pain at being labeled an artistic talent in kindergarten, and the ensuing years of rigorous training. There’s a talk with artist Liao and guest curator Barbara Pollack on Sunday, April 24 at 2 p.m. Through July 3. 1370 Southmore, 713-496-9901, asiasociety.org/texas. — ST

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witnessed the brutal beating of a trans woman and it made him wonder, “Why no value?” Fast-forward many years and academic degrees later to the man, now an artist with years of teaching experience, who has found a way to return dignity to these fringe dwellers of Lima’s society. At McClain Gallery, he and collaborator Andrew Mroczek are displaying 11 portrait tableaus and two costumes inspired by Spanish Colonial paintings from their “Virgenes de la Puerta” series, as well as three haunting landscapes from their “Fatherland” series that document the locations of hate crimes or murder. The portraits are beautiful, textured compositions that invoke symbols of the Catholic Church and culture that shunned these trans women: crown of thorns, beaded cape, halo, offering plate and braided hair. The artists worked with local craftsmen to create the traditional costumes, including a gown made of hundreds of embroidered flowers, a 25-foot hand-crocheted veil, and crowns of silver and gold. While some of the models were insecure, lonely and ostracized, others felt confident, empowered and radiantly beautiful. Most of the images were taken using an eight-by-ten view camera, with the women partially clothed or nude, and at different stages of transition. The vignettes that introduce architecture are most stunning: as in Carol, where the model in hoop skirt basks in the sunlight, surrounded by heavily carved doors with tinted windows; and Lucha, holding a flag in what could be the ruins of an old church with broken stained glass at her feet; and Janny & Nuria, seated in an ornately carved gilded alcove, crossed legs entwined, with their breasts echoing the design on the Ionic columns. Through May 14. 2242 Richmond, 713-520-9988, mcclaingallery.com. — ST “Deco Nights: Evenings in the Jazz Age” Listen. It’s the bounce of a jazz beat through the shimmer of a 1925 night — not the meandering, languorous stuff from later on, but jazz with verve and rhythm. Jazz that demands you dance and drink Champagne till dawn. You can almost hear it as you walk into “Deco Nights: Evenings in the Jazz Age” at the Museum of Fine Arts, Houston, a glittering little show intended to give a sense of what it was like — the look and the feel — in those wild, romantic days of flappers and bobs and headlong living. It’s not by any means a major exhibition: only 20 or 30 beautiful objects made in

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International Airport in the Donetsk region of eastern Ukraine was a modern and viable airport, with several new buildings constructed for the 2012 UEFA European Championship. Now the airport is almost completely destroyed, the result of a 242-day battle between the Ukrainian army and pro-Russian militants. Former Los Angeles Times correspondent and photojournalist Sergei L. Loiko has been covering the conflict in Ukraine since 2013, and he spent weeks at the airport with Ukrainian troops as they defended the structure against Russian-backed rebels. Photographs from his coverage are on view now at Russian Cultural Center Our Texas in Loiko’s “Airport” exhibit, showing gritty, somber scenes from the burned and bombed area of what was once a thriving transportation hub. Those interested in the tools of war will be fascinated by up-close looks at machine guns, tanks and grenade launchers. The exhibit also includes scenes from the neighboring villages of Slovyansk and Kramatorsk, where everyday life coexists with the revolution. The bright green grasses of the countryside are punctuated by heavy, black tanks rounding the bend on a dirt road in one photograph. In another, a local woman herds her goats across a street and, in the background, a defensive barrier wall has been erected using abandoned tires and debris. Loiko has taken care to photograph the faces of these young Ukrainian soldiers as they wait anxiously for the next onslaught. There is one brutal image in which the remnants of a Ukrainian tank crewman are being boxed up in a crate. It’s not even a body — just some meaty tissue — but his fellow soldiers are salvaging what they can for the deceased soldier’s family. Through April 30. 2337 Bissonnet, 713-395-3301, ourtx.org. — ST “Canon” As a child, Peru-born Juan José Barboza-Gubo

glasses and dressed in a shapeless black suit with white pocket handkerchief, Parker, as Thom Pain, is the epitome of anonymity. You wouldn’t look at him twice walking down the street, and his facelessness is his ultimate defense and his ultimate cry from the heart. Notice me, he shouts, but then quickly turns away when you do. Life is a mess, life is wonderful, life is hell. “I strike people as the man who just left,” he says with sly downward wink and, yet, complete self-deprecation. He knows where he is, which is nowhere. How did he get here? That’s the gist of the play. We soon realize, which Eno dramatizes in language fragrant and hurtful, that he’s not alone. He’s no different than we are. We’re just like this schlub. We are this schlub. “When did your childhood end?” he asks with wicked smile. Eno smacks us in the face. His juicy, precise language jabs like a hypodermic filled with sodium pentothal. As if witnessing, or maybe attending, some AA meeting, Parker commands the stage with this rambling tour-de-force monologue. Non sequiturs abound as he leads us — shoves us, actually — through this quasi-bio. He dissects his unfulfilled heart with clinical panache and sorrowful glee. Are these traumas he’s living through, or just the dead horse of his life? What better venue than the former church at 14 Pews for this intimate/universal confession? The sad, lonesome little boy grows up into a sad, lonesome little man. Both are lost. Life is gritty: vomit, cum, blood, sweat, tears. Pleasure is fleeting, but the telling can be hilarious. We slip on the blackest of bile as easily as on a banana peel. Monologues are in vogue this season. Witness Grounded at the Alley, The Other Mozart from Lott Entertainment, Wiesenthal at JCC. Pain’s in excellent company. Darker and more insidiously entertaining, it throttles with a joker’s determined grin. You may not feel fingers around your throat, but without warning, the air’s gone. Fear, depression, frustration, humiliation, failure, you name it, this is what we have to deal with. Eno exalts in capital letters and quotation marks. Raw and unfiltered, Pain is the life force, or as close as we’re going to get. Sure, life sucks, but, as Eno (mesmerizing), Parker (spectacular) and director Jason Nodler (precise) encapsulate, the alternative is so much worse and nowhere near as frighteningly sardonic. God help us...somebody help us...anybody? Through April 24. 800 Aurora, 713-522-2723. — DLG

seau’s play Detroit ’67. Central but unseen. This isn’t a play about the violence that befell the city per se, but rather the men and women living in the community at the time. But even though it has all the elements of a socially charged story, Detroit ’67 instead plays like a

found her beaten and confused in the wrong part of town. Morisseau finally does drop the riot into the laps of her characters when Lank and Sly’s newly bought bar (purchased behind Chelle’s back) comes under siege, first by rioters and then by the police brought in to quell the violence. But by this point, the drama has been so tensionless and the characters’ reactions so weirdly out of step that no matter how hard Morris tries to extract big, tragic emotion from her cast, it creates not a scream but a whimper. The cast do their best to make the thin script more substantive. As Lank, Brown tries to give us reason to believe that he’d be so smitten with a personality-free white girl he barely knows. Even though Bunny is a central-casting character, Randle plays the cheekiness with attractive grace. Brown-Garcia has a difficult time finding motivation for the milquetoast Chelle, but delivers a nicely intimate and loving scene between siblings. Caroline is the least likely character in the play, but Zangarine finds ways to keep her chronic evasiveness somewhat compelling. Palmore (stealing the show as usual) as Sly has the most success thanks to his ability to play the hell out of comedic scenes while also giving strong emotional energy to the not so funny moments he’s tasked with. With so much trying going on up on the stage against such lackluster material, it’s a wonder we didn’t all start a mini protest of our own. Through April 17. The Ensemble Theatre, 3535 Main, ensemblehouston.com. — JG “Thom Pain (based on nothing)” Life sucks. That’s not a direct quote from the eponymous “hero” (George Parker) of Will Eno’s tantalizing 75-minute monologue Thom Pain (based on nothing), but you get the idea. Brought to searing life through Catastrophic Theatre, Pain — or should I say playwright Eno — is too smart to be so prosaic, too snarky to be so mundane. This is stream of consciousness as stand-up, an angst-filled comedy rant via Lenny Bruce channeling the Great One, Samuel Beckett. Existentialism has never been more fun, more exfoliating or, in Pain’s most-used description, more fearful. Eno hurls words the way Jackson Pollock tossed paint. He splatters everywhere, seemingly at random, but the pattern and design are clearly there. If you saw Catastrophic’s poignant Middletown last season, you know this playwright’s sadistic, dark undertones. He swamps you in language. Sporting black horn-rimmed

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the same tune. All the action takes place in the siblings’ basement-cum-bar, a set by Larry Wesley thankfully not designed with too much late-’60s kitsch. Wanting to play it safe, Chelle (Cynthia Brown-Garcia) sees the venture as a way to add a little extra to the inheritance she’s already earmarked to pay for her son’s college tuition out of town. The more risk-tolerant Lank (Kendrick “Kay B” Brown), on the other hand, views the basement venture as a stepping-stone to “being aboveground with the white folks,” where he can open a legitimate bar and stake out a claim for himself. Chelle’s sassy friend Bunny (Lakeisha Randale) is too busy leading Lank on to register an opinion, but Lank’s friend Sly (Joseph “Joe P” Palmore) already has himself in the mix. He and Lank have a line on a legal bar for sale and they pitch the idea hard to Chelle. It doesn’t take much guessing to figure out which sibling’s dream of how to use the inheritance wins out and how. Surprisingly, Morisseau writes all four characters as pleasant but fairly boring folks with tidy if not advantaged lives. Sure, they all mildly gripe about the harassment they get from the Detroit police or the way white privilege keeps them from getting steady jobs or moving up in life, but nowhere do we feel the frustration or anger these characters must rightly feel. More problematic are their reactions when the riots finally do break out. Far from frenzied worry, anger, solidarity with the community or even curiosity about what’s happening, Morisseau imbues her characters with barely anything Kedrick Brown stronger than a “wow, can you believe what’s going on out there?” kind of reaction. While Detroit burns, Sly continues to try to woo an uninterested Chelle by giving it his all in a comedic Four Tops singalong. Chelle and Bunny play Parcheesi while telling humorous stories about a first kiss. And Lank tries to get hot and heavy with Caroline (Whitney Zangarine), a white women he and Sly rescued and took back to his place after they

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Pizza Check

Bollo offers some top-notch pies, but that’s not a consistent achievement, our visits show. row of fire-tending rakes and shovels hangs on the white tiled wall behind the large-domed oven, the breathing, pulsating heart of the restaurant. The pizzaiolo grabs a prepped pie from the low counter behind him, sliding it into the mouth of the oven. Two and a half minutes later, the puffy crown is blistered and singed, tiles of mozzarella gently melted along the thin midsection of the pie, its thin bottom lovely and leopard-spotted. A gentle crackle to the char-dappled “pizza bones,” a bit of tug and chew underneath. A handful of carefully chosen and sparingly applied toppings provide accent. When the pies at Bollo are in top form, they’re swell.

Contrast that with the Margherita pie from an earlier visit, which told a different story. Though a more pronounced lattice of yeasty bubbles would have been nice, the crown, or cornicione, came nicely peaked. Mottled around its circumference with a nice distribution of char — and graced with a simple spread of zippy tomato sauce, tiles of good quality milky-sweet cheese and fragrant basil — it was exactly what I’d hoped to find after several trusted associates had pointed to Bollo as a contender for Houston’s own pizza cornicione. I’d heard, also, that Bollo set itself apart through its broader menu, offering a selection of small plates and entrées uncommon among specialists in the Neapolitan game. Unfortunately, virtually none of those offerings stood up to the

The Margherita pizza came with a nice distribution of char.

Bollo Woodfired Pizza 2202-A West Alabama, 713-677-0391, bollohouston. com. Hours: 5 to 10 p.m. Mondays; 11 a.m. to 10 p.m. Sundays and Tuesdays through Thursdays; 11 a.m. to 11 p.m. Fridays and Saturdays.

Beef meatballs $7 Local kale and garbanzo $6 Black truffle burrata $8 Pork chop marsala $18 Salsiccia bianca pizza $14 Margherita pizza $12 Texas Wagyu beef pizza $15

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best pies coming out of the oven, nor do they serve as draws in their own right. A plate of meatballs came nestled on a puddle of simple, punchy marinara, but lacked flavor. Simmered without any sign of browning, they could have used some meaty punch and even something so basic as a pinch of salt to wake them up. So, too, could they do with some texture. As is, they’re tender enough to be considered mushy. That would work better if the slices of bread served alongside were toasted or grilled, rather than coming to the table warmed and brushed with a bit of garlic butter, but they were instead sadly soft-on-soft. That same soft bread comes with a plate of pleasantly creamy burrata accented with obvious but pleasant counterpoints of tomato and basil and a restrained hand with black truffle oil. A few flakes of salt and a bit of toasty crunch on the bread would greatly improve one of the few passable small plates. While the burrata could be salvaged with a bit of toast, the dish of local kale and garbanzos

selections at Bollo will save you an average of a few bucks a pie. Service can underline that value proposition, or erase it, depending on which face you get. Where one evening’s server was warm and accommodating, offering suggestions and checking in with the right balance of attention and restraint, an early-evening visit found our party rushed to the point of feeling chased out. On that occasion, we hadn’t had our pies 15 minutes before our waiter asked to box everything up. We said no. He was back less than three minutes later. We told him he could bring the boxes (he seemed so eager), and before I knew it, the pies were whisked away. A few seconds later, he returned for the baby’s plate, pulling it out from under the kid while he reached for a bite of meatball, like the Grinch reaching back through the chimney for that last festive bauble. We had had a few moments of disarray, when the baby sent his kid-cup of water skittering across the floor, spilling its contents along the way. Still, we were in a semi-enclosed alcove, a barrier insulating us from the rest of the dining room, itself scantily filled. Besides, Bollo feels otherwise like a family-friendly option; this experience was jarring and off-putting and a real damper on a meal that had already had more downs than ups. All in all, Bollo seems like it’s a few steps away from being consistently good. The idea of a few simple plates to round out a couple of pies is appealing, but the plates themselves underwhelm too often. The idea of a neighborhood place turning out top-notch Neapolitan pies is appealing, but the pies only peak on occasion, disappointing by way of ill-conceived toppings or an ill-tended oven, and the service isn’t always neighborly. The idea of a cheaper option than the sticker shock that sometimes accompanies the best of Houston’s beautifully spartan Neapolitan pizzas is appealing, but you have to weigh the lowered prices with the lowered standards. If the kitchen put as much thought and care into the other dishes as it sometimes does into the pizza; if that thought and care were more consistently applied to the pies; if the toppings found a more capable editor; if the charming service offered by some of the staff were offered by more of it…Unfortunately for Bollo, and for Houston’s pizza lovers, that’s a lot of ifs.

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Of course, two and a half minutes is a long time for a Neapolitan-style pie, and that long trip sometimes shows. So, too, does the lack of attendance by the man with the peel. Across several visits, he seemed content to slide the pies in, slide the pies out, send them on their way. There was no careful checking and turning, moving this quadrant of crust closer to those crackling flames, tilting an edge up or away to control that all-important char. A Salsiccia, for example, pulled from the Bianco section of the dozen or so pies on offer, came with a blond undercarriage and an alarmingly pale crown with some few spots outright burned. Not charred. Burned. Yes, there is a difference. Its combination of buffalo mozzarella, sausage, roasted peppers, red onions and fresh oregano (a repeat touch, surprisingly effective in its large, largely uncooked clumps) hit the right flavor notes (it was, perhaps, just a bit busy), but failed to deliver the textural contrasts that may be the hallmark of truly excellent Neapolitan pies.

needs significantly more work. While the menu doesn’t advertise a cooking method, most diners won’t expect a water-logged heap of haphazardly cut greens, liquid pooling in the bowl. Shavings of parmesan do nothing to bring the mess together. Salt, acid and heat might. Why not run the kale through that blistering oven? A bit of char would go a long way in adding interest to what feels like a complete afterthought. Not all of the non-pizza options falter, fortunately. The pork chop fares surprisingly well, for example. Nicely juicy in the center with good smoky char outside, it’s a gratifying piece of meat on its own. Then, the nutty, slightly high notes of marsala sing in the sauce glazing the chops and forming little tributaries along the plate. More of the advertised mushrooms would be a nice touch, but well-seasoned, rough-hewn mashed potatoes make a nice landing pad for the stray juices as you swipe each bite of pork across the dish. It’s simple but well thought out, each component working together toward a harmonious whole. That simplicity, often a hallmark of Neapolitan pies, would be well applied to those at Bollo. Some of the pizzas here try to stand out by shuffling off the constraints of restraint, peppering the menu with buzzwords like “pork belly” or “Wagyu.” The latter shows up on a Texas-ified number, but it’s rendered in ignorable crumbles. If the point of Chuck Cook Wagyu is marbling, that point is blunted by grinding and scattering the beef like so much unseasoned hamburger. That pie also suffered from a uniformly overcooked crown, colored an even shade of dark brown occasionally punctuated by overly aggressive char. Nearly three minutes at 800 degrees, without the care and attention taken to move the pie around the oven’s inevitable hot and cool spots, and the crust almost inevitably loses its luster. That said, the fresh chilies scattered on top proved a nice surprise, offering crunch and freshness and a different kind of heat than you might be expecting if you’re expecting the more common pickled version, both more insistent and more ethereal. All in all, though, the whole thing feels like a broken promise, the allure of premium beef fizzling into reality in front of you. Stick to the simpler pies, and you’ll find greater pleasure, in terms of both execution and price. Aside from the 50/50 shot at a pretty good pizza, it’s worth noting that Bollo offers that little luxury at a somewhat lower price point than nearby favorite Pizaro’s. Across the menu, the

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1 29

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| Eating...our words |

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usiness owner Cynthia Gonzales is dev astated after the taco trailer that re presented her and her family’s entire livelihood was stolen around 4 a.m. on March 28. The Los Dos Vaqueros taco truck was where it is normally parked, at the Star Food at 1234 Sheldon in Channelview. The theft was first discovered by a cook who reported to work just before 5 a.m. Gonzales cried as we interviewed her by phone, saying that the truck employed not only her, but her sister and brother as well. Additionally, Gonzales has several family members at home who depend on income from the truck. Worse, Gonzales said an aunt gave her what was her life savings, the product of 17 years worth of work, in order for her to put a down payment on the food trailer. The taco trailer cost $25,000. Gonzales had only been in business for a year and said she has been able to pay off only

The longer Gonzales is without a trailer to cook on, the higher the chance that she’ll have to start her business over from a worse position than when she started. “Our workers cannot be without work for more than a week,” she said. “I still owe on that truck. I am desperate for some solution and I can’t find it. I went all the way. All my efforts are gone with that trailer. It’s hard to think you have to start all over from zero. I am not going to ask my family for more help after all they’ve done for me.” Anyone who has information on the theft should call the Harris County Sheriff’s De partment at 7132216000 and ask for officer Ornelas. A Go Fund Me page has been started to help the victimized family raise money for a down payment on a replace ment food trailer.

Ashow new week your supporT for africanamerican-owned resTauranTs.

Phaedra Cook

rganizers of Black Restaurant Week in Houston, which started April 3 and runs through April 10, want to encourage everyone to especially support Afri canAmericanowned businesses. The event is also a fundraiser. Fif teen percent of sales of special, multicourse prix fixe meals at each par ticipating restaurant will go to Change Happens. The nonprofit organiza tion runs several pro grams that include support services for the homeless, helping indi viduals locate affordable health coverage and fa Cynthia Gonzales cilitating HIV preven tion programs. the Los dos Vaqueros taco truck was stolen around 4 a.m. on Here’s the list of partici March 28 from a Channelview gas station. pating restaurants: • Lucille’s, 5512 La Branch $8,000 of the debt so far. There was no insur • Café Abuja, 15015 Westheimer #C ance on the vehicle. “It’s really expensive to get • Etta’s Little Kitchen, Food Truck something like this going,” she said. “We are liv ing on this. This is our lives. Our whole family depended on that,” she said. Gonzales said a surveil lance camera was able to catch part of the theft on video, but she has heard nothing from police since re porting the crime. She was hoping to rent another food truck or trailer while the search is on for the Los Dos Vaqueros trailer, but said that nothing she’s seen so far is ready to operate. Even if the Los Dos Vaque ros trailer is recovered, Gon restaurants such as davis zales expects it will be found street at Hermann Park, known empty. “Even if [the police] for its award-winning thai find it, they’re just going to spicy shrimp, are featured find the outside. Everything during Black restaurant week inside — that’s what they in Houston. want,” she said tearfully.

• Gatlin’s BBQ, 3510 Ella • Ray’s Real Pit BBQ Shack, 4529 Old Spanish Trail • Holley’s Seafood Restaurant & Oyster Bar, 3201 Louisiana • Calabash Island Eats, 1515 Pease • Reggae Hut, 4814 Almeda • Esther’s Cajun Café, 5204 Yale • d’Marco’s Pizzeria, 11102 South Highway 6, Suite 106, Sugar Land • Davis Street at Hermann Park, 5925 Almeda • Prospect Park, 17776 Texas 249, #28b • Crave Seafood, 5887 Westheimer • Lucy Ethiopian Restaurant, 6800 South west Freeway • Unwine on Almeda, 4420 Almeda • Scrappy Brown’s, 4830 Almeda Black Restaurant Week menus are on the event website (although several still need to be added as of this writing). There are also a few special events, and a list of these is avail able online. There is some confusion surrounding this event, as another organization called A Black Life says it was the first to develop the con cept. An FAQ claims the event started in Washington, D.C., in April 2015 and was ex panded to nine cities, including Houston, later that year. However, an Internet search didn’t turn up any Black Restaurant Week events in Houston in 2015, so it seems safe to say that the event that started this week is, in fact, the first time any Black Restaurant Week has happened here. That said, A Black Life’s website says it’s organizing one that will happen from April 17 to 23, and while that may cause some confusion, Houston certainly has more than enough diners to support multiple restaurant weeks.

openings & CLosings how abouT fajiTas a Go Go?

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he story of Tarakaan is wrought with twists and turns; just a month after announcing the permanent closure of the restaurant’s food service, it’s back at it again and serving meals. We’re glad to see the acclaimed restaurant and club cur ing the munchies again, but we >> p32

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can’t help wondering what exactly is going on here. Sharon Haynes, founder of Tacos A Go Go, has teamed up with Jeff Black, a Washing ton, D.C.based restaurateur, to create Fajitas A Go Go, a mostly takeout fajita establish ment. Greg Morago of the Houston Chronicle reports that the new Mexican food eatery will open in midApril, and it will be com plete with beer and margarita mix delivery in addition to the fajitas and fixin’s. River Oaks District newcomer Toulouse Cafe and Bar opened for dinner on Monday, April 4 at 4444 Westheimer. Houston fa vorite Philippe Schmit, known as “the French Cowboy,” is the executive chef at this first Houston outpost of the popular Dallasbased French eatery. SnowBlock Shavery shaved ice, at 2518 Rice in the Village, has closed its doors just as the temperature has begun to climb; Yelpers report that the locks on the ribbon ice establishment were suddenly changed a few weeks ago. Fans of Ronnie Killen’s work will be pleased to know that his latest venture, Killen’s Burger, is set to open on May 28 at 2804 South Main in Pearland, according to Eric Sandler of CultureMap. Sandler also has a tidbit from the rumor mill to share: A company owned by Tatsu Aikawa of Austin’s admired Ramen Tatsu-Ya purchased a lot at 1714 California in Mon trose, so we can only hope that another ex cellent restaurant will join the ranks of Houston’s top ramen joints. Two more rumors have been circulat ing: One is that acclaimed concept PIZZA domenica has been scouting for a Houston location, as has Lüke, a French restaurant that has one owner in common with the former establishment. Whole Foods Market will be relocating the Wilcrest location, 11145 Westheimer, to a brandnew store at 11041 Westheimer in Westchase on June 1. The grocery is look ing to hire friendly faces for the massive lo cation, and you can fill out an application through May 4.

We’ve got two pizza parlor closures to tell you about this week: D’Marcos Pizzeria has closed its location at 14624 Memorial after only five months because of the owner’s concern that he wasn’t spending enough time with his two young children. To ease his workload, he closed one location, but the Sugar Land lo cation, at 11102 South Highway 6, will re main open. Also, Pie Five at 107 Yale has closed without any word from management as to why or if another nearby location will be replacing it. The restaurant has several other Houstonarea locations, and the oth ers all seem to be slinging pizzas as they usually do. Amy McCarthy of Eater reports that Platypus Brewing, an Australianstyle brew pub based in Washington state, will be joining the cool kids on Washington Ave nue very soon. You’ll find the pub at 1902 Washington by about the middle of this year, as well as the beers that Platypus makes inhouse. Grocery chain H-E-B has announced that it will be replacing its current Bellaire lo cation at 5130 Cedar with a brandnew, twostory location at the same address. The opening will hopefully be in fall 2017, according to the Houston Chronicle. The Woodlands’ Café Express failed to renew its lease at 9595 Six Pines and is now closed; however, management has ex pressed its desire to open another location in the same neighborhood soon. Mels’ Seafood Shack is open just in time for crawfish season; you can find the freshly boiled mudbugs in the stationary food trailer at 2521 North Durham. The truck is open until the seafood sells out, so get there if you really need a seafood fix. Malaysian restaurant Malay Malay is open at 2508 Gulf Freeway South in Clear Lake; the website describes the food as authentic Malaysian, brought to you by folks who have been serving up the cui sine for more than ten years, and a tweet notes that this is the sister restaurant to Mamak, another Malaysian concept, lo cated at 9889 Bellaire.

the new sister restaurant to Mamak, a popular Malaysian eatery, is now open in south Houston.

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| rocks off |

Music

Living Legends Don’t take these living icons of

exans are fortunate to have a wealth of homegrown musical talent to listen to and enjoy, and that’s especially true of the many legends we still have the opportunity to see play live. But it’s easy to grow complacent and to take some of those performers for granted — in many cases they’ve been around our entire lives, and it seems like they’ll always be there for us. But without being morbid, let’s face it: no one will be able to perform forever, and if we want to see certain artists, like those below, play live, then we need to make the effort to do so while they’re still active; in other words sooner rather than later. ALEJANDRO ESCOVEDO

A San Antonio native from a musical family, Alejandro Escovedo performed in the seminal San Franciscan punk band the Nuns before moving to Austin in the early ’80s. He developed a rootsy alternative style that drew from many musical traditions, and has created a large body of critically acclaimed work that audiences have eagerly devoured. I used to see him slumming around Austin’s Hole In the Wall bar back in the mid-’90s, and didn’t realize I was in the presence of greatness. Don’t make the same mistake I did back then. THE FLATLANDERS

The Flatlanders didn’t get a lot of attention during their initial early-’70s run, but the “cosmic country” band from Lubbock reformed in the late ’90s after several members had gone on to successful solo careers. Seeing the Flatlanders gives audiences a chance to watch Texas legends Joe Ely, Jimmie Dale Gilmore and Butch Hancock perform at the same time; even their Flatlanders sets are often studded with solo gems like “Dallas” and “If You Were a Bluebird.” JERRY JEFF WALKER

MISS TRUDY LYNN

A Houston native raised in Fifth Ward, Trudy Lynn began performing professionally in the mid-’60s, when she sang for the legendary blues guitarist Albert Collins. She played clubs in Houston initially, before expanding her reach to regional and overseas shows, and once opened for Ike and Tina Turner. In the late ’80s, she finally began a recording career, releasing a series of albums that combined Southern soul and traditional R&B. Miss Trudy Lynn is a local musical treasure, and Houstonians would be well advised to go see her perform at one of her gigs around town. DELBERT MCCLINTON

Born in Lubbock, Delbert McClinton has been active in the Texas music scene since the early 1960s, initially as a backing player before emerging as a bandleader a decade later. McClinton is a multi-instrumentalist, playing guitar, harmonica and piano in his blues-rock and country compositions. Early on he played with many music legends, including Howlin’ Wolf and Lightnin’ Hopkins, and recorded the Top 40 single “Givin’ It Up For Your Love” in 1980. As his career continued, McClinton recorded duets

Born in Corsicana, Billy Joe Shaver has experienced a lot — losing fingers in saw accidents, suffering a near-fatal heart attack onstage, enduring the tragic loss of family members and fighting legal issues stemming from shooting a man, for which he was eventually acquitted on the grounds of self-defense. He also managed to perform and record some great country music over his decadeslong career, including the outlaw country classic “Old Five and Dimers Like Me.” Mr. Shaver belongs to a dying breed of songwriters, and fans should see him perform any chance they get.

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Born in 1939 in San Antonio, Flaco Jimenez began performing as an accordionist in the ’40s, sparking a very long career playing conjunto, norteño, Tejano, country and rock music. He’s worked with artists like Ry Cooder, Bob Dylan, the Rolling Stones, Dr. John and many others. Jimenez is a one-of-a-kind performer, and any fan of Texan or Mexican-American musical styles owes it to himself to see him play live.

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MISS JEWEL BROWN

Truly a Houston legend, Miss Jewel Brown started out as a teen singing sensation locally and in Galveston before landing a gig in Louis Armstrong’s band in the 1960s. That probably should have ensured her everlasting fame, but Miss Brown walked away from performing in the early ’70s to care for her parents, singing and recording only occasionally over the ensuing years. In 2015 she released Roller Coaster Boogie on Dynaflow Records, showcasing her amazing voice once again.

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ZZ TOP

ZZ Top has been at the top of Texas rock music for so long that they must seem eternal to many people, and there’s not much I can say about them that hasn’t been said already. But no band will last forever, so fans of Reverend Gibbons and company should try to catch a ZZ Top concert as soon as they possibly can. JANDEK

Shrouded in mystery, Jandek is described as “The musical project of Corwood Industries, a record label that operates in Houston, >> p36 Willie Nelson in stafford, 2013

@PEGSTARCONCERTS Lissie, Skrizzly Adams 4/9 @ Numbers Judah & The Lion, The Saint Johns 4/9 @ Warehouse Live Mothers, Sego 4/11 @ The Raven tower Little Green Cars, John Mark Nelson 4/12 @ Walter’s Downtown Acid Mothers Temple, Mounds 4/12 @ Rudyards Operators, Bogan Via 4/15 @ The Raven tower Drive-By Truckers 4/15 @ Warehouse Live

April 7 - 13, 2016

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FLACO JIMENEZ

RAY WYLIE HUBBARD

Writing “Redneck Mother” might have been enough to put Old Mr. Hubbard on this list, but since his re-emergence on 1992’s Lost Train of Thought, Hubbard has released a succession of essential Texas singer-songwriter albums, each one deeper and (arguably) better than the last — more than enough to excuse

Thu 04.07.16

Houston Press

Jerry Jeff Walker wasn’t born in Texas, but he’s been a crucial force in our musical tapestry for decades now, and still brings the goods to his live performances. Every Texan worth his or her salt should try to see Mr. Walker perform “Up Against the Wall, Redneck Mother” and “Mr. Bojangles” at least once.

Kinky Friedman’s family moved to Texas from Chicago during his childhood, and he set about on a course of being the weird kind of Texan that Austin was once known for. Beginning a music career in the mid-1960s, he eventually formed Kinky Friedman and the Texas Jewboys in the early ’70s, bringing an irreverent sense of humor to the state’s emerging countryrock scene. Rubbing elbows with performers like Commander Cody and Bob Dylan while managing to piss off all sorts of people along the way, Friedman went on to forge a writing career and famously ran for governor in 2006. Friedman’s first solo album of original material, The Loneliest Man I Ever Met, was released last year, and he stops by venues in the area like the Mucky Duck and Dosey Doe fairly regularly.

BILLY JOE SHAVER

texas music for granteD. CHRIS LANE

KINKY FRIEDMAN

with Bonnie Raitt and Tanya Tucker, and has steadily released albums over his six-decade run.

houstonpress.com

the fact that he was actually born in Oklahoma. A night with Hubbard brings out several different sides of his musical personality: redneck rocker, beatnik bluesman, salty old hippie and, most of all, Senior Pastor for the Church of the Eternal Groove.

Aubrie Sellers 4/21 @ The Raven tower Photo by Jason Wolter

4/5/16 11:51 AM

April 7 - 13, 2016

Houston Press

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Rocks Off from p35

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Texas.” The amazingly prolific Jandek/Corwood Industries has released more than 80 albums and DVDs of strange rock and folk songs since the late ’70s, all the while withholding much in the way of biographical material or interviews. The Jandek story — what little we know of it, which is beyond the scope of this article — is an odd one, and worth reading about. Since 2004, Jandek has given relatively frequent performances, which fans obviously should seek out. One never knows when a mysterious artist like this might abruptly stop.

thursday april 7th inTo iT. over iT.

DANIEL JOHNSTON

Daniel Johnston was born in Sacramento, California, but his family moved to Texas, where he blossomed as an outsider/indie music pioneer in the early ’80s. Johnston’s strippeddown, often emotional songs have revealed him to be a talented and unique musical genius. He still performs on occasion, and fans of quirky music should consider attending one of his shows to be mandatory. ROKY ERICKSON

friday april 8th jadakiss

saturday april 9th judah and The Lion

As a founding member of the Thirteenth Floor Elevators, Roky helped pioneer the psychedelic music scene of the 1960s, before being sidelined for years after being sent to Rusk State Hospital. After a brilliant but short-lived re-emergence in the late ’70s, when Erickson created some of the best weird and spooky rock music ever recorded, he entered a decadeslong downward spiral because of his lingering mental issues. After the intervention of one of his brothers, Erickson began to improve and regained functionality, and has made a comeback against all odds. Now in his sixties, Roky regularly performs around Austin, and will be at White Oak Music Hall with the Flaming Lips on May 29. WILLIE NELSON

Monday april 11th aoMG

Explaining why folks should want to see Willie Nelson perform live almost seems redundant to anyone who grew up in Texas. Those who care about country music should see him perform in person at least once in their lives, and Willie ain’t getting any younger.

shut it things you shoulD never say to a

woman at a concert. KRISTY LOYE

friday april 15th drive by Truckers

saturday april 16th dawes

here’s a common misconception among some male concert attendees that females in the audience are present only to get close to the band and then attempt to sleep with them. And this is wholly untrue. We know, we know…some breaking news just seems obvious to the most casual reader, but news is a cyclical business and it has come to our attention this proclamation bears repeating: Not all women at shows are groupies. Consider this a helpful guide when speaking to a female fan at a rock gig. Err on the side of grace and presume she’s a pundit of live performance. And whatever you do, never say the following things to a woman at a concert. “Are you gonna try to make your way backstage?” See also: “Are you gonna head to the tour bus after the show?” There’s so much implied here, it’s hard to know where to begin. Let’s start with “make your way,” which presumes all kinds of sleazy behavior not only to reach backstage but

Matthew G via Flickr Commons

real talk : Not all women in music are groupies.

also to get through that door. It also implies a solo operation, and if you’re trying to flirt with this woman, you’ve just figuratively cut yourself out of the conversation. That’s two strikes, fellas. “You should get an autograph across your breasts/ass/rando body part.” Unless you’re speaking directly to an actual groupie who is at the venue for that reason, this question sounds like, “Hey, you have a vagina. Ever thought about offering it to a rock star?” That’s a decision best made by the owner of the vagina and probably none of your business. If she chooses to open her autograph book, those chapters are her own personal narrative. Best to leave it at that. “You know, [Rock Star X] met his future wife at a show…” Not every woman (or man) is particularly interested in dating a musician, much less marrying one. And the assumption that women flock to rock stars just for their money is a false stereotype. What musician do you know who has any money? Exactly. Here’s the thing: What if a grown woman decides to meet the band, head backstage, party all night and choose to have consensual sex with whomever she pleases? While the term “groupie” carries its own connotations, the expectations behind it are long overdue for a check. Calling a grown woman a “groupie” is a way of slut-shaming her, an attempt to control her sexuality through critical and negative speech. And that kind of thinking is not only outdated, it’s reflective of the tired and trite double standard of sex in rock and roll: We expect male rock stars to bed myriads women, but Lord have mercy if you’re one of those women. Rock and roll is about rebellion and freedom, and those patriarchal expectations of female behavior not only have no place in a free society; they most certainly are unwelcome in the lives of adult musicians and their companions. Even if it’s just for one night.

Locked and Loaded this week we tackle sex eD anD open carry. WILLIE D

My 11-year-old daughter told me that when she visits her dad, his wife allows her to curse and to sleep in the same bed with her 13-year-old son. She also told me that her stepmother showed her drawings of a naked man, and told her what a

penis is. Needless to say, I am pissed! I don’t want my daughter at her house anymore, but I don’t want her growing up not spending time with her father either. How should I handle this situation?

Father Visits: Where is the father while the stepmother is homeschooling your daughter in sex education? Talk to the father and tell him your concerns. Let him know that you’re uncomfortable with your daughter sleeping in the same bed with any 13-year-old boy, and to tell his wife to stop exposing your daughter to drawings of naked men. Tell him that they can be self-compliant, or you can notify the cops that his new wife showed your child a picture of a naked man, which could be considered porn. You could also stop your daughter from visiting her father. I know you want her to spend time with him, but your priority is your child’s safety, and her father doesn’t seem like a responsible person. Therefore, you may have to go to the courts and request that the judge modify your divorce decree to include supervised visitation. Sitting with him during visitation will create another obligation for you, and will make him feel like an inmate, but that’s okay. Some people can’t function without being governed. Dear Willie D: Now that Texas is an “open carry” state, I was wondering what you think about that. I’m in Michigan, where we have enjoyed the freedom of openly packing for decades, and it’s not a problem. But I read about the big fight in Texas to prevent the law from passing. That’s surprising to me. With Texas being so pro-gun, I would have thought it was already an open carry state. Welcome to the club, and how do you feel about open carry becoming law in your state?

Open Carry: Could be a good thing. Could be a bad thing. For example: If someone wanted to commit a crime, and he or she saw a civilian strapped, it might deter that person. On the other hand, if someone wanted to commit a crime, and saw a civilian strapped, he might decide to shoot and kill said civilian first to increase his chances of getting away with the crime. This is one of those situations where you’re damned if you do, damned if you don’t. Personally, in imminent combat situations, the element of surprise works better for me.

4/5/16 11:51 AM

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Music

Into It. Over It.

With the World is a Beautiful Place and i am no longer afraid to die, the sidekicks and Pinegrove, 6 P.m. thursday, aPril 7 at Warehouse live, 813 st. emanuel, 713-225-5483 or Warehouselive.com.

While the conversation about whether or not we’re in the midst of an “emo revival” has grown stale, the fact remains that the latest wave of emo-leaning acts represents the cream of the crop of today’s rock artists. At the forefront is Into It. Over It., the project of Chicago artist Evan Weiss; his latest album, Standards, is a widely acclaimed, remarkably mature achievement that shows personal growth as it recalls the sound of early Death Cab for Cutie records. Tuesday’s stacked bill also includes The World Is a Beautiful Place and I Am No Longer Afraid to Die, who played an invigorating set to a packed, passionate crowd at Walters last November; the eight-piece band has developed a devout following through its cathartic music. Rounding out the lineup are The Sidekicks and Pinegrove, the latter of which just released Cardinal, which breathes new life into a style of folk-rock that has grown too comfortable in the past few years. You’ll want to show up early for this one. david sackllah

coming Las Vegas residency to go along with Thursday’s stop on his “Decades Collide” tour also starring Houston’s Thunderpants, a.k.a. “The Baddest ’80s Band In the World.” chris gray

The Cave Singers

With dreamhouse, 9 P.m. thursday, aPril 7 at rudyard’s, 2010 Waugh, 713-521-0521 or rudyardsPuB.com.

This Seattle ensemble nicely straddles that line between folk and indie-rock, displaying a warm Northwestern hippie stoner vibe on tunes like “Dancing On Our Graves,” “Seeds of Night” and “Swim Club.” Formed in 2007 out of the ashes of Pretty Girls Make Graves (graves again?), the band has just self-released its fifth album, Banshee. While there’s plenty of stomp-and-clap busker enthusiasm, most of the tunes have a warm, laconic sweetness about them. This will be one of the feelgood shows of the week. William michael smith

Justin Bieber

With Post malone and moxie raia, 6 P.m. saturday, aPril 9 at toyota center, 1510 Polk, 866-446-8849 or toyotacentertix.com.

While his fans were always going to stick by him, it’s pretty amazing to see the critical turnaround on Justin Bieber. Easy to write off when he was younger, there’s pretty much no denying the strength of the singles he released in 2015. “Sorry” and “What Do Into It. Over It.’s Evan Weiss

Andrew Arthur/Mute Records

M83, a.k.a. Anthony Gonzalez

lings. Saturdays is a great record, but not one that lends itself to fist-pumping dance parties. But everything changed with the release of their 2011 single “Midnight City,” which is one of the best songs released since the year 2000. Massive-sounding, catchy as hell and featuring an amazing saxophone part, the song put them on bigger stages and in prime performance slots. After taking a few years off from touring to work on sound-track-type things, M83 are back, featuring Texas musician Kaela Sinclair as the group’s new touring keyboardist. This show will also be the first at the new White Oak Music Hall, and what a choice for a first headliner; there are few ways as great to test out a new outdoor venue than by blasting “Midnight City.” cory garcia

Poor Dumb Bastards 25th Anniversary 8 P.m. saturday, aPril 9 at fitzgerald’s, 2706 White oak, 713-862-3838 or fitzgeraldshouston.com.

Biz Markie

With thunderPants, 7 P.m. thursday, aPril 7 at house of Blues, 1204 caroline, 888-402-5837 or hoB.com/houston.

Long one of hip-hop’s true larger-than-life figures, Biz Markie is well-known to fans as one of rap’s early funnymen with songs like “Picking Boogers”; the inspiration for the Beastie Boys’ “The Biz vs. The Nuge”; and a hip-hop history maker with one of the first crossover hits to make the Top 10, 1989’s “Just a Friend.” These days grownups who once caught themselves humming that song’s adorably vulnerable refrain (“You…You got what I need…”) in their high-school hallways probably also recognize the Biz from Yo! Gabba Gabba, where he supplied “Biz’s Beat of the Day” and joined a few of the popular Nickelodeon program’s live tours over its 2009-2012 run. Biz is now back entertaining grown folks as an in-demand DJ, with an up-

Clarion Call Media

You Mean?” are about as close to perfect pop songs as you’ll hear these days, both dropping after an incredibly smart move to team up with Diplo and Skrillex on “Where Are Ü Now.” Basically, 2015 was the year when Bieber finally had the support worthy of his talent. So yeah, it’s safe to like him as something other than a guilty pleasure, if you’re the type who worries about that sort of thing, which means you don’t have to worry about taking a credibility hit by going to see him live. Pack some earplugs, because the screams are likely to be bigger than ever. cory garcia

M83

With yacht, 7 P.m. saturday, aPril 9 at White oak music hall, 2915 north main, Whiteoakmusichall.com.

Circa 2008 and Saturdays = Youth, M83 were an unlikely act to become festival dar-

Trends (and players) may come and go, but for the past quarter-century, Houston’s Poor Dumb Bastards have reliably delivered some of the rudest and rowdiest beer-soaked punk in the Lone Star State, a style that could only be dubbed “Texas drunk rock.” The band’s shenanigans over the years could easily fill up the walls of the freshly repainted Fitz bathrooms, but these Bastards also have a softer side: Besides Saturday’s 25th-anniversary gig upstairs, downstairs they’re throwing a benefit dubbed “Bands For Ganz” to aid PDB “superfan” David Ganz in his battle with cancer. Also featuring a raffle, silent auction and all-day barbecue, the fundraiser starts at 3 p.m. and stars country-fried PDB offshoot Hard Luck Revival and PDB cover band Browneye; likeminded groups helping toast the big anniversary later on upstairs include Donkey Punch, the Guillotines, Truckstop Assassins, Feared Alien Voodoo (described as “Houston’s scariest ’90s band”), Austin’s the Beaumonts and San Antonio’s Hickoids. Good time to brush up on your hangover remedy of choice. chris gray

4/5/16 11:51 AM

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H presents

APRIL 14

FEATURING

Stoney LaRue with special guest

Join us for the Grand Opening of Midtown’s Newest Dog-Friendly Backyard Addition, where the Green Beer is always ﬂowing Enjoy our Amphitheater-like Stage where that Texas Hill Country feel meets Midtown Houston

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April 7 - 13, 2016

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Music

Music listings are offered as a free service to Press readers and are subject to space restrictions. Send listings information by e-mail (musiclistings@houstonpress.com), fax (713-280-2496) or mail (2603 LaBranch, Houston, TX 77004). To change an ongoing listing, call 713-280-2486. Deadline is noon Thursday for the following week’s issue. Listings rotate regularly, as space allows. Our complete listing of shows is available online. For addresses, phone numbers and descriptions of venues, see our online listings at houstonpress.com/directory/clubs.

T H I S J U ST I N Black Vice: With Peasant, Crawl, Holy Money., Sat., May 14,

2415 Main St.• 713-487-6854 • CapitolBarMidtown.com (Right off the Rail)

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APRIL 7 - 13, 2016

HOUSTON PRESS

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| listings |

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C LU B S L I ST I N G S ROCK Acadia Bar & Grill: 3939 Cypress Creek, Houston. Slowlikefire,

with To Whom it May, Broken Valor, Recreating Eden., Fri., April 8, 8 p.m., $10 to $15. Funeral Shroud, with Odometer, Under No One, Over the Top, The Dirty Seeds., Sat., April 9, 8 p.m., $10 to $15. Fifth Fire, with VCR, Overload, Orchiectomy., Sun., April 10, 8 p.m., $8 to $12. BFE Rock Club: 11528 Jones, Houston. Azrael’s Bane, with Infidel Rising., Fri., April 8, 8 p.m., TBA. Parabellum, Sat., April 9, 8 p.m., TBA. Norma Jean, with He Is Legend., Wed., April 13, 6 p.m., $13 to $15. Big Top Lounge: 3714 Main, Houston. XanaDudes, with Now We Are Here., Sat., April 9, 10 p.m., Free. Cactus Music: 2110 Portsmouth, Houston. TV Girl & Children of Pop, Sat., April 9, 3 p.m., Free. Cynthia Woods Mitchell Pavilion: 2005 Lake Robbins Dr., The Woodlands. Bryan Adams, Fri., April 8, 7 p.m., $39.95 to $89.95. Fitzgerald’s: 2706 White Oak, Houston. Bastardfest 25, with Poor Dumb Bastards, The Hickoids, The Beaumonts, Baron Von Bombast, The Guillotines, The Surlys, Satanic Overlords

of Rock n Roll, Donkeypunch, Truckstop Assassins., Sat., April 9, 8 p.m., TBA. House of Blues: 1204 Caroline, Houston. The Fighter & The Kid, Sat., April 9, 7 p.m., $22.50 to $100; Chon, with Strawberry Girls, Polyphia., Sat., April 9, 7 p.m., $15. Mothers, Mon., April 11, 8 p.m., $12. Bringin’ Down the House - 2016 Live Showcase, Wed., April 13, 7 p.m., TBA. Last Concert Cafe: 1403 Nance, Houston. The Hightailers, Thursdays, 8 p.m., Free to $10. Where the Girls Are, Sun., April 10, 5 p.m., TBA. McGonigel’s Mucky Duck: 2425 Norfolk, Houston. Fred Eaglesmith, Tue., April 12, 7:30 p.m., $30 to $33. The Nightingale Room: 308 Main, Houston. Danny Malone, with Emily Bell., Fri., April 8, 6 p.m., Free. Notsuoh: 314 Main, Houston. The Check Up 2.0, Thu., April 7, 8 p.m., Free. KP and the Boom Boom, with Carpet and the Drapes, Jaeger Wells., Sat., April 9, 8 p.m., Free; Colonel Peters Pig, with Mystery Loves Company, Tribe Hill, Tony Vila., Sat., April 9, 8 p.m., $5. The Pub Fountains: 12720 SW Freeway , TX 77477, Stafford. Buckcherry, Thu., April 7, 8 p.m., $25 to $75. Revention Music Center: 520 Texas, Houston. Tori Kelly, Sun., April 10, 8 p.m., $29.50-$35. Rudyard’s: 2010 Waugh, Houston. Golden Cities, with Honey & Salt, Brand New Hearts, Jealous Creatures., Sat., April 9, 10 p.m., $8. Duane Peters Gunfight, Sun., April 10, 10 p.m., $12. Acid Mothers Temple, with Mounds., Tue., April 12, 8 p.m., $10 to $13. Blackbird Blackbird, with Chad Valley, Shallou., Wed., April 13, 8 p.m., $10 to $13. Satellite: 6922 Harrisburg, Houston. Bellringer, with Jody Seabody & the Whirls, Funeral Horse., Fri., April 8, 8 p.m., TBA. Rome Will Burn, Sat., April 9, 8 p.m., TBA.

Big Damned Band, with P April 7, 8 p.m., $15 to $20 Last Concert Cafe: 1403 Nanc 9, 6-9 p.m., $5; Cowjazz, Lee Deen, Fridays, 7 p.m McGonigel’s Mucky Duck: 2425 and Kevin Gordon, Thu., Mastersons, Sat., April 9, shine, Sun., April 10, 6 p Sundays, 6 p.m., $25 to $ Raven Tower: 310 N., Houst p.m., Free. Ruckus, Wed. Re:HAB Bar on the Bayou: 16 Dogs, Fri., April 8, 9 p.m. Rudyard’s: 2010 Waugh, Ho April 7, 8 p.m., $13 to $15 Satellite: 6922 Harrisburg, H Blackgrass Gospel, Jason JD Grande., Thu., April 7, Studio @ Warehouse Live: 81 The Lion, with The Saint to $16. Stick Figure, Wed Under The Volcano: 2349 Biss April 13, 8 p.m., TBA. COUNTRY

Cottonwood: 3422 N. Shephe

Jukejointers, Tue., April 1

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Boland and the Stragglers 8, 9 p.m., $25 to $27.

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Harmony Barefoot Park: 28

Scout Bar: 18307 Egret Bay, Houston. Candlebox, with Broken

Valor., Thu., April 7, 8 p.m., $22 to $26. Bury Your Dead, with Supremacy, Facetime, Rothschild, Sentenced to Burn., Fri., April 8, 7 p.m., $15 to $20. Thy Art Is Murder, with Rings of Saturn, Fit For An Autopsy, Dark Sermon., Tue., April 12, 6 p.m., $16 to $20. The Springbok: 711 Main St., Houston. Mantra Love, with Cosmic Bug Loaf, Shmu, Mockingbird Brother., Fri., April 8, 9 p.m., $5. Studio @ Warehouse Live: 813 St Emanuel, Houston. Into It. Over It., with The World Is A Beautiful Place & I Am No Longer Afraid To Die, The Sidekicks, Pinegrove., Fri., April 8, 8 p.m., $15 to $20. Super Happy Fun Land: 3801 Polk, Houston. Stephen Chopek, Mon., April 11, 8 p.m., TBA. Miss Shevaughn & Yuma Wray, with Samuel Barker, Dying Elephants., Tue., April 12, 8 p.m., TBA. The Green Room -- Warehouse Live: 813 St. Emanuel, Houston. Mobley, Wed., April 13, 8 p.m., $8 to $10. Toyota Center: 1510 Polk, Houston. Justin Bieber, Sat., April 9, 7:30 p.m., TBA. Two Allen Center: 1200 Smith St., Houston. The 2016 Art Car Ball, with The Suspects, Shake Anderson, Gio Chamba, Free Radicals 2nd Line, The HOU Show, kangaroo sexy., Fri., April 8, 7 p.m., $30 to $35. Walters Downtown: 1120 Naylor, Houston. Better Off, Thu., April 7, 7 p.m., $10 to $12. TV Girl, with Children of Pop., Sat., April 9, 8 p.m., $7 to $10. Unearth, with Ringworm, Reflections, Culture Killer, Hollow Earth., Sun., April 10, 6 p.m., $15 to $18. Dressy Bessy, with Giant Kitty., Mon., April 11, 8 p.m., $8 to $10. Little Green Cars, with John Mark Nelson., Tue., April 12, 8 p.m., $12 to $16. Slingshot Dakota, with Middlechild, Valens, Since Always., Wed., April 13, 8 p.m., $5 to $10. White Oak Music Hall: 2915 N. Main, Houston. M83, with Yacht., Sat., April 9, 8 p.m., $27.50 to $34.50. White Swan: 4419 Navigation, Houston. City of Auburn, with Real McCoys, Alpine Play, Radio Flyer., Sat., April 9, 8 p.m., $5. AMERICANA Continental Club: 3700 Main, Houston. Radio Springs, Thu.,

April 7, 10 p.m., Free. Flametrick Subs, with Sean Reefer and the Resin Valley Boys., Fri., April 8, 9 p.m., $12. Parker Millsap, with Travis Linville., Tue., April 12, 8 p.m., $15. The Dosey Doe Music Cafe: 463 FM 1488 Rd., Conroe. Grace Pettis and Brian Pounds, Thu., April 7, 8:30-10:30 p.m., $15. Fitzgerald’s: 2706 White Oak, Houston. Reverend Peyton’s

Harmony’s Barefoot Ban Band., Sat., April 9, noon House of Blues: 1204 Carolin April 8, 7 p.m., $12.50-$1 Main Street Crossing: 111 E. Ma April 7, 8 p.m., TBA. John Sam Houston Race Park: 757 Houston. Cody Johnson, S Stampede Houston: 11925 E Tucker, with Gene Watso to $75. BLUES Dosey Doe: 25911 Interstate

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Houston Press

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of Rock n Roll, Donkeypunch, Truckstop Assassins., Sat., FOOD THOUGHT April 9, 8 p.m.,FOR TBA. House of Blues: 1204 Caroline, Houston. The Fighter & The Kid,

Music

MONDAY NIGHT TRIVIA Wednesday night LADIES NIGHT Friday 7-8PM Reverse Happy Hour Crawfish AVailable Sat & Sun T 817 H I SDurham, J U STHouston, IN Texas

(713) 384-4541 | fuegossaloon.com Black Vice: With Peasant, Crawl, Holy Money., Sat., May 14,

Sat., April 9, 7 p.m., $22.50 to $100; Chon, with Strawberry Girls, Polyphia., Sat., April 9, 7 p.m., $15. Mothers, Mon., April 11, 8 p.m., $12. Bringin’ Down the House - 2016 Live Showcase, Wed., April 13, 7 p.m., TBA. Last Concert Cafe: 1403 Nance, Houston. The Hightailers, Thursdays, 8 p.m., Free to $10. Where the Girls Are, Sun., April 10, 5 p.m., TBA. McGonigel’s Mucky Duck: 2425 Norfolk, Houston. Fred Eaglesmith, Tue., April 12, 7:30 p.m., $30 to $33. The Nightingale Room: 308 Main, Presented by Houston. Danny Malone, with Emily Bell., Fri., April 8, 6 p.m., Free. Notsuoh: 314 Main, Houston. The Check Up 2.0, Thu., April 7, Check Out Today’s Deal 8 p.m., Free. KP and the Boom Boom, with Carpet and the Drapes, Jaeger Wells., Sat., April 9, 8 p.m., Free; Colonel www. .com Peters Pig, with Mystery Loves Company, Tribe Hill, Tony Vila.,facebook.com/HoustonDailyDeal Sat., April 9, 8 p.m., $5. The Pub Fountains: @DealsofHouston 12720 SW Freeway , TX 77477, Stafford. Buckcherry, Thu., April 7, 8 p.m., $25 to $75. Revention Music Center: 520 Texas, Houston. Tori Kelly, Sun., April 10, 8 p.m., $29.50-$35. Rudyard’s: 2010 Waugh, Houston. Golden Cities, with Honey & Salt, Brand New Hearts, Jealous Creatures., Sat., April 9, 10 p.m., $8. Duane Peters Gunfight, Sun., April 10, 10 p.m., $12. Acid Mothers Temple, with Mounds., Tue., April 12, 8 p.m., $10 to $13. Blackbird Blackbird, with Chad Valley, Shallou., Wed., April 13, 8 p.m., $10 to $13. Satellite: 6922 Harrisburg, Houston. Bellringer, with Jody Seabody & the Whirls, Funeral Horse., Fri., April 8, 8 p.m., TBA. Rome Will Burn, Sat., April 9, 8 p.m., TBA.

VoiceDailyDeals

9 p.m., $7. Houston House Of Creeps, 807 William St., Houston. Boston: With Dennis DeYoung: The Music of Styx., Sun., June 12, 7:30 p.m., $40.50 to $100.50. Cynthia Woods Mitchell Pavilion, 2005 Lake Robbins, The Woodlands. Chris Robinson Brotherhood: Sun., June 12, 6:30 & 7:30 p.m., $22 to $28. Warehouse Live, 813 St. Emanuel, Houston. DJ Screw “3 ‘N The Mornin’” picture disc lp release: With DJ Good Grief, Flash Gordon Parks., Thu., April 7, 6 p.m., TBA. Sig’s Lagoon, 3622 Main St., Houston. Guns N’ Roses: Not In This Lifetime?: Fri., Aug. 5, 8:30 p.m., $39.50-$250. NRG Park - Main Street Yellow Lot, One NRG Park, Houston. James McMurtry: With The Mighty Orq., Sat., April 23, 10 p.m., Visit HOUstOnPREss.COM TBA. Continental Club, 3700 Main, Houston. FOR ADDitiOnAl MUsiC John Waite: With Raquel Aurilia., Fri., May 20, 8 p.m., $32 to $36. Studio @ Warehouse Live, 813 St Emanuel, Houston. COVERAgE Junior Brown:#12 Thu., May 7 p.m., $30 to $33. McGonigel’s voted by5,thechive.com Mucky Duck, 2425 Norfolk, Houston. Scout Bar: 18307 Egret Bay, Houston. Candlebox, with Broken Valor., Thu., April 7, 8 p.m., $22 to $26. Bury Your Dead, The Obsessed: With The Atomic Bitchwax, Karma To Burn, 614 west gray PIZZA & TAMALES withSERVING Supremacy, Facetime, Rothschild, Sentenced to Blues Funeral., Thu., June 9, 7 p.m., $20 to $22. Walters NOW FREEBurn., WIFI VISIT US $15 ONtoFACEBOOK 713-520-1748 Fri.,•April 8, 7 p.m., $20. Thy Art Is Murder, Downtown, 1120 Naylor, Houston. with Rings of Saturn, Fit For An Autopsy, Dark Sermon., PVRIS: Mon., May 16, 6 p.m., $18. House of Blues, 1204 Tue., April 12, 6 p.m., $16 to $20. Caroline, Houston. Robert Ellis: Thu., June 2, 7 p.m., Free. Discovery Green The Springbok: 711 Main St., Houston. Mantra Love, with Conservancy, 1500 McKinney, Houston. Cosmic Bug Loaf, Shmu, Mockingbird Brother., Fri., April 8, 9 p.m., $5. Rogue Wave: With Floating Action., Fri., June 10, 8 p.m., $14 to $18. Walters Downtown, 1120 Naylor, Houston. Studio @ Warehouse Live: 813 St Emanuel, Houston. Into It. Over It., with The World Is A Beautiful Place & I Am No Scattered Guts: With Blood Royale., Fri., May 6, 7:30 p.m., Longer Afraid To Die, The Sidekicks, Pinegrove., Fri., April TBA. Satellite, 6922 Harrisburg, Houston. 8, 8 p.m., $15 to $20. Self Taught Artists: With Lonnie Holley., Fri., June 24, 8 p.m., Free. Discovery Green Conservancy, 1500 McKinney, Super Happy Fun Land: 3801 Polk, Houston. Stephen Chopek, Houston. Mon., April 11, 8 p.m., TBA. Miss Shevaughn & Yuma Wray, with Samuel Barker, Dying Elephants., Tue., April 12, 8 Steve Gunn: Tue., June 14, 8 p.m., $12 to $16. Rudyard’s, 2010 p.m., TBA. Waugh, Houston. Sugar Joiko & Friends: Mon., April 18, 7 p.m., $12 to $15. Studio The Green Room -- Warehouse Live: 813 St. Emanuel, Houston. @ Warehouse Live, 813 St Emanuel, Houston. Mobley, Wed., April 13, 8 p.m., $8 to $10. TV Girl & Children of Pop: Sat., April 9, 3 p.m., Free. Cactus Toyota Center: 1510 Polk, Houston. Justin Bieber, Sat., April Music, 2110 Portsmouth, Houston. 9, 7:30 p.m., TBA. Wye Oak: Tue., Aug. 9, 7 p.m., $15 to $17. White Oak Music Two Allen Center: 1200 Smith St., Houston. The 2016 Art Car Hall, 2915 N. Main, Houston. Ball, with The Suspects, Shake Anderson, Gio Chamba, Free Radicals 2nd Line, The HOU Show, kangaroo sexy., Fri., April 8, 7 p.m., $30 to $35. Walters Downtown: 1120 Naylor, Houston. Better Off, Thu., April 7, 7 p.m., $10 to $12. TV Girl, with Children of Pop., Sat., April 9, 8 p.m., $7 to $10. Unearth, with Ringworm, ROCK Reflections, Culture Killer, Hollow Earth., Sun., April 10, 6 p.m., $15 to $18. Dressy Bessy, with Giant Kitty., Mon., Acadia Bar & Grill: 3939 Cypress Creek, Houston. Slowlikefire, April 11, 8 p.m., $8 to $10. Little Green Cars, with John with To Whom it May, Broken Valor, Recreating Eden., Fri., Mark Nelson., Tue., April 12, 8 p.m., $12 to $16. Slingshot April 8, 8 p.m., $10 to $15. Funeral Shroud, with OdomDakota, with Middlechild, Valens, Since Always., Wed., eter, Under No One, Over the Top, The Dirty Seeds., Sat., April 13, 8 p.m., $5 to $10. April 9, 8 p.m., $10 to $15. Fifth Fire, with VCR, Overload, Orchiectomy., Sun., April 10, 8 p.m., $8 to $12. White Oak Music Hall: 2915 N. Main, Houston. M83, with Yacht., Sat., April 9, 8 p.m., $27.50 to $34.50. BFE Rock Club: 11528 Jones, Houston. Azrael’s Bane, with Infidel Rising., Fri., April 8, 8 p.m., TBA. Parabellum, Sat., White Swan: 4419 Navigation, Houston. City of Auburn, April 9, 8 p.m., TBA. Norma Jean, with He Is Legend., Wed., with Real McCoys, Alpine Play, Radio Flyer., Sat., April April 13, 6 p.m., $13 to $15. 9, 8 p.m., $5. Big Top Lounge: 3714 Main, Houston. XanaDudes, with Now We Are Here., Sat., April 9, 10 p.m., Free. AMERICANA Cactus Music: 2110 Portsmouth, Houston. TV Girl & Children of Pop, Sat., April 9, 3 p.m., Free. Continental Club: 3700 Main, Houston. Radio Springs, Thu., April 7, 10 p.m., Free. Flametrick Subs, with Sean Reefer Cynthia Woods Mitchell Pavilion: 2005 Lake Robbins Dr., The and the Resin Valley Boys., Fri., April 8, 9 p.m., $12. Parker Woodlands. Bryan Adams, Fri., April 8, 7 p.m., $39.95 Millsap, with Travis Linville., Tue., April 12, 8 p.m., $15. to $89.95. Fitzgerald’s: 2706 White Oak, Houston. Bastardfest 25, with The Dosey Doe Music Cafe: 463 FM 1488 Rd., Conroe. Grace Poor Dumb Bastards, The Hickoids, The Beaumonts, Baron Pettis and Brian Pounds, Thu., April 7, 8:30-10:30 p.m., $15. Von Bombast, The Guillotines, The Surlys, Satanic Overlords Fitzgerald’s: 2706 White Oak, Houston. Reverend Peyton’s

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Big Damned Band, with Possessed by Paul James., Thu., April 7, 8 p.m., $15 to $20. Last Concert Cafe: 1403 Nance, Houston. CowJazz, Sat., April 9, 6-9 p.m., $5; Cowjazz, Sat., April 9, 6 p.m., TBA. Jimmy Lee Deen, Fridays, 7 p.m.; Saturdays, 7 p.m., Free. McGonigel’s Mucky Duck: 2425 Norfolk, Houston. Ray Bonneville and Kevin Gordon, Thu., April 7, 7 p.m., $20 to $22. The Mastersons, Sat., April 9, 9:30 p.m., $20 to $22. EmiSunshine, Sun., April 10, 6 p.m., $20 to $22; Shake Russell, Sundays, 6 p.m., $25 to $30. Raven Tower: 310 N., Houston. Craig Kinsey, Fri., April 8, 8 p.m., Free. Ruckus, Wed., April 13, 5 p.m., Free. Re:HAB Bar on the Bayou: 1658 Enid, Houston. The Romeo Dogs, Fri., April 8, 9 p.m., Free. Rudyard’s: 2010 Waugh, Houston. The Cave Singers, Thu., April 7, 8 p.m., $13 to $15. Satellite: 6922 Harrisburg, Houston. Black Irish Texas, with Blackgrass Gospel, Jason Bancroft & the Wealth Beggars, JD Grande., Thu., April 7, 7 p.m., TBA. Studio @ Warehouse Live: 813 St Emanuel, Houston. Judah & The Lion, with The Saint Johns., Sat., April 9, 8 p.m., $14 to $16. Stick Figure, Wed., April 13, 8 p.m., TBA. Under The Volcano: 2349 Bissonnet, Houston. K Phillips, Wed., April 13, 8 p.m., TBA. COUNTRY Cottonwood: 3422 N. Shepherd Dr., Houston. Miss Leslie & Her

Jukejointers, Tue., April 12, 6-9 p.m., Free.

Dosey Doe: 25911 I-45 N., Spring. Bobby Bare, Fri., April 8, 8:30

p.m., $98 to $138. Chris Pureka, Sat., April 9, 8:30 p.m., $15. Firehouse Saloon: 5930 Southwest Freeway, Houston. Jason Boland and the Stragglers, with Troy Cartwright., Fri., April 8, 9 p.m., $25 to $27. Floyd’s Cajun Seafood - Sugarland: 16549 Southwest Freeway, Sugarland. Max Flinn, Fri., April 8, 7 p.m., Free. Harmony Barefoot Park: 28400 Rose Vervain Dr, Spring. Harmony’s Barefoot Bands in the Park, with Cody Bryan Band., Sat., April 9, noon, Free. House of Blues: 1204 Caroline, Houston. Whiskey Myers, Fri., April 8, 7 p.m., $12.50-$15. Main Street Crossing: 111 E. Main, Tomball. TG Sheppard, Thu., April 7, 8 p.m., TBA. Johnny Lee, Fri., April 8, 8 p.m., TBA. Sam Houston Race Park: 7575 N. Sam Houston Parkway W., Houston. Cody Johnson, Sat., April 9, 6 & 8 p.m., $7 to $14. Stampede Houston: 11925 Eastex Freeway, Houston. Tanya Tucker, with Gene Watson., Fri., April 8, 9:30 p.m., $25 to $75. BLUES Dosey Doe: 25911 Interstate 45, Spring. Monte Montgomery,

Thu., April 7, 8:30 p.m., $58 to $98.

Main Street Crossing: 111 E. Main, Tomball. Carolyn Wonderland,

Sat., April 9, 8 p.m., TBA. Re:HAB Bar on the Bayou: 1658 Enid, Houston. Texas Johnny Boy, Sat., April 9, 9 p.m., Free. Shakespeare Pub: 14129 Memorial, Houston. Sonny Boy Terry, Every other Thursday, 9:30 p.m., TBA. The Mighty Orq Solo, Fridays, 6 p.m., Free; Kern Pratt & The Accused, Fri., April 8, 9:30 p.m., Free. Sparetime Murray & the Honeymakers Blues Jam, Sundays, 9 p.m., Free. The Eazy Three with Matt Johnson and James Wilhite, Mondays, 9 p.m., Free. Paul Ramirez Band, Every other Tuesday, 9 p.m., Free. The Big Easy Social and Pleasure Club: 5731 Kirby, Houston. Luther and the Healers, Thursdays, 9:30 p.m., Free. John Egan, Mondays, 8 p.m., Free. The Big Easy Quartet, Tuesdays, 8 p.m., Free. Big & Easy Blues Jam, Wednesdays, 9 p.m., Free. SINGER- SONGWRITER Anderson Fair Retail Restaurant: 2007 Grant, Houston. Lauren

Holmes and Curtis McMurtry, Sat., April 9, 8:45 p.m., TBA; Wendy Colonna, Sat., April 9, 8:45 p.m., TBA. Continental Club: 3700 Main, Houston. Altamesa, with Arthur Yoria, Sergio Trevino., Sat., April 9, 9 p.m., $10. Dan Electro’s Guitar Bar: 1031 E. 24th, Houston. Zach Person cd release party, Sat., April 9, 9 p.m., TBA. McGonigel’s Mucky Duck: 2425 Norfolk, Houston. Michael Fracasso, Thu., April 7, 9:30 p.m., $20 to $22. Songs From The Bayou, with Kevin Sekhani, Yvette Landry, Richard Comeaux., Fri., April 8, 9:30 p.m., $20 to $22. Joe Pug, Sat., April 9, 7 p.m., $20 to $22. Raven Tower: 310 N., Houston. Cullen Omori, with Living Hour., Wed., April 13, 7 p.m., $10 to $13. Rudyard’s: 2010 Waugh, Houston. Alex Riddle, with Nicole Starch., Fri., April 8, 9 p.m., $8.

Studio @ Warehouse Live: 813 St Emanuel, Houston. #HOUS-

TONLOVEAFFAIR featuring Haley Reinhart and Ben Rector, with Haley Reinhart, Ben Rector., Sun., April 10, 2:30 p.m., TBA.

DJ Alley Kat Bar & Lounge: 3718 Main, Houston. Nu Lounge, Fridays,

9 p.m., Free. Flash Gordon Parks, Wednesdays, 8 p.m., Free.

The Flat: 1701 Commonwealth, Houston. The Kitchen Thurs-

days, with Noey Lopez, Patrick Drew, Brotha Jibril., Thursdays, 9 p.m., Free. Flight 1701, With DJ Sun & Friends., Fridays, 10 p.m., Free. The Butterfly Effect, with Angelo, Eriko, Tomahawk Bang., Sundays, 4-8 p.m., Free. Little Dipper: 304 Main St., Houston. Music Mixology with Danny Furness and Jared Green, Sun., April 10, 7:30 p.m., Free. MKT BAR: 1001 Austin, Houston. Soul Sessions with DJ Tempty, Saturdays, 8 p.m., Free. Sig’s Lagoon: 3622 Main St., Houston. DJ Screw “3 ‘N The Mornin’” picture disc lp release, with DJ Good Grief, Flash Gordon Parks., Thu., April 7, 6 p.m., TBA. Stereo Live: 6400 Richmond, Houston. Trapology featuring Jantsen & Dirty Monkey, Thu., April 7, 9 p.m., Free to $10. Sander Kleinenberg, Fri., April 8, 9 p.m., TBA. FOLK Numbers: 300 Westheimer, Houston. Lissie, with Skrizzly

Adams., Sat., April 9, 8 p.m., $19 to $22.

HIP-HOP House of Blues: 1204 Caroline, Houston. DJ Biz Markie: 80’s vs

90’s Party featuring Thunderpants, with Thunderpants., Thu., April 7, 7 p.m., $15. Scout Bar: 18307 Egret Bay, Houston. Z-Ro, with K.O. aka Mr. U Can’t Handle It, Band Gang, DaReallionaires., Sat., April 9, 8 p.m., $26 to $30. Studio @ Warehouse Live: 813 St Emanuel, Houston. Jarren Benton, Sun., April 10, 9 p.m., $20 to $25. Super Happy Fun Land: 3801 Polk, Houston. Kristachuwan, with Karizmatik, Philippe Edison., Sat., April 9, 9 p.m., $8. The Green Room -- Warehouse Live: 813 St. Emanuel, Houston. Dame James, with Mr. Cap, Docka, Ken Ken, Pete & George., Fri., April 8, 9 p.m., $15. Warehouse Live: 813 St. Emanuel, Houston. AOMG - Follow the Movement, with DJ Pumkin, Loco, Jay Park, Simon Dominic, GRAY., Mon., April 11, 8 p.m., $75 to $300. JAZZ AvantGarden: 411 Westheimer, Houston. Free Radicals,

Mondays, 10 p.m., Free.

Bohemeo’s: 708 Telephone Rd., Houston. Keith Karnaky &

Friends, Thursdays, 7:30 p.m., Free. Woody Witt Jazz Trio, Sundays, 7:30 p.m., Free. Bob Henschen & Friends, Mondays, 7 p.m., Free. Cafe 4212: 4212 Almeda, Houston. Monday Nite Jazz Jam, Mondays, 8 p.m., Free. Dan Electro’s Guitar Bar: 1031 E. 24th, Houston. Thursday Jazz Jam with Alisha Pattillo and Erin Wright, with Alisha Pattillo, Erin Wright., Thursdays, 8:30 p.m., TBA. The Flat: 1701 Commonwealth, Houston. Thomas Helton’s Sunday Sessions, Sundays, 5 p.m., Free. Art Fristoe Trio, Tuesdays, 7 p.m., Free. M E TA L Scout Bar: 18307 Egret Bay, Houston. Nekrogoblikon, with

Psychostick, Urizen., Sun., April 10, 8 p.m., $14 to $18. Powerman 5000, with Downfall 2012, Dread Pixels, The Filthy Dead., Wed., April 13, 7 p.m., $15.50 to $19.

R&B Last Concert Cafe: 1403 Nance, Houston. Saturn Bliss, with

Lee-Lonn, Ashley Toman featuring Morae., Fri., April 8, 8 p.m., $27 to $43. Studio @ Warehouse Live: 813 St Emanuel, Houston. Underground Soul Session, with Zo!, Carmen Rogers., Fri., April 8, 8:30 p.m., $25 to $30. REGGAE Club Riddims: 8220 W. Bellfort, Houston. All White Aries/

Taurus Bash, with DJ Tek Vybez, DJ Redz, DJ Renny, DJ Avalanche., Sat., April 9, 9 p.m., $10.

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National Environmental Services, LLC (Houston, TX) seeks a Database Administrator to design, develop, write, test programs for environmental & safety programs. Responsible for testing & correcting errors & refining changes to database. Select & enter codes of utility program to monitor database performance. Evaluate user requests for new or modified programs. Monitor database performance such as distribution of records & amount of available memory. Req: Bach's Deg in Engineering & 1 yr of relevant exp.Send resumes to Hani Gabriel, 11301 Richmond Ave, Ste. K111B Houston, TX 77082

Marine Engineer (Mashin Shokai America in Houston, TX) - Prepare and direct the repairs and installation of parts for lifeboats. Inspect marine equipment and lifeboats. Make necessary repairs to marine and ship equipment. Manage supply and ship equipment such as engine parts, mooring ropes, and lashing materials. Bachelor's in Marine Engineering required. Please email resume to ycyoun@mashin-shokai.com

145 Management/Professional Chief Financial Officer sought by Mr. Express Fuel Services, LLC in Houston, TX. Must have a Master's Deg in Bus Admin (MBA) or any business/financial field w/ a min. of 1 yr of documentable exp in mgmt or financial field. As a member of the Sr Mgmt Team, duties encompass managing corporate acctg, financial planning & analysis, decision support, acquisition due diligence & integration, treasury & tax analysis, including oversight of budget & financial statement preparations, rolling twelve month forecast preparations, variance analysis, business plans, & including facilitating financial analytics support to other managers so they can make informed business decisions regarding items such as funds requests & allocations, financial transactions, & budgets. Will work closely w/ the President & other team members on potential acquisitions to ensure post-acquisition due diligence & integration are timely met. Will work closely w/ the President & other managers, to optimize the co's capital structure & budget allocations. Will be expected to work w/ the outside tax firm to prepare the co. for their annual tax filing. Will help implmt policies & procedures, internal controls, work w/ auditors, along w/ financial statements, analysis, budgeting & more. Will perform equivalent duties, as assigned, for related corporate holdings. Submit application to 4022 S. Sam Houston Parkway E, Houston, TX 77047. Attn: President/CEO.

Medical Research Scientist, Develop methodologies, instrumentation & procedures; analyzing data & presenting findings; strict safety compliance; evaluate the treatments effects; teach procedures to physicians, residents, and technicians; standardize drug dosages, methods of immunization; investigate diseases on heart & vascularity; MD Degree or equivalence with 1 yr exp; Northwest Houston Heart Center, Tomball, TX, cv@heartcenterjobs@yahoo.com

Quality Control Engineer, American Tubular, LLC. 817 Southmore Ave., Suite 301, Pasadena, TX 77502. Please email resumes to contactus@ americantubular.com

Senior Quantitative Specialist - Dynegy in Houston TX seeks Senior Quantitative Specialist for Commercial Analytics Group. Requires Ph.D. in Engineering or Math & 3 yrs. in job or as Researcher or Engineer for financial data analysis & numerical modeling & programming in C++ or C#, SQL, VBA and Matlab. Please apply on-line at www.dynegy.com under Careers and reference Job ID #15-511.

145 Management/Professional

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185 Miscellaneous

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527 Legal Notices "QUITE TITLE" i lashonda-necole: slaughter age of majority, the only lawful entitlement holder, of the intellectual private property, evidenced by the Authenticated security issued by the Department of State, issued pursuant to CHXIV, state of Sept.15, 1789. 1 stat.-68-69:22 USC 2657;22 USC 2651a; 5 USC 301;28 USC 1733 et. seq; 8 USC 1433(F): RULE 44 FEDERAL RULES OF CIVIL PROCEDURE. i claim All rights to all property mistaken from me, lashonda-necole: slaughter; waiverfrom the beginning with God, as my witness, i lashonda, a true woman of God, acknowledge all blessings given by God; repent all transgressions against God; and waive all claims without God. i gave intellectual substance to i uradanielle: bailey jr age of majority, the only lawful entitlement holder, of the intellectual private property, evidenced by the Authenticated security issued by the Department of State, issued pursuant to CHXIV, state of Sept.15,1789.1stat.-68-69:22 USC 2657;22 USC 2651a; 5 USC 301;28 USC 1733 et. seq; 8 USC 1433(F): RULE 44 FEDERAL RULES OF CIVIL PROCEDURE. i claim All rights to all property mistaken from me, ura-danielle: bailey jr ; waiverfrom the beginning with God, as my witness, i ura, a true man of God, acknowledge all blessings given by God; repent all transgressions against God; and waive all claims without God.

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EXAS COMMISSION ON ENVIRONMENTAL QUALITY TexasTC ommission on environmenTal QualiTy

NOTICE APPLICATION AND INTENT TO OBTAIN NOTICEOF OF RECEIPT RECEIPT OFOF APPLICATION AND INTENT TO OBTAIN AIR PERMIT AIR PERMIT RENEWAL PROPOSED AIR QUALITY PERMIT NUMBER 108358

PERMIT NUMBER 20920

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APPLICATION FRP Storage Solutions Co. has applied to the Texas Commission on

Environmental Quality (TCEQ) for issuance of Air Permit 108358, which APPLICATION Williams Brothers Construction Co., Inc., hasQuality applied to theNumber Texas Commission on would authorize construction a Fiberglass located at 13805 Environmental Quality (TCEQ) forofrenewal of AirProducts QualityManufacturing Permit NumberPlant 20920, which wouldIndustrial authorize Road, Houston, Harrisbatch County, Texas 77015. This link to an Street electronic map of the site or County, continued operation of a concrete plant located at 13017 Market Road, Houston, Harris facility's general is provided as site a public courtesygeneral and notlocation part of the application Texas 77015. This link to anlocation electronic map of the or facility’s is provided as aorpublic notice. For exact location, refer to application. courtesy and not part of the application or notice. For exact location, refer to application. http://www.tceq.texas. http://www.tceq.texas.gov/assets/public/hb610/index.html?lat=29.7533&lng=-The existing facility gov/assets/public/hb610/index.html?lat=29.768888&lng=-95.196944&zoom=13&type=r. 95.18485&zoom=13&type=r. Thethe facility will emit following contaminants: particulate and/or related facilities are authorized to emit following air the contaminants: particulate matter including (but matter including particulate matter with diameters of 10 microns or less and 2.5 microns or less, not limited to) aggregate, cement, road dust, and particulate matter with diameters of 10 microns or less and 2.5 organic compounds, and hazardous air pollutants. microns or less. This application was submitted to the TCEQ on February 20, 2013. The application will be

This application was for submitted thecopying TCEQ at onthe March 10,central 2016.office, The application will be available viewing available viewingto and TCEQ the TCEQ Houston regional for office, and copyingand at the TCEQ Houston office, the Harris County Public Library theTCEQ North central Channeloffice, Branch Library, 15741 regional Wallisville Road,and Houston, Harris County, Texas, North Channel Branch,the 15741 Wallisville Road, of Houston, Harris County, Texas, beginning firstexists, day of beginning first day of publication this notice. The facility’s compliance file, the if any is publication of this notice. The facility’s if anyoffice exists,ofisthe available available for public review incompliance the Houstonfile, regional TCEQ. for public review in the Houston regional office of the TCEQ. The executive director has determined the application is administratively complete and will

conduct a technical review of application. The executive director has determined thethe application is administratively complete and will conduct a technical review of the application. In addition to the renewal, this permitting action includes the incorporation of the PUBLIC COMMENT/PUBLIC MEETING may public comments, a following authorizations or changes to authorized facilitiesYou related tosubmit this permit: alterations. The reasons for any request for a to public meeting, or request case hearing to the Office of changes or incorporations, the extent they are included aincontested the renewed permit, may include the enhancement of the Chief Clerk address below. TCEQ consider all public comments in application operational control at the plantatorthe enforceability of the The permit. Forwill more information about this permit developing a final decision onPublic the application. deadline to submit public comments or the permitting process, please call the EducationThe Program toll free at 1-800-687-4040. The TCEQ may is 30 dayswithout after newspaper notice is published. act on this application seeking further public comment or providing an opportunity for a contested case hearing if certain criteria are met. The purpose of a public meeting is to provide the opportunity to submit comments or ask

questions about the application. A public meeting about the application will be held if the PUBLIC COMMENT You may submit public comments, or a request for a contested case hearing to the Office of executive director determines that there is a significant degree of public interest in the the Chief Clerk at the address below. The will consider all public comments in developing final decision application or if requested by aTCEQ local legislator. A public meeting is not a contested case ahearing. on the application. The deadline to submit public comments is 15 days after newspaper notice is published. After the deadlineIffor public comments, the executive director will prepare a response to all relevant and material, or only comments are received on the application, the response to comments, along with notice significant public Issues such as property values, noise, traffic safety, and zoning outside of the of the comments. executive director’s action on the application, will be mailed to everyone whoare submitted TCEQ’s jurisdiction toor address in the permit comments is on the mailing listprocess. for this application.

After the technical reviewdirector is complete the executive director review, will consider commentsdecision and prepare The executive will complete the technical issue athe preliminary on thea response to all relevant and material, significant public comments. If only comments arebereceived, theand response application, and or a Notice of Application and Preliminary Decision will published mailedto to those who on the mailing list for this application. That notice the final comments, along with theare executive director’s decision on the application, willwill thencontain be mailed to everyone who deadline for submitting public comments. If a hearing request is timely filed in Response this submitted public comments or who is on the mailing list for this application, unless the application istodirectly referred to a contested case hearing. OPPORTUNITY FOR A CONTESTED CASE HEARING You may request a contested case hearing. The applicant or the executive director may also request that the application be directly referred to a contested case hearing after technical review of the application. A contested case hearing is a legal proceeding similar to a civil trial in state district court. Unless a written request for a contested case hearing is filed within 15 days from this notice, the executive director may act on the application. If no hearing request is received within this 15 day period, no further opportunity for hearing will be provided. According to the Texas Clean Air Act § 382.056(o) a contested case hearing may only be granted if the applicant’s compliance history is in the lowest classification under applicable compliance history requirements and if the hearing request is based on disputed issues of fact that are relevant and material to the Commission’s decision on the application. Further, the Commission may only grant a hearing on those issues submitted during the public comment period and not withdrawn. A person who may be affected by emissions of air contaminants from the facility is entitled to request a hearing. If requesting a contested case hearing, you must submit the following: (1) your name (or for a group or association, an official representative), mailing address, daytime phone number; (2) applicant’s name and permit number; (3) the statement “[I/we] request a contested case hearing;” (4) a specific description of how you would be adversely affected by the application and air emissions from the facility in a way not common to the general public; (5) the location and distance of your property relative to the facility; (6) a description of how you use the property which may be impacted by the facility; and (7) a list of all disputed issues of fact that you submit during the comment period. If the request is made by a group or association, one or more members who have standing to request a hearing must be identified by name and physical address. The interests the group or association seeks to protect must also be identified. You may also submit your proposed adjustments to the application/permit which would satisfy your concerns. Requests for a contested case hearing must be submitted in writing within 15 days following this notice to the Office of the Chief Clerk at the address below. If any requests for a contested case hearing are timely filed, the Executive Director will forward the application and any requests for a contested case hearing to the Commissioners for their consideration at a scheduled Commission meeting. Unless the application is directly referred to a contested case hearing, the executive director will mail the response to comments along with notification of Commission meeting to everyone who submitted comments or is on the mailing list for this application. The Commission may only grant a request for a contested case hearing on issues the requestor submitted in their timely comments that were not subsequently withdrawn. If a hearing is granted, the subject of a hearing will be limited to disputed issues of fact or mixed questions of fact and law relating to relevant and material air quality concerns submitted during the comment period. Issues such as property values, noise, traffic safety, and zoning are outside of the Commission’s jurisdiction to address in this proceeding. MAILING LIST In addition to submitting public comments, you may ask to be placed on a mailing list for this application by sending a request to the Office of the Chief Clerk at the address below. Those on the mailing list will receive copies of future public notices (if any) mailed by the Office of the Chief Clerk for this application. AGENCY CONTACTS AND INFORMATION Public comments and requests must be submitted either electronically at www.tceq.texas.gov/about/comments.html, or in writing to the Texas Commission on Environmental Quality, Office of the Chief Clerk, MC-105, P.O. Box 13087, Austin, Texas 78711-3087. If you communicate with the TCEQ electronically, please be aware that your email address, like your physical mailing address, will become part of the agency’s public record. For more information about this permit application or the permitting process, please call the Public Education Program toll free at 1-800-687-4040. Si desea información en Español, puede llamar al 1-800-687-4040. Further information may also be obtained from Williams Brothers Construction Co., Inc., P.O. Box 66428, Houston, Texas 77266-6428 or by calling Mr. Marcus B. Anderson, Environmental Director, at (713) 668-6788. Notice Issuance Date: March 22, 2016

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CITATION BY PUBLICATION THE STATE OF TEXAS County of Harris CAUSE NO. 2015-52543 NATIONSTAR MORTGAGE LLC, Plaintiff v. JAMES HUGHES AND DIANE HUGHES AND THE HEIRS AT LAW OF JAMES HUGHES, DECEASED, Defendants RE: 10327 SAGEGATE DRIVE HOUSTON, TEXAS 77089

IN THE DISTRICT COURT OF

HARRIS COUNTY, TEXAS

61st JUDICIAL DISTRICT

NOTICE TO DEFENDANT: “You have been sued. You may employ an attorney. If you or your attorney do not file a written answer with the clerk who issued this citation by 10:00 am on the Monday next following the expiration of 42 days after the date this citation was issued, a default judgment may be taken against you.” To: THE HEIRS AT LAW OF JAMES HUGHES, DECEASED YOU ARE HEREBY COMMANDED to appear before the 61st Judicial District Court of Harris County, Texas in the Courthouse in the City of Houston, Texas at or before 10:00 o’clock A.M. Monday, the 11th day of April, 2016, being the Monday next after the expiration of forty-two days after this citation is issued, and you are hereby required then and there to appear and file written answer to the Plaintiff’s First Amended Petition, filed in said Court on the 9th Day of September 2015, in suit numbered 2015-52543 on the docket of said court, wherein Nationstar Mortgage LLC, Plaintiff, sued James Hughes and Diane Hughes and the Heirs at Law of James Hughes, Deceased, Defendants. The Petition seeks an order to foreclose the lien on the property and assert a claim to the property located at 10327 Sagegate Drive, Houston, Texas 77089, and legally described as: A TRACT OF LAND CONTAINING 0.210 ACRE BEING ALL OF LOT TWENTY-NINE (29) AND THE SOUTHERLY 1/4 OF LOT THIRTY (30), IN BLOCK THIRTEEN (13), OF SAGEGLEN, SECTION TWO (2), ACCORDING TO THE MAP OR PLAT THEREOF, RECORDED IN VOLUME 246, PAGE 34 OF THE MAP RECORDS OF HARRIS COUNTY, TEXAS, AND BEING MORE PARTICULARLY DESCRIBED BY METES AND BOUNDS IN EXHIBIT “A” ATTACHED THERETO. GIVEN UNDER MY HAND AND SEAL OF SAID COURT at Houston, Texas this 4th day of March, 2016. Issued at the request of: Keith A. Taylor State Bar Number: 24088511 Address: 13105 Northwest Freeway, Suite 1200, Houston, Texas 77040 By:__/s/ Brianna J. Denmon___

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