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Contents

EDITORIAL

VOL. 28 | NO. 18 | MAY 5-MAY 11, 2016

STAFF WRITERS Meagan Flynn, Craig Malisow, Dianna Wray FELLOW Leif Reigstad EDITORIAL OPERATIONS MANAGER Richard Hebert CONTRIBUTORS Sam Byrd, Brandon Caldwell, Sherilyn Connelly, Willie D,

Alexandra Doyle, Bilge Ebiri, Jessica Goldman, D.L. Groover, Clint Hale, Nicholas L. Hall, Steve Jansen, Kristy Loye, Alan Scherstuhl, Jesse Sendejas Jr., Bill Simpson, William Michael Smith, Randy Tibbits, Brooke Viggiano, April Wolfe WEB CONTRIBUTORS Jeff Balke, Sam Byrd, Brandon Clements, Ashley Clos,

Phaedra Cook, Willie D, Alexandra Doyle, Jef With One F, Catherine Gillespie, Jack Gorman, Clint Hale, 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, Steve Rangel, John Royal, Bob Ruggiero, David Sackllah, Ericka Schiche, Bill Simpson, Eric Smith, Nathan Smith, William Michael Smith, Matt Stieb, Katie Sullivan, 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

L-Thomas Ignatious, R-Todd Spoth

Cover Story ▼

They’ve Got the Power

Women are dominating Houston music, both onstage and behind the scenes. KRISTY LOYE AND JESSE SENDEJAS JR. |

Featured Stories ▼

Under Pressure

26 31

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

VOICE MEDIA GROUP

Uber issues ultimatum, threatens to ditch Houston if leaders don’t change rideshare rules. MICHAEL BARAJAS |

PAGE 6

Luck of the Draw

Stage

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.

Capsules .................................. 21 Capsules ................................. 26

Art Capsules Cafe

Eating...Our Words ............... 34

Music

Playbill .................................... 44 Listings ................................... 45

49 Real Estate Rentals 50 Employment 50 Medical Research On the Cover:

From l-r: Asli Omar of The Tontons, Sara Fitzgerald, owner of Fitzgerald’s, and DJ Gracie Chavez. Chavez’s hair and make-up by Melissa Gomez of Kiss and Makeup Houston. Photograph by Todd Spoth

Houston Press is published weekly, 52 times a year, by Houston Press LP, 2603 La Branch, Houston, TX 77004. All rights reserved. First copy of this publication is free. Each additional copy costs $2. Houston Press assumes no responsibility for the care and return of unsolicited materials. Return postage must accompany any material to be returned. In no event shall unsolicited material subject this publication to any claim for holding fees or similar charges.

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PAGE 9

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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Give Mom Flowers... and fields, and beaches, and city streets....

| HOUSTON NEWS |

Under PressUre Uber issUes UltimatUm, threatens

to ditch hoUston if leaders don’t change rideshare rUles. MICHAEL

May 5 - 11, 2016

Houston Press

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ber says Houston’s rules for drivers, among the strictest in the country, make it too hard for qualified people to drive for the company. Last week, Uber general manager Sarfraz Meridia sent Mayor Sylvester Turner and City Council members an ultimatum: Either change the rules, in particular one that subjects drivers to a fingerprint-based background check, or “we will have to cease operations just as other ridesharing platforms previously did.” Attached was a three-page report from Uber claiming it can’t add enough drivers to keep up with demand because of the city’s rules, leading to higher prices and less reliable service for Houston customers. The company even says Houston’s rules may have indirectly

VISIT HOUSTONPRESS.COM FOR MORE BREAKING NEWS AND FEATURES led to more drunk drivers on the streets who would’ve taken a quick, cheap Uber but one wasn’t available. Notwithstanding the curious timing (voters in Austin will decide May 7 whether to keep similar regulations; early voting for the ballot measure started this week), it’s hard to know what to make of Uber’s claims. Officials with the City of Houston insist that, by pretty much any trackable measure, Uber has been a resounding success here. The city’s Administration and Regulatory Affairs department says that every month it sees an increase in drivers who want a license to drive for the company. And, according to city officials, judging by the company’s revenue in Houston (under the regulations passed in 2014, Uber pays 2 percent of gross bookings to the city), Uber is doing quite well. It seems there’s either a fundamental difference of interpretation or someone’s not telling the whole truth. We’d love to get to the bottom of this, but here’s the problem: Uber has sued to block the city from releasing pretty much any internal data that could show whether Houston’s regulations have been a success or unreasonable burden for rideshares. Lara Cottingham, deputy assistant director of the city’s Administration and Regulatory Affairs department, insists that Uber has had an undeniably good run here since the city began enforcing its rules for licensing drivers for so-called transportation network companies (or TNCs) like Uber, limo services and taxi companies. “The number of drivers is increasing, their revenue is increasing, everything seems to be working out for them very, very well,” Cottingham told us. “But because Uber sued us to stop us from releasing [those numbers], I can’t tell you how successful they are.” Uber argues that information is proprietary and could be used by competitors.

The main point of contention between the company and city leaders appears to be the city’s insistence on a fingerprint-based background check for Uber drivers that’s run through the Texas Department of Public Safety. Uber says it’s redundant and too time-consuming for part-time drivers who are just looking to make a little money on the side. In its three-page report sent to city leaders last week, the company claims more than 20,000 people have completed Uber’s screening process, which includes a third-party background check run through a private company, but never got licensed with the city and therefore never became drivers. “A survey revealed that the regulations were too time-consuming, complex and expensive,” the company claims in an accompanying press release. “The majority of these respondents were minorities or individuals from lower-income neighborhoods.” While Uber claims it takes drivers on average four months to get a city license, Cottingham says that’s just not the case. She says that according to a survey the city conducted this spring (which, of course, she can’t release because of Uber’s lawsuit), nearly half of all drivers got their license within a week of applying — almost all (about 84 percent) had a license within three weeks of applying, she claims. Whatever the case, Uber’s Meridia said in the letter to city leaders yesterday that demand in Houston “continues to grow approximately twice as fast as our ability to onboard qualified drivers.” Cottingham says the city has streamlined the process as much as possible, but what Uber’s really asking for — axing the city’s additional background check provision — isn’t an option. Houston’s among the cities where leaders say that simply relying on Uber’s third-party background checks presents a public safety

issue. “We have had hundreds of drivers who passed Uber’s background checks but failed ours,” Cottingham told us. Offenses flagged by the city’s fingerprint-based background check ranged from robbery to indecent exposure, DWI, assault and murder. “We had one driver who had 24 aliases, five birthdates, ten Social Security numbers and an active warrant for arrest,” Cottingham said. It appears, she says, the guy cleared Uber’s commercial background check because it was based on name, birth date, address and Social Security number, all of which can be falsified. In a “fact check” sheet Uber sent to reporters last week, the company batted away the question by saying those people who failed the city’s background check were probably just lying about being Uber drivers when they approach the city for a license in the first place: “The City’s current licensing system is inherently flawed and does not confirm if TNC license applicants have actually passed Uber’s screening process. The only documentation TNC license applicants must show before applying to be a TNC driver is a ‘U’ trade dress sticker. These stickers, which can easily be purchased online or replicated, are not valid verification that an individual has passed Uber’s screening process.” The question of whether Uber’s thirdparty background checks are good enough came under the spotlight last year just as the Texas Legislature was considering the issue, largely because of a Houston Uber driver accused of taking a blackout-drunk passenger to his apartment and raping her. According to a police officer’s affidavit filed in the case, Duncan Eric Burton admitted to taking the woman back to his place, where he orally, vaginally and anally raped her after she was too drunk to remember her own address (Burton wasn’t licensed with the city). State lawmakers, who were debating statewide regulations for rideshare companies like Uber, grilled an Uber representative on why Burton passed the company’s background check, which apparently didn’t catch Burton’s criminal history that should have rendered him ineligible to drive for the company. (Months later, Burton was inexplicably cleared by a Harris County grand jury that didn’t even bother to hear testimony from the victim.) Cottingham admits that Uber has changed Houston’s transportation game for the better. “We’re the fourth-largest city in the country. We love having Uber here,” she said. If you look at TNC licenses granted by the city, she says, the numbers have skyrocketed since Uber entered the picture, meaning passengers have more options than ever before. Uber’s presence has been transformative. Which could help explain why the company’s now trying to leverage its sizable influence. Still, it appears some city leaders resent the ultimatum. Mayor Sylvester Turner told reporters last week the city “will not compromise on public safety,” adding, “This is just not how we do business in Houston.”

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POWER BY KRISTY LOYE AND JESSE SENDEJAS JR. Sara Fitzgerald

Asli Omar of The Tontons

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Photos by Todd Spoth

ithin the past year, one Houston band has released a critically acclaimed album, wowed industry insiders at New York’s CMJ Music Marathon conference and earned a slew of new fans right here at home. That band is not named The Suffers. A second recently announced it will represent Houston at a gargantuan music festival in Germany this fall, following a successful recent European tour and album of the month honors for its own acclaimed release. This band is also not known as The Suffers. A third has a band-verified Spotify page with 30,000 monthly listeners, boasts a video with three quarters of a million views and will play Montreal’s Amnesia Rock Fest this spring with acts like Blink-182, Ice Cube and At the Drive-In. The name? Nope, not The Suffers. These acts are, respectively, Say Girl Say, Oceans of Slumber and Days N Daze. They are not The Suffers — no one else is or could be — but they have some traits in common with Houston’s hottest band. For one, they’re helping establish Houston as a music city to be reckoned with. >> p10 Second, and not coincidentally, they all are female-fronted acts.

May 5 - 11, 2016 Month XX–Month XX, 2014

Houston Press Houston Press

Women are dominating Houston music, both onstage and behind the scenes.

THEY’VE GOT THE

houstonpress.com houstonpress.com

Gracie Chavez

1 9

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Houston Press May 5 - 11, 2016 10

“I moved to the Heights in 1975 because Marcela Perry was a woman who owned a savings and loan and she was letting women buy houses and get a mortgage,” says Fitzgerald. “Never before could a woman get a mortgage.” Fitzgerald got her start in real estate, and later worked for Xerox as the first woman the company hired after integrating, she says. She continued showing properties on the weekends, and recalls the day she took one client to view the building that would become the legendary Thomas Ignatius Heights-area venue. “He said, ‘Why “It’s inspiring and empowering to see other leading ladies, up front and unapologetic for their success,” says Suzan did you bring me Zaghmouth of Houston experimental-folk trio Say Girl Say. here to see this? It looks terrible. Have it torn down,’” FitzgerFranklin believes many Houston acts will they’ve Got the Power from p9 ald says. “It had been empty for years, covget that chance and when they do, for many it ered in cobwebs, with no electricity. will be because of the hard work done by “Houston is one of the most diverse cities “I said, ‘This building has an energy to it,’” women in their own bands or women who in the world,” says Suzan Zaghmouth of exshe continues. “When I went upstairs and support bands in peripheral roles. perimental/indie trio Say Girl Say. “You are “Do not get it twisted, because women in saw that stage and thought, ‘Oh, wow…’” bound to meet talent in all shapes and sizes. Fitzgerald inquired if the owner would Houston have been quietly crushing the In this case, women are killing it in the music finance, and soon became the proud owner game for years,” she says. “Some the hardscene and owning their talent. It’s inspiring of the long-empty music hall. She named est workers I’ve seen come up in the Housand empowering to see other leading ladies, the club after her husband, to whom she ton music scene over the last decade have up front and unapologetic for their success. had been married for one full week, but been women.” We are being recognized because we have wound up running it herself. Five years fresh ideas, fusing genres together and creating a new sound.” omen have actually been staking later, husband still unemployed (and dipping into the till to purchase certain “party But besides the music local women make, their claim in Houston’s music favors,” she says), a frustrated Fitzgerald they’re creating their own opportunities elsescene for much longer, at least filed for divorce. “I didn’t want a divorce; I where in the local music industry as venue since the arrival of pioneers like just wanted him to behave,” she says. “We owners, talent bookers, sound engineers and punk rockers MyDolls and Fitzgerald’s music-marketing professionals. owner Sara Fitzgerald in the late ’70s. And ac- still loved each other; I just filed as a wakeup call, and I wanted him to get his “I think women are doing it ’cause that’s cording to Fitzgerald herself, that’s unlikely shit together.” what women do. We get shit done, we handle to change anytime soon. our business and we express ourselves regardless of the situation or who’s watching,” offers Zaghmouth’s bandmate, Brigette Yawn. “As a woman, there are times you have to work twice as hard as a man does. We have to be strong and fearless in this world, and you really and truly have to be ‘everything.’ I think all of that hard work and fighting opBut shortly after he signed the divorce papression is catching up, so women are changHer fierce reputation precedes Fitzgerald, pers, her husband died in a tragic motorcycle ing the game, and women are slaying it.” who’s sitting at her desk in a tiny office that accident. As if dealing with the shock weren’t Those women also include, of course, The smells of fresh paint and plaster. Rumors of enough, Fitzgerald found herself pregnant Suffers’ singer Kam Franklin, who is arguably her business savvy, shrewd music knowledge weeks after his funeral. The newfound widow the most prominent face of what appears to and tough exterior belie the woman in blue began running the club with a baby on her hip. be a Houston music scene overrun with taljeans and shoulder-length blond hair, smiling A little later on, one evening some musicians ented and determined females. Recalling the behind glasses with eyes that twinkle as she showed up and asked if they could use the upband’s national TV debut on The Late Show unravels tale after tale of famous musicians stairs for a show. Fitzgerald hadn’t yet conWith David Letterman last spring, Franklin who have passed through these rooms. verted the upstairs, but was eager for an says, “In those moments before we went on, Fitzgerald laughs when talking about artists audience. She filled some empty barrels with all I could think about was my family, all the like Stevie Ray Vaughan, Clint Black, Bonnie beer and used a cigar box as a cash register, artists back in Houston that were trying just Raitt, Jay Leno, Dennis Miller, James Brown while a young fellow offered chairs and lights as hard to get to that point, and everyone that and Tina Turner, who all played her club in the had ever doubted me. It was a mix of love, early ’80s. Her yarns may be funny, but they also from an old club downtown called Liberty Hall. “He said he owned them; I found out later fear and pride. It’s an experience that I hope illustrate how she overcame some deeply he didn’t,” Fitzgerald laughs. “He just hapevery artist gets to experience at least once in rooted discrimination and prejudice about a pened to have a key [to Liberty].” their lifetime.” woman’s right to run and own a nightclub.

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With those “borrowed” chairs and lights, the venue’s first upstairs show was none other than local blues legend Lightnin’ Hopkins. Naturally, it sold out, and Fitzgerald’s soon began hosting other big names. But some club owners, not happy with the competition her success represented, actively sought to destroy her and the club. One rival from Pasadena had her tossed in jail for not having one permit or another. When she got out, he warned her not to book a certain band he felt belonged to him, but they ultimately decided they’d rather play her place. In 1986, in the middle of the oil bust, banks had folded and Fitzgerald’s loan had accelerated, but she simply didn’t have the funds to cover it. The government seized the property, but she eventually outsmarted them all. When Uncle Sam took over the mortgage, she legally became the renter. It occurred to her she could get the property repaired on the government’s dime, and so she did. When that became too expensive for the government, it auctioned off the property at a deep discount. She bought it back, and the guile of “Stonewall Sara” has saved the club many times since. “As a woman, you really have nowhere to go but up,” reflects Fitzgerald, who recently resumed running the club’s day-to-day operations after leasing it out in 2010. “You can either do this,” she continues, pointing to her venue, “or go out to the suburbs, raise kids and share a car. That has always scared me more.”

hile pioneers like Fitzgerald have been integral in helping shape the Houston music scene, today dozens of women play crucial offstage roles. Their numbers include promoters like Courtney Walker of Rusty Piston Productions and Pegstar’s Ariana Katechis, as well as Rudyard’s owner Leila Rodgers and Stacy Hartoon, the Montrose musician-incubator’s booking agent. At the Houston First corporation, whose mission is to sell the city to the rest of the world, Chief Marketing Officer Holly Clapham-Rosenow helps put the music scene at the forefront of Houston’s identity branding.

While pioneers like Sara Fitzgerald have been integral in helping shape the Houston music scene, today dozens of women play crucial offstage roles. For Julie Johnson, director of marketing at Revention Music Center and House of Blues, her love of music has not only inspired her throughout her life but allowed her to share that passion by helping publicize literally thousands of shows at several local venues. “I have had the pleasure of marketing shows at many buildings in the Houston area, including Cynthia Woods Mitchell Pavilion, Toyota Center, even Numbers and the Engine Room,” she says. “It was really a great learning experience to help open the House of Blues — that was the first time that I saw a building getting started from scratch.” Johnson attributes her success to her flexibility, which she recommends to other women.

5/3/16 5:56 PM

thousands of women will be making their mark and telling their story through music, destroying the ‘token girl’ perception.” One way to get around that perception is including more women in the band. That strategy is working for Cassandra Chiles of Giant Kitty, who recently signed with Brooklyn’s Innsbruck Records. A pair of music videos are garnering solid anna Brewer’s band, Purple, buzz, as is the band’s reisn’t exactly from Houston. cently released LP This StuBut the Beaumont trio is pid Stuff. close enough for our pur“Our music tends to be poses, especially since Purple posrather LGBT/feminist in sesses some thrilling potential. The tone, so some people have band just released Bodacious, which left visibly upset while we features Brewer on drums and vocals. play a song like ‘Gay MarShe’s the lone woman in her group, riage Rampage,’” says which is known for straight-ahead, Chiles. “I have noticed in 409-bred rock. That no-nonsense apfestivals that when we take proach has served Brewer well when the stage, all the ‘dude she has dealt with the obstacles men bros’ tend to walk away create for women in the business. and all the women, who “Of course, some men try to be have this look like, ‘OMG, intimidating, and most are trying to thank God! Not another bang,” she says matter-of-factly. “I bro band!’ come up to the used to be scared, but now I have no stage. It’s refreshing and problem with telling a dude to back can be very empowering.” off. I make myself very clear about Empowerment is a pivwhat I want. otal idea in music, one cul“That’s what women need to do,” tivated by Anna Garza at Brewer adds. “Be very clear, be agnonprofit music-education gressive and mean, if you have to. program Girls Rock Camp You will be called a crazy bitch and Todd Spoth Houston. One barrier maybe some guys won’t want to Garza would like to see work with you anymore. Who cares? Anna Garza coaches the next generation of badass female musicians women overcome is the noIf you have the music and the drive, as a director of local nonprofit Girls Rock Camp Houston. tion that novices “have to you can do it without some pervert pop out of the womb like you’re Jimmy Page should be noted as a disclaimer, also ingetting you there.” or something,” she explains. cludes the son of this story’s co-author “I don’t tend to focus on any of those “It comes from women, too,” Garza says. Sendejas — says it’s helpful for women to retypes of experiences because it just doesn’t “You have women who have worked really member these problems often have less to serve me, but there is value in speaking out hard to hone their craft, and they’re not as do with them than with others. about them,” says Black Kite’s Vicki Lynn, tolerant to want to work with someone who “My main priority is to play music, book who avoids a lot of nonsense by working isn’t technically as proficient.” shows and get shit done,” she says. “At the with men she calls “constantly and deliberGracie Saenz, one of Houston’s most acend of the day, people are going to think and ately evolving.” Whitney Flynn of My Pizza complished DJs, admits she once felt >> p12 say what they will. While they are doing so, My World and Days N Daze — which, it

pressed to find someone spending more money [on local music] on a monthly basis than her.” “There is no doubt that I gravitate to music and will do what I can to see it flourishing locally,” Tcholakian says. “And if that means transforming a specialty-food grocery store into a music venue, then so be it. It has helped define MKT BAR and the atmosphere, and what downtown Houston can be — more alive.”

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“I would say don’t be afraid to do things you wouldn’t normally do,” she says. “I have done everything from place chairs, sell tickets, unclog toilets in dressing rooms, settle shows and retrieve strange requests from artists. Look for a mentor, and if you find one, listen.” Susanne Theis, programming director of Discovery Green, has a similar vision. Trying to help Houston grow as a home for talent and creativity, she directs the scheduling of performances, classes, workshops, festivals, visual art and other activities (more than 600 a year). Her advice to young musicians is simple. “Be prepared to work really hard on the music,” Theis says. “There are a lot of other areas to work on — how to connect with the audience, to market your work, etc. But the music must come first, or else the rest is beside the point.” That same kind of drive led Lauren Oakes into her career as a sound engineer. “I started my internship at Fitzgerald’s on September 22, 2004,” she recalls with a smile. “I was 20 years old, and it was one of the greatest and most exciting days of my life.” Oakes praises the local scene’s openness, and admits this town shows respect where it’s due. “In my experience here, if you can do the job well, you are respected and appreciated regardless of your boob status,” she reckons. She has developed a thick skin because the industry demands it, yet Oakes handles it well. “Although live audio engineering is thought of as a man’s industry, it’s ultimately a very feminine profession,” she explains. “It takes patience and intuition and compassion. All you have to do is tune out the guys that call you ‘Honey Tits’ that are worse at your job than you are, and you’re set.” For more than three years, MKT BAR’s Ann-Marie Tcholakian has hosted 30 live local acts every month at her downtown grocery store turned music venue. She continually promotes bands and musicians in our scene who may not get the opportunity otherwise. According to local talent buyer and manager Mark C. Austin, “You’d be hard-

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such pressure. Over her 16-year career, Saenz has co-founded the tropical dance party Bombon, had numerous residencies, led allfemale DJ crews and founded GRCH’s DJ workshop. She earned respect from her male peers early, she says, but paid a price by being so hard on herself. “As a woman in the music world, you’ve got to double-prove yourself not once but many, many times,” she says. According to Leslie Sloan, a 20-year Houston music veteran, traditional country music may offer the most resistance. Her talent and persistence have resulted in a halfdozen albums, a long-standing gig at the Continental Club and currently a programming role related to Houston Grand Opera’s latest production. “Traditional country music tends to embody very traditional values where the patriarch dominates society,” says Sloan. “I have encountered ‘girl singers don’t do well here’

[and] ‘we don’t allow girl singers here.’ After a while you get used to it, and you just try to focus on your music and your fans. That’s really all you can do anyway, whether you are a man or woman.” Even in female-heavy indie rock, Tontons vocalist Asli Omar has seen her share of obstacles. Her best advice is to stay true to one’s self. “Male or female, don’t let anybody, in any scene anywhere, define your music or talent, because we live in an era where that’s not necessary anymore,” she says with finality. “Especially if you’re a woman, you’re going to constantly be told you could be the next ‘Erykah Badu meets Rihanna.’ I’ve gotten that so many times and it’s like, ‘No, I’m just going to be myself.’”

rish Herrera, guitarist in MyDolls since 1978, is a local legend. She and her bandmates have been an integral piece of the Houston punk community since it was dominated by testosterone-

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heavy groups like The Hates, D.R.I. and Really Red, to name a few. With that reputation comes some impressive recognition. On July 28, the Contemporary Arts Museum Houston will host a showing of the film A World of Their Own: MyDolls Music and the Houston Punk Scene. Pretty big acknowledgment for a punk band. Yet Herrera’s calm and sensitive demeanor would never make you think for a second that status has gone to her head. Whether performing for a standing-room-only crowd or working in the hair salon she runs out of her house, Herrera maintains the same cool, laidback vibe. Here, Herrera leans over the head of a client, clipping away while standing under a framed picture of Joan Jett. At 62, Herrera still plays a mean punk-rock guitar, with a beauty that defies whatever one might think women in their sixties should look like or should be doing. On this day, her fingers separate hair into sections as she speaks softly, yet firm in her convictions and opinions. Herrera admits music has been a part of her identity her entire life. “I knew I was a musician from the time I was a small child,” she says. “I wanted to write songs and play guitar.” When Herrera and MyDolls entered the punk scene, it was still very much a boys’ club. Riot Grrrl wouldn’t come into existence for nearly 20 years, often leaving her band to tough things out for themselves in an environment that wasn’t always so friendly. “When slam-dancing started to become thrashing, with spikes and throwing each other around in the audience, the women that were once playfully slam-dancing in the front started getting hurt,” Herrera recalls. “They pushed us to the outskirts of the mosh pit. It became more like a boys’ club with a certain type of dress. More like boys playing football than expressing themselves politically or artistically.” That “boys will be boys” attitude prevailed even in a scene that otherwise championed the values of self-expression and equality, remembers Herrera, recounting how she and her band were once treated. “One club would not give us the money [after a show] because we were female,” she recalls. “[He] would only hand it to the male members of our entourage.” It’s easy to laugh at the ridiculous behavior demonstrated by ignorant people of years

“As a woman in the music world, you’ve got to double prove yourself not once, but many, many times.” -- DJ Gracie Chavez

MyDolls’ Trish Herrera likens the early Houston punk scene to “more like boys playing football.”

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s it really important to recognize the gender of some of the city’s most prominent music-makers? Most of the women we spoke with said yes, women have unique perspectives that inform the music they make. Others said good music is good music, no matter the sex of its writer and/or performer. But one thing they all believe is that every woman in the scene, established or upstart, needs encouragement. They didn’t hesitate to impart what they’ve learned to benefit others. “There are always going to be people out there who will ridicule you, try to snuff out the flame — don’t let them,” says veteran rocker Alice Sin, nee Allison Gibson, who currently sings for Supergrave and Baron Von Bomblast. “Follow your passions, follow your own dreams and visions because trust me, if you don’t get the fire burning, no one else is going to do it for you. Life is way too short to let yourself down. “That being said, I really have to give a lot of credit to the Houston music scene,” she continues. “People like to pooh-pooh on it and talk shit, but I’ll tell you what, I’ve been on stages in this city for damn near close to 25 years and the support that I have been given, and continue to receive, floors me.” “At this time, there is a spirit of cooperation, regardless of sex, in the Houston music scene,” agrees singer-songwriter Sherita Perez, who sees this as the natural progression of a larger societal shift from the 1960s and ’70s to today. “This has resulted in ever-increasing numbers of children seeing their parents share the earning as well as domestic duties,” says Perez, who will release an EP this fall. “With so many of us growing up in this rebalanced way, it’s only natural that we would consider it the norm for women and men to work alongside one another. I know so many wonderful men that treat me with dignity and respect and appreciate me as an equal and valued contributor to the group and to the Htown music scene.” But even such noble aspirations come with no guarantees. The only way to be treated with dignity and respect is to go out and command it, offers Oceans of Slumber’s Cammie Gilbert. “Practice first, everything else second,” she says. “Don’t ask for permission or let anyone tell you what you should want for yourself. Seriously, they can kiss your ass. You want it, you go after it and you take it. Nothing is stopping you but yourself.”

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past, but even the idea that this was the reality for women everywhere just 30 years ago is astounding. And even measured against how much progress has occurred since then, those gains can also highlight how much further there is to go. Herrera, for one, has some strong words of encouragement for young female musicians. “Never settle!” she urges. “Always get paid for your work — you’re worth it. Make sure that the clubs have great PAs and incredible sound engineers. Stay close and connected to your audience. Observe and communicate with people younger than yourself. “Learn your craft; study the history of female musicians that have blazed the path for you,” Herrera continues. “Don’t strive to be famous; strive to do what you love. Be calm, listen, take your time and kick ass.”

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Martial arts, fusion cuisine and plenty of Asian culture.

Costumes are encouraged at this Star Wars art festival.

Obsidian brings deconstructed, nonlinear theater to town.

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5/5

Following Keystone Xl

Curiosity didn’t kill Ken Ilgunas as he walked the path of the proposed Keystone XL pipeline, but a few animals almost took him down. He had to trespass onto a lot of private property and had a few unfortunate experiences: Apparently there are roving packs of dogs in Oklahoma (“the dogs have got some weird baggage”), he was charged by a moose in Alberta (“I had to climb a tree”) and, in South Dakota, he was chased by a herd of about 20 hyper-aggressive cows. “At the time, it was nothing but terror,” says Ilgunas. The adventurous author’s newly released Trespassing

Across America: One Man’s Epic, Never-Done-Before (and Sort of Illegal) Hike Across the Heartland is now out, and he’ll be signing copies at

Brazos Bookstore. What did he learn? “Stupidity is a downright asset when you’re committing to an adventure,” says Ilgunas, who also has concerns about the toxic dangers from oil spills. “When you walk through a town like Cushing, Oklahoma, which is known as ‘The Ken Ilgunas reads from Trespassing Across America at Brazos Bookstore.

m a y

1 1 ,

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Pipeline Crossroads of the World,’ the town looks like a Third World country. The oil industry is great for a few but not great for the many.” 7 p.m. Thursday, 2421 Bissonnet, 713-523-0701, brazosbookstore.com. Free. SUSIE TOMMANEY

Beam me Up, scotty!

Star Trek lovers, unite! Trekkies from near and far galaxies are getting the chance to join together in a symphony of epic proportions, as the Society for the Performing Arts is setting its phasers to stun with a concert featuring the best from five decades of television and film. Resistance to Star Trek: The Ultimate Voyage is futile, according to concert director Nicholas Buc, because this performance crosses all types of genres. This never-beforeseen event is perfect for music lovers, filmgoers, science-fiction fans and anyone looking for an exciting and unique concert experience — complete with a 40-foot screen for projections and a live orchestra. “Some of the greatest composers of our time wrote for these films,” says Buc. “There’s action. There’s adventure. It’s not just what you see

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

on Big Bang Theory. We often get people who bring guests, and they’ve enjoyed it just as much as the Star Trek fans.” Plus, this is a great chance to live the fantasy of dressing head-to-toe like Spock or the Borg. Go ahead and indulge; you won’t be alone. 7:30 p.m. Thursday. Jones Hall, 615 Louisiana. For information, call 713-227-4772 or visit spahouston.org. $33 to $83. SAM BYRD

FRI

5/6

contemporary classics

VirtUal crime

It’s set sometime in the future, in a dull, pale version of our world. “When the world has become sterile, there are hardly any trees left. The sensory world of our sounds, our smells, our tastes have decreased,” says Josie de Guzman (The Other Place, All My Sons, Vanya and Sonya and Masha and Spike), back in Houston to take on the role of police detective Morris in Alley Theatre’s production of playwright Jennifer Haley’s The Nether. To escape this world from time to time, people go on the Internet — now called the nether — where they can experience all the sights and sounds the world has lost. As well as commit virtual crimes. Which brings up the question: Are

VISIT HOUSTONPRESS.COM FOR ADDITIONAL EVENT COVERAGE crimes committed in a virtual realm real crimes or just stains on your soul? Or just something to be tossed aside as entertainment with no lasting meaning? Or as detective Morris begins asking: Are there deeds done in a digital world that cross over into reality? Co-directed by Alley Artistic Director Gregory Boyd and James Black, the one-act thriller, with a running time of about 100 minutes, promises a lot of twists and turns (Haley dislikes predictable police procedurals, de Guzman says), so best to have your wits about you when you take this one in. Designed for a mature audience. Performances on May 6-10 are previews. 8 p.m. Friday and May 7. Continuing 2:30 and 7:30 p.m. Sundays; 7:30 p.m. Tuesdays, Wednesdays and Thursdays; 8 p.m. Fridays; 2:30 and 8 p.m. Saturdays. Through May 29. 615 Texas. For information, call 713-220-5700 or visit alleytheatre.org. $26 to $75. MARGARET DOWNING

SAT

a Day For Hats

5/7

Sam Houston Race Park opens its doors early on Kentucky Derby Day so fans can watch the action from Churchill Downs and participate in an extravagant hat contest. “We open at 9 a.m. because we have people who watch all the Churchill Down races, as well as other

ay 5 - 11, 2016 MonthM XX–M onth XX, 2014

Think back to your favorite classic hits of the ’60s, ’70s and ’80s, and see if you agree with the Houston Symphony’s choices for Journey, The Eagles & More. “These decades were chosen because many of our audience members view these years with nostalgia,” says Principal POPS Conductor Michael Krajewski, who is conducting the program. It wasn’t easy whittling down decades of hits, but the final lineup includes Journey’s “Don’t Stop Believin’”; Don Henley’s “Hotel California”; Fleetwood Mac’s “Landslide” and Hall & Oates’s “Sara Smile”; plus classic hits from Billy Joel; Chicago; Kansas; and Crosby, Stills and Nash. Vocalists Lori Wilshire and Micah Wilshire (Wilshire’s 2003 hit, “Special” reached the Billboard Top 20) and Shem von Schroeck (Ambrosia, Kenny Loggins) join the Houston Symphony for this special event. “I also hope the program will get the attention of people who might not have attended a Houston Symphony concert before but will be interested in doing so because of the songs that will be performed,” says Krajewski. 8 p.m. Friday and May 7; 2:30 p.m. May 8. Jones Hall, 615 Louisiana. For information, Courtesy of Ken Ilgunas

call 713-224-7575 or visit houstonsymphony.org. $30 to $142. BILL SIMPSON

Houston Press Press Houston

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races at other tracks through our simulcast feed,” says Jamie Nielson, director of marketing at Sam Houston Race Park. “We typically start at 6 p.m. on Saturdays, but that allows us to show the Kentucky Derby races on our big screen and our TVs in between our live races.” The best hats are big, bold and overembellished, with patterns, feathers and bows. “A lot of people make their own hats and enter them in the contest. We’ve had kids enter, which is adorable, who’ve even made their own hats and really participated,” says Nielson. “Everyone who enters will get a chance to walk across our stage and be a part of the hat contest.” Three judges weigh in at 2 p.m. to name the winners, with prizes ranging from $150 to $500. 9 a.m. Saturday; live racing begins at 1 p.m. 7575 North Sam Houston Parkway West. For information, call 281-807-8700 or visit shrp.com. $7 to $11. BILL SIMPSON

cUltUre clUB

It’s been four years since the glassed, cleanlined gem of the Museum District, the Asia Society Texas Center, opened to the public. It’s always worth a visit, especially during AsiaFest 2016. The second annual shindig packs a heavy-hitting punch that includes martial-arts demos, traditional Japanese storytelling, various dance performances, and grub from Casian King, D’Lish Curbside Bistro, It’s a Wrap, Pho-Jita Fusion, Smoosh Cookies, Tila’s Taco Truck, Jade Stone Cafe, and many more Asian and fusion food trucks. “Guests will find fusion cuisine, community performances, creative activities, exciting artwork and local vendors, all highlighting the vibrancy of Asian culture,” says Rose Rougeau, senior director of communication and audience engagement. Gina Gaston and Miya Shay of KTRK-TV take turns as mistresses of ceremonies; plus Yuriko Yamaguchi’s dizzying mixed-media sculptures and the “We Chat: A Dialogue in Contemporary Chinese Art” exhibit are on display inside the main building. 10 a.m. to 6 p.m. Saturday. 1370 Southmore Boulevard. For information, call 713-496-9901 or visit asiasociety.org/ texas. Free. STEVE JANSEN

SUN

Feel tHe Force

5/8

You’re never too young or too old to wear Princess Leia’s signature hair buns, though General Leia Organa seems to have moved on. For the rest of us, it’s time to recharge those lightsabers because costumes are definitely encouraged at the 5th Annual Star Wars Art Festival: Revenge of the Fifth.

“Every year we have little Leias and Yodas come out, and kids 12 and under are free,” says Dom Bam, creative director of organizer War’hous Visual Studios. “It started as an art show and over the years we started getting more music acts, more food trucks and more

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vendors,” says Bam. Last year the organizers realized they couldn’t do it all in one day, so now it’s a two-day festival with more than 100 Star Wars-inspired artists and about 50 vendors. Be sure to check out the work by local tattooist Catfish. “He does these tiny pieces on rolling papers and frames them,” says Bam. “You have to see the level of detail this guy has; he’s got sort of skull faces for everything.” There’s a VIP party from 6 to 9 p.m. May 6. The festival is noon to 6 p.m. Sunday and May 7. 4300 Harrisburg. For information, call 832-768-9515 or visit warhous.com. Free to $25. SUSIE TOMMANEY

For more information, call 713-521-4533 or visit thelabhou.org. $32 to $47. STEVE JANSEN

MON

5/9

tHe BUnnies are coming When Amanda Parer’s giant white bunnies traveled to other cities, the locals interacted Amanda Parer’s “Intrude” invades downtown.

man proBlems

Alva Hascall stumbled upon the nutso story of Winifred Marjorie Williams Wagner by accident while researching other matters. Born to English parents in 1897, the orphaned Winifred became the chosen bride of Siegfried Wagner (son of famed German composer Richard Wagner), a so-called closeted homosexual under pressure to breed offspring for the family dynasty. Later, Winifred presided over the big-deal Festspielhaus festival, befriended a pre-dictator Adolf Hitler and was stripped of all her power after she refused to backpedal from her relationship with the notorious Nazi Party leader. Winifred died in 1980. “There’s a lot of danger in her, and she had a very interesting, complex life,” says Tek Wilson, who stars in Hascall’s foradults-only play Winifred; the co-production by Theater LaB Houston and UnCommonWill Collective is having its world premiere here in H-Town. “There’s a lot of darkness but a lot of humor,” adds Wilson. “We’ve been having a whole lot of fun. We’re going to poke the audience in the eye a little bit.” 3 p.m. Sunday and May 15 and 22; 8 p.m. Thursdays, Fridays and Saturdays, May 6-22. The MATCH, 3400 Main. Theater LaB Houston and UnCommonWill Collective present Winifred.

George Hixson

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5/10

pyrotecHnic art

Houston artist James Ciosek has an interesting relationship with his neighbors. They don’t call the cops when he shoots off fireworks in his yard, and he promises to use only the pyrotechnics “you can get away with in Houston.” It’s part of the process for making his light sculptures, creating a speckled, veined and bubbled “opal skin,” reminiscent of burnt film strips or celluloid, in about 15 different colors. “But I would like to go out to the country and try some other things when the time is right,” says Ciosek. “How long can you go burning and blowing things up?” We think it runs in the family; his grandfather taught him welding at age 11, and he’s done a lot of blacksmithing. Expect more than a dozen new wallmounted and freestanding light sculptures in “Opalescent Order,” his upcoming solo exhibit at Zoya Tommy Contemporary. In the years since his “Constructed Chaos” exhibit, which repurposed the storm debris from Hurricane Ike, the artist has fine-tuned the frameworks so that they appear translucent. There’s an opening reception from 6 to 9 p.m. May 7. Regular viewing hours are 11 a.m. to 5:30 p.m. Tuesdays to Saturdays. Through May 28. 4102 Fannin. For information, call 832-649-5814 or visit zoyatommy.com. Free. SUSIE TOMMANEY

WED

5/11

tHeater oBscUra

Arts Brookfield

with the illuminated nylon sculptures in their own unique ways. “Wherever I go, people project their own decorations on them. In Paris, at a Russian clown’s house, being clowns, they did amazing things with them, offering them giant vegetables,” says the Australian artist. “In Calgary they lit them up with lights, dance party lights inside them. I’m open to people being inspired by them and doing creative things as well.” Houston, I think we’ve been challenged; how are we going to react when Parer’s monumental installation hits downtown? Titled “Intrude,” it’s part of a four-city national tour presented by Arts Brookfield. Her five original sculptures — in a variety of poses — are being joined by two new sculptures commissioned by Arts Brookfield, each scaling over two stories in height. Both menacing and cute, they’re a creative way of shedding light on the delicate ecosystem of our planet, and the havoc that has been wreaked by rabbits in Australia since the landing of the First Fleet. 11 a.m. to 9 p.m. Monday and through May 14. 1600 Smith. For information, visit artsbrookfield.com/ event/intrude. Free. SUSIE TOMMANEY

What’s the biggest challenge in staging a play without a hammered-out script? All of it. “We have to do everything,” says Melissa Flower, who, alongside Philip Hays and Justin Locklear, is concocting an original devised work based on the trio’s rehearsals, discussions and ideas in things missing/missed. In only three weeks. The experimental approach is a comfortable one for Flower, who trained in devised works at the SITI Conservatory in New York City. Though deconstructed, nonlinear theater isn’t totally a thing yet in Houston, Flower thinks that audiences will be receptive to the genre that Texas companies like Austin’s Rude Mechanicals present on a regular basis. She’ll be joined onstage by Hays, director of Horse Head Theatre Co. (named one of our 2016 Houston Press MasterMind Award winners) and Dallas-based actor Locklear in creating a script that’s partially based on a hermit who’s been in hiding in Maine for 30 years. “I’ve quickly developed works before, but not in only three weeks,” says Flower. 8 p.m. Wednesdays to Saturdays, May 11-28. Obsidian Theater, 3522 White Oak. For information, call 832-889-7837 or visit obsidiantheater.org. $20 to $30. STEVE JANSEN

ight+Day listings are offered as a free serN vice and are subject to space restrictions. Submissions should be sent 21 days prior to is-

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5/3/16 12:04 PM

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Disclaimer: No purchase necessary. Passes available on a first come first serve bases. Pass admits two. Passes valid only at the advance screening of MONEY MONSTER on Wednesday, May 11 at Edwards Greenway Palace at 7:00pm. Pass has no monetary value, may not be exchanged for another film or theater chain. You must have a pass to attend. Arrive early as seating is first come, first serve and not guaranteed. Available while supplies last.This film is rated R.

Disclaimer: No purchase necessary. Passes available on a first come first serve bases. Pass admits two. Passes valid only at the advance screening of THE ANGRY BIRDS MOVIE on Saturday, May 14 at Edwards Greenway Palace has no monetary value, may not be exchanged for another film or theater chain. You must have a pass to attend. Arrive early as seating is first come, first serve and not guaranteed. Available while supplies last. This film is rated PG.

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Film

Captain America: Civil War is comicbook cinema without the wonder.

BY BILGE EBIRI

Catnip

With Keanu, Key and Peele save the cat — and maybe buddy action comedies, too. BY APRIL WOLFE

t’s easy to think, based on the marketing, that the first feature film from acclaimed comedy duo Keegan-Michael Key and Jordan Peele will be a hundred minutes of an adorable kitten dressed in a do-rag and gold chain for easy laughs, but Keanu is so so much more than that. And also not.

sponsibility for the consequences of their actions feels both overdue and out of place. The filmmakers want to bring these costumed fictions into the real world … but it’s all happening in a universe that’s already too invested in the supernatural and the galactic. This is where style might have helped. While the ornate, overbearing aestheticism of Batman v Superman was maybe too much, superhero movies should have visual panache, some sense of otherworldly wonder. Winter Soldier, also directed by the Russo Brothers, managed that by giving us a political thriller that wasn’t afraid to escalate into the realm of exotic childhood fantasy — vast, decades-old conspiracies and surreal images of ginormous heli-carriers doing battle in the skies over Washington, D.C. In trying to ground its characters in something resembling the ordinary, Civil War overcorrects. Gone are the wide-eyed sense of derring-do that characterized the first Captain America movie and the paranoid tension that defined Winter Soldier; there isn’t even the slapstick of Ant-Man or the witty abandon of the better Iron Mans. But we watch anyway. Why? I’m not sure. Call it the confident caress of corporate con-

Through every minute of Keanu, it’s evident we’re watching a movie made by people who love movies. They know all the clichés of action films and rom-coms, but they also circumvent them. It’s like they read Blake Snyder’s Hollywood screenwriting bible Save the Cat! — which advises you to give audiences what they want and, among other things, literally save the cat if there’s one in peril in your story — and then made an entire movie around the cat. The feline’s name even seems like a wink at a film with some uncanny parallels to this one: Keanu Reeves’s electric murdered-pet revenge flick John Wick. In the very first scene, we get our trailerpromised slow-motion shots of a kitten soon to be named Keanu dashing through total car-

tinuity. It’s odd to think that a generation of viewers may not remember a time when interlocking superhero epics didn’t command such swathes of the mainstream moviegoing firmament. These films no longer have to delight and surprise us; no, their job now is to manage the brand, not screw anything up too royally and keep us hooked for the next installment. Civil War pulls all that off mostly well. It skips all around the world (Siberia! Lagos! Vienna! London! Leipzig! Queens!), anxiously maneuvering plot points into place, and audiences know to trust that it’ll all add up to something, because these things usually do. But I never found myself genuinely wondering what was going to happen next; the moves are too familiar. Even the big fight, as entertaining as it is, feels like it’s there not because of dramatic inevitability, but because somebody behind a desk decided it had to be. It’s just a bunch of stuff. Captain America: Civil War Directed by Anthony and Joe Russo. Chris Evans, Robert Downey Jr., Scarlett Johansson, Sebastian Stan, Anthony Mackie, Don Cheadle, Jeremy Renner, Chadwick Boseman, Paul Bettany, Elizabeth Olsen and Paul Rudd. Rated PG-13.

nage as two goons who look like the Crow meets Blade shoot up a drug den, employing Matrix-level moves to flip upside down while firing guns. The goons — or the “Allentown boys” (also played by a heavily made-up Key and Peele) — obviously fall in love with the wide-eyed kitten, who melts their hearts until the police burst in and ruin the fun. From there, the kitten traverses the city to end up on the doorstep of Rell (Peele). And so begins our story of a cat who steals hearts and leads humans into terrible situations to save him. We could really stop right there, and it would be funny enough, but to their credit, Key and Peele never settle for just the easy joke. The duo has honed a beautiful comic partnership over the course of its Comedy Central >> p20

ay 5 -ONTH 11, 2016 MONTHM XX–M XX, 2014

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tably, Paul Rudd’s Ant-Man and newly christened Spider-Man Tom Holland), the movie becomes Avengers 3: Avengers v. Avengers. Civil War treats the idea of internecine superhero combat as some kind of amazing novelty, when in fact that’s what they do in so many of the other movies, too. (Remember Hulk v. Thor in Avengers? Ant-Man v. Falcon in Ant-Man?) Still, the climactic battle in Leipzig Airport is Civil War’s high point: fast, inventive and funny. It also finds suspense, and even some pathos, in the idea of superhumans pulling their punches; they’re explicitly trying not to kill each other, and it turns out that’s sort of hard. That airport face-off also highlights the film’s most compelling elements, the newer heroes: Black Panther, with his drive for revenge; Spider-Man, with his eager-beaver witticisms; Ant-Man, with his aw-shucks ordinariness; Falcon, with his jaded sarcasm. At times, I wondered if Civil War might have worked better if it had played out strictly from the perspective of one of them. But Marvel’s schedule calls for a Captain America movie, this one about the collective guilt of the Avengers across all the earlier films. Maybe that’s the problem here: For these characters, this sense of re-

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f nothing else, Captain America: Civil War stands as something of a corrective to this spring’s other superheroes-bludgeoning-each-other opus, Batman v Superman. While that film was severe and downcast, Civil War is expansive, at times even light. BvS strove to redefine its superheroes to fit newer, darker, borderline-sociopathic molds; Civil War finds conflict in its characters’ more ennobling qualities: Captain America’s idealism, Iron Man’s pragmatism, Black Widow’s resourcefulness. Zack Snyder’s film was stylized to a fault, with its slomo shots and pirouetting camera moves; the Russo Brothers’ is functional, un-showy — maybe even a little drab. Batman v Superman was larded with ominous aphorisms and loaded dialogue about power and humanity and guilt and loyalty and duty; Civil War is… well, okay, it’s got a ton of those, too. The story feels similar as well. After a big fight in Lagos leaves civilians dead, the Avengers are left to mull the consequences and collateral damage of their world-saving. Tony Stark, aka Iron Man (Robert Downey, Jr.), confronted by a mother who lost her son during the events of Avengers: Age of Ultron, tries to get his superhero cohort to join him in signing the Sokovia Accords, which will bring our heroes under the control of an outside governing body. Steve Rogers, a.k.a. Captain America (Chris Evans), an earnest believer in American individualism and liberty, bristles at the idea. The heroes start to take sides — Black Widow (Scarlett Johansson) and War Machine (Don Cheadle) cast their lot with Iron Man, while Falcon (Anthony Mackie) goes with Captain America. The situation becomes more personal with the bombing of the ceremonial signing of those accords. The culprit appears to be the Winter Soldier, aka Bucky Barnes (Sebastian Stan), who was Steve Rogers’s best friend back in the 1940s but was revealed in the last Captain America movie to be a brainwashed super-soldier working for the bad guys. But the Winter Soldier had started to regain his identity by the finale of that film, and Cap isn’t convinced his bud Bucky would do something like this — and Bucky claims innocence. The bombing also kills the king of the small African nation of Wakanda, prompting a vow of revenge from his son, T’Challa, aka Black Panther (Chadwick Boseman). Cap believes his pal, Iron Man believes the government, Black Panther doesn’t believe anybody and as other heroes join in the fight (most no-

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The confident caress of corporate continuity.

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to see two guys onscreen who are actually, genuinely conflicted about their roles as men in this scenario. It only gets more cringe-comic when the two are mistaken for those Allentown toughs and have to role-play as cold-blooded assassins to infiltrate the Blips and rescue Keanu from their leader, “Cheddar” (Method Man). One of the funniest moments comes from a long scene with Anna Faris playing a drug-addicted, samurai sword-wielding version of her-

series, a kind of odd-couple friendship that feels more influenced by Richard Pryor and Gene Wilder than any contemporary performers. Both are biracial, and this status informs how their characters deal with race and class, like when Rell bumps N.W.A.’s “Fuck tha Police” in his cousin Clarence’s (Key) minivan and a cop pulls up, prompting Rell to turn down the music, smile and wave. The cops drive off, and Rell fronts, “Roll on, po-po,” a ridiculous statement that Clarence does not let go. Their characters constantly bounce their racial and gender insecurities at each other. Are they black enough? Are they manly enough? When they end up at the strip-club HQ of the Blips (the gang that took over for the Bloods and Crips) to find their stolen cat, they’re in the lion’s den of what they fear they’re not: the “blackest” and most manly of men. These are guys — and one woman, Hi-C (Tiffany Haddish) — who use the N-word like it’s a conjunction, and nothing could make Rell and Clarence more uncomfortable. Watching the heroes squirm while strippers gyrate on the poles is absolutely joyous, because for once we get Whoever trained this cat deserves an Academy Award.

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spite how absurd the premise sounds. In Hollywood movies, a hapless hero forced into a situation where he has to kill someone would just do it, and we’d never think twice about the body count. But Clarence and Rell react like regular humans do: scared as shit. Key and Peele never resort to turning their characters into despicable people for a laugh. Maybe I sound like an old woman even thinking this, but it’s damn refreshing to see nice characters in an American comedy again. That brings us to the mind-bogglingly adorable feline. Whoever trained the eight cats that collectively play Keanu deserves an Academy Award. Sure, anyone can film a cat, and America will love it, but director Peter Atencio elevates cat videos to an art form with gorgeous slowmotion tracking shots surrounded by explosions that would make Michael Bay proud. Key and Peele have a special kind of magic they’ve brought to their first feature, but it’s also a crazy-simple formula: keep saving that damn cat.

Keanu Courtesy of Warner Bros. Pictures

Directed by Peter Atencio. With Jordan Peele, KeeganMichael Key, Tiffany Haddish and Method Man. Rated R.

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self. Rell has to sell her a new super-drug and endure her psychopathic rantings to see a man die. Meanwhile, Clarence, oblivious, hangs out in Faris’s driveway in his minivan with the rest of the Blips — Trunk, Stitches and Bud — teaching them of the glory of George Michael until they all break out in song, proclaiming their love for their new “father figure.” Key and Peele somehow infuse an emotional reality into this scene and others, de-

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| film capsules |

Film

OPENING The Meddler — All actors possess their own personal gateway

Christian Desmares and Franck Ekinci’s animated April and the Extraordinary World is a rollicking, old-timey pulp adventure full of chases and the occasional cliffhanger. The picture is set in an alternate history in which the mysterious disappearance of scientists in the late 19th century has resulted in a gray, polluted Paris running on coal and steam rather than still-untamed electricity, and where most scientific advances are in chemistry. In 1941, teenage April (Marion Cotillard) and her talking cat, Darwin (Philippe Katerine), continue the work of her vanished-scientist parents to create an invincibility serum, while the bumbling, Javert-esque police inspector Pizoni

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cably crafted cinematic torture machine — in the best possible way. The premise will make some cringe, while making others giddy: A punk band, trapped in a club in the middle of nowhere, has to fight off a bunch of murderous skinheads to get out. Count me among the initially skeptical. The idea sounds less like a grindhouse classic than a juvenile music video, but Saulnier distinguishes the concept with artistry and expertise. The band is called the Ain’t Rights, and when we meet them they’re struggling through a pathetic tour of the Pacific Northwest, stealing gas for their van. A canceled club gig and a desperate need for cash prompt them to play a backwoods venue attended and run by neo-Nazis. “Just don’t talk politics,” they’re warned. Still, they can’t help but sing the Dead Kennedys’ “Nazi Punks Fuck Off” Things truly get tense, however, after one member of the group walks in on a grisly murder scene backstage. Suddenly, the Ain’t Rights are witnesses, and the whole club has turned against them. The band barricades itself in the green room, desperately trying to figure a way out of the situation. Enter the club’s owner, Darcy (Patrick Stewart), an older skinhead whose efficient, downright reasonable demeanor somehow makes him that much creepier. That tension between unhinged panic and taking-care-of-business cool gives Green Room its unique kick. The blood flows, the limbs fly, the bodies drop and our hardcore poser heroes have to learn to get in touch with their inner berserkers. So does the movie, though its madness is a controlled one. Can a film be both graphic and subtle? Rated R. (Ebiri) A Hologram for the King — Don’t hold it against Tom Tykwer’s A Hologram for the King that its best scene is also its first. As Alan Clay (Tom Hanks) strides down a suburban street singing a modified version of the Talking Heads’ “Once in a Lifetime” (“You may find yourself … without a beautiful house … without a beautiful wife … “), the world around him — the house, car and yes, the wife — vanish into CGI smoke. He wakes up in an airplane, surrounded by pilgrims headed to the Hajj in Saudi

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Arabia. It’s wild, disorienting and unlike anything else in this otherwise contemplative film. But Tykwer likes that sort of thing: grand, stylized, cinematic gestures in pursuit of the subtle and the symbolic. It’s fitting that he’s taken on Dave Eggers’ existential 2012 fable about a 50-something American businessman preparing to present a new 3D teleconferencing technology to the Saudi monarch. The King keeps not showing up, so the salesmen and his young tech-heads are stuck with nothing to do in an empty stretch of desert where a proposed city of the future is to be built. The film remains mostly faithful to Eggers’ story, showing us Alan splitting time between the desert and Jeddah, where he befriends driver Yousef (Alexander Black), Danish consultant Hanne (Sidse Babett Knudsen) and female Saudi doctor Hakim (Sarita Choudhury). We see the languid despair of the country’s youth, the self-destructive hedonism of expats and the sly ways that cosmopolitan elites get around this society’s strict regulations. It’s a fragmented world, and Tykwer revels in the all-consuming unease, sublimating what Eggers made explicit: the joblessness, the debt, the isolation. He captures these themes in flashes, which ironically gives them new power. Rated R. (Ebiri) The Jungle Book — Here’s about as convincing an argument as I can imagine for the existence of the modern Hollywood blockbuster. Disney and Jon Favreau’s The Jungle Book reinvigorates an oft-told tale with star power, technology and calculated charm. The story itself isn’t too dramatically different from the familiar Disney animated film. Our hero Mowgli (Neel Sethi, delightfully vivacious and chatty) is a young boy who’s been raised by a family of wolves ever since the black panther Bagheera (voiced by Ben Kingsley) found him abandoned in the woods. Living as a wolf isn’t easy: Mowgli grows up slowly, can’t resist the temptation to use tools and has to make into instinct the things that wolves just know, like never to stray from the pack. Togetherness is the wolves’ mantra, and Bagheera’s voice-over tells us, “If he was going to survive, he was going to need a people — a people to protect him.” That’s not people, but a people. Superheroes be damned, this is a communitarian blockbuster. Mowgli runs into Kaa the python (Scarlett Johansson), Baloo the bear (Bill Murray) and King Louie (Christopher Walken), an orangutan lording over a small army of monkeys. In keeping with the spirit of Kipling, the structure is largely episodic. That choice could result in tedium onscreen, but it works here, giving us ample opportunity to luxuriate in the cast’s star personas — Walken and Murray get songs. But the true wonder of The Jungle Book lies in what might be called its very blockbuster-ness — the way it fully immerses us in this world, utilizing state-of-the-art effects (the talking, emoting animals look amazing and real) and juggling levity, menace and sweep. Rated PG. (Ebiri) Miles Ahead — Set in that bad patch of the late ‘70s when Miles Davis didn’t much bother leaving his brownstone, Don Cheadle’s Miles Ahead is named for the first of the trumpeter’s epochal collaborations with the arranger Gil Evans, from 1957. But a more accurate title might have come the brace of casually brilliant records Davis knocked out with his first great quintet a year earlier, in 1956: Steamin’ with the Miles Davis Quintet. Relaxin’ with the Miles Davis Quintet. To his credit, Cheadle (who directed, co-wrote and stars) chucks away everything false about the standard musician biopic and instead goes all-in on his subject’s prickly, elusive presence. This could have been named Hangin’ with Miles. The film’s heart, though, is in the basement of Davis’ brownstone, where the musician snorts coke, works

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 Culinary Movie Series: Waitress: On the first Thursday of each

month, Culinary Institute LeNôtre and Kris Bistro screen a movie; complimentary refreshments and popcorn are served. While working as a waitress and dreaming of a better life, a sharp, sassy woman (Keri Russell) makes unusual pies influenced by the circumstances of her life. Friday, May 6, 1:15 and 6:15 p.m., free. Kris Bistro & Wine Lounge, 7070 Allensby, 713-358-5079, facebook.com/KrisBistro. Dark Side of the Full Moon: In recognition of Postpartum Depression Awareness Month, this feature-length documentary addresses the disconnect within the medical community to effectively screen, refer and treat the 1.3 million mothers suffering from postpartum depression. Check-in is at 5:30 p.m., light dinner is provided and CEUs are available; register in advance at mhahouston.org/ events. Wednesday, May 11, 6-8 p.m., $10. The MATCH, 3400 Main, matchouston.org. The First Monday in May: Filmmaker Andrew Rossi follows The Metropolitan Museum of Art’s most attended fashion exhibition in history, “China: Through The Looking Glass,” an exploration of Chinese-inspired Western fashions by Costume Institute curator Andrew Bolton. Features Vogue’s Anna Wintour. See the excitement of fashion and celebrity at the Met Gala, while delving into the debate about whether fashion should be viewed as art. Through May 5, 3:15, 5:30 and 7:45 p.m., $9 to $11. Sundance Houston, 510 Texas, 713-263-3456, sundancecinemas.com. Honor and Duty: The Mississippi Delta Chinese: The Asian Pacific American Heritage Association presents this three-part documentary series in Room 251; for information, visit email ED@apaha.org. Part one (1870-1940) covers the arrival of the Chinese in the Mississippi Delta. Part two (1941-1945) shows Chinese WWII veterans and their families. Part three (1946-present) reveals how they have changed the culture of Mississippi. A question-andanswer period follows the screening. Monday, May 9, 6-8 p.m., free. Chinese Community Center, 9800 Town Park, 713-271-6100, ccchouston.org. Iconic Filmmaker Julien Temple: In Person: Prolific British filmmaker Julien Temple will present and discuss highlights from his filmography. On Thursday, view two films about the Sex Pistols; Friday’s film is Absolute Beginners (see David Bowie dance on a giant typewriter), and Saturday’s is Earth Girls Are Easy. Thursday, May 5, 7 and 9 p.m.; Friday, May 6, 6 p.m.; Saturday, May 7, 6 p.m., $9. Museum of Fine Arts, Houston - Brown Auditorium Theater, 1001 Bissonnet, 713-639-7515, mfah.org/films. Screen on the Green: Mulan: Contests and activities begin one hour prior. Bring blankets and lawn chairs (but no alcohol), although beer and wine are available for purchase. This week’s movie is the animated Mulan, based on an ancient Chinese poem. Saturday, May 7, 8:30-10 p.m., free. Discovery Green Conservancy, 1500 McKinney, 713-400-7336, discoverygreen.com. ¡Three Amigos!: In celebration of Cinco de Mayo, Alamo Drafthouse Rolling Roadshow brings this comedy about three silent film stars mistaken for real heroes. Stars Steve Martin, Chevy Chase and Martin Short; rated PG. Food and vendor trucks are on site. Thursday, May 5, 7 p.m., free. Market Square Park, 300 Travis, 713-224-6133, houston.com.

May 5 - 11, 2016

April and the Extraordinary World (Avril et le monde truqué) —

Green Room — Jeremy Saulnier’s Green Room is an impec-

A Hologram for the King

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into becoming a character. Some require deep memory mining (method). Others require lengthy conversations with the director about seemingly unrelated philosophical topics. And some just need a single physical characteristic around which they can develop a character’s entire being. Susan Sarandon is a rare breed who employs the tactics of a character actor -- being comfortable playing her “type” -- while also doing the heavy lifting of a lead who has to transform into someone very far away from her own personality. Sarandon’s turn in writer/director Lorene Scafaria’s indie comedy The Meddler might just be the perfect showcase for her particular talent. At the outset, the voice-over from meddling mother Marnie (Sarandon), leaving the first of many messages for her daughter Lori (Rose Byrne), feels off because of an overly pronounced New Jersey accent that sounds a little forced from Sarandon’s familiar voice. But the moment Marnie’s words connect with Sarandon’s face, the character is real, and we see this middle-aged woman jaunting around the tourist hot spots of Los Angeles, avoiding difficult discussions about her husband’s death while dispensing advice in sentences starting with “You should…” and “What you have to do is…” It’s a fun and funny movie that delivers an honest portrayal of a mother-daughter relationship and the heartache that comes not just from losing someone but from moving on after they’re gone. Unfortunately, it’s not flawless. Making an ultimately positive movie means the possibility of inconceivable gooey sweetness. Scafaria walks the line by giving Lori acerbic tantrums to offset Marnie’s overbearing goodness. When Lori’s not in the picture, the film suffers. Rated PG-13. (April Wolfe) Papa: Hemingway in Cuba — In his first scene of this strained biographical drama, Ernest Hemingway says, “I got your letter. It’s a good letter.” Then: “Do you like to fish?” And then, when Giovanni Ribisi’s Hem-dazzled reporter shies away from the chance to pilot Papa’s boat: “Kid, the only value we have as human beings are the risks we’re willing to take.” It’s like Hemingway himself is competing in one of those Bad Hemingway contests, trying to out-terse, out-truth and out-man all comers. That is, until he’s unmanned toward the end. In a caustic — but unconvincing — dustup with wife Mary (Joely Richardson), Adrian Sparks’ Hemingway actually has to dash about with a revolver and yawp, “There’s nothing for me in this life anymore! I can’t write! I can’t fuck!” The script is based on screenwriter Denne Bart Petitclerc’s actual experience befriending the author, but words that might have lived in real life here die on the screen. The familiar story of a fan dismayed to see the sad truth of an icon gets filled out with some prerevolution skullduggery: The FBI and the Mafia pressure Ribisi’s reporter to betray Hemingway, whom they suspect of weapons smuggling. Meanwhile Castro’s insurgents lead assaults in the background, inspiring Hemingway to proclaim, “Goddam war!” But all that’s background to the hero worship/idol smashing, with the Cubans barely present, and the reporter’s lover (Minka Kelly) showing up at the finale to declare she’s not an “accessory” despite not having clocked 10 minutes of screentime. The sunsets are gorgeous — the film was shot in Cuba — and Ribisi is suitably conflicted, and Sparks’ Great Man is at first touchingly deflated. Rated R. (Alan Scherstuhl)

his heavy punching bag and waits out the (literal and figurative) disco party raging upstairs. Still, even guttered, Davis fascinates, and Cheadle’s tender eyes and scraped-raw whisper prove potent. Sometimes Davis’ attention slackens and the film vaults into his past, to memories centered on Frances Taylor, the ballerina and Broadway star who married Davis in 1958. Early flashbacks celebrate her dancing, kick at the racism of the uptown arts world and — in a scene of strong, earthy passion — honor these icons’ lovemaking. History demands that Miles Ahead move on from that reverie, and soon, with too little context, we see Davis turn controlSiffedine Elamine ling, paranoid and violent toward her. In the present Ewan McGregor turns up as an eager-beaver reporter who gets caught up in chases with goons hired by a Columbia Records exec. The worst of these scenes plays out like Adventures in Babysitting: Miles Davis Edition. Rated R. (Scherstuhl)

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(Bouli Lanners) pursues them. And then things get weird. April and the Extraordinary World is based on the work and style of French graphic novelist Jacques Tardi, though not any specific book, and the script is by the creators of the original Snowpiercer graphic novel; the result is an all-too-rare example of steampunk done right, while also acknowledging that however pretty such industrial imagery might seem from afar, actually living in such a world would be kind of horrible. (Watch for the Dalek cameo.) Perhaps most importantly, the cat talks! And though there’s a good story reason for it, like many other things in the film, it’s downright extraordinary. Rated PG. (Sherilyn Connelly) Batman v Superman: Dawn of Justice — Thunderous, ponderous, and occasionally exciting, Zack Snyder’s Batman v. Superman opens with one of those grim proclamations that the creators of modern superhero movies are so fond of: “There was a time above, a time before,” intones the voice of Bruce Wayne (Ben Affleck), over a childhood flashback to his parents’ death at the hands of a mugger. He continues: “But things fall apart, things on Earth, and what falls…is fallen.” Look, the guy’s a masked vigilante, not a philosopher-poet. Unfortunately, that’s just what Batman v. Superman keeps trying to turn him into. And not just Bruce Wayne, but nearly every character in this ultimate superhero match-up gets reams of dialogue about good and evil and man and god and virtue and sacrifice and our fallen, fallen world. By the time Kevin Costner shows up to relate a folksy memory about some drowning horses (don’t ask), you might find yourself stifling giggles. But laughing — seemingly ever — is the last thing Snyder wants you to do. The director clearly wants his film to mean something. For much of it, Superman (Henry Cavill) is treated as an absolute — more a philosophical conundrum than a man. The script draws explicit connections between him and drone warfare, and there are endless discussions about whether we can trust one person to have all that power. As the heroes’ differences get egged along by young, irritating tech billionaire Lex Luthor (played by Mark Zuckerberg himself, Jesse Eisenberg), the film spends much of its first half in both literal and figurative slow-motion, as characters mutter and mull and ponder these issues, often in the least compelling ways. Rated PG-13. (Bilge Ebiri)

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s Green Room is an impecre machine — in the best l make some cringe, while band, trapped in a club in ight off a bunch of murdernt me among the initially s like a grindhouse classic t Saulnier distinguishes the rtise. The band is called the et them they’re struggling Pacific Northwest, stealing club gig and a desperate o play a backwoods venue s. “Just don’t talk politics,” n’t help but sing the Dead Off” Things truly get tense, he group walks in on a grisly denly, the Ain’t Rights are b has turned against them. e green room, desperately e situation. Enter the club’s ), an older skinhead whose demeanor somehow makes ension between unhinged ness cool gives Green Room s, the limbs fly, the bodies heroes have to learn to get erkers. So does the movie, led one. Can a film be both Ebiri) old it against Tom Tykwer’s t its best scene is also its ) strides down a suburban sion of the Talking Heads’ ay find yourself … without a beautiful wife … “), the use, car and yes, the wife wakes up in an airplane, ded to the Hajj in Saudi

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And then things get weird. d is based on the work and ist Jacques Tardi, though e script is by the creators phic novel; the result is an punk done right, while also etty such industrial imagery iving in such a world would the Dalek cameo.) Perhaps And though there’s a good other things in the film, it’s ed PG. (Sherilyn Connelly) ce — Thunderous, ponder, Zack Snyder’s Batman v. those grim proclamations superhero movies are so ve, a time before,” intones Affleck), over a childhood h at the hands of a mugger. apart, things on Earth, and e guy’s a masked vigilante, rtunately, that’s just what ng to turn him into. And not ery character in this ultimate ms of dialogue about good virtue and sacrifice and our Kevin Costner shows up to me drowning horses (don’t ifling giggles. But laughing thing Snyder wants you to is film to mean something. nry Cavill) is treated as an cal conundrum than a man. ections between him and endless discussions about on to have all that power. As ed along by young, irritating ayed by Mark Zuckerberg ilm spends much of its first slow-motion, as characters ese issues, often in the least . (Bilge Ebiri)

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Stage

Hellzapoppin’

Houston Press May 5 - 11, 2016

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Month XX–Month XX, 2014

though she doesn’t really want to. Would Pastor Paul have given his sermon bedon’t know in what fore the church had paid off church actor Shawn its debts? If someone murHamilton (a.k.a. assodered her son, would both ciate pastor Joshua) of them get into heaven? For will be preaching afa kicker, she asks about Hitter he leaves the megaler. Will he be there? Taken church depicted in Lucas aback, Paul sidesteps but Hnath’s The Christians, but none too agilely. He has to I’ll be there in my Sunday say, yes, he too will be there. best as one of his new conBut Heaven is not what we gregants. His Joshua has can imagine; it’s not for us to passion, conviction and judge. We cannot comprefervor enough for a pulpit hend what it is. Pritchett full of Billy Grahams and handles Jenny with conJoel Olsteens. summate skill, giving perAlthough only one out haps her best performance of five characters in in many seasons. Simple Hnath’s catholic dissection and direct, her Jenny is pure of Christianity — and not of spirit, then terribly brothe play’s primary role — kenhearted by Paul’s doctriHamilton shakes the rafnaire intransigence. ters, raises the roof and One by one, they walk scares the bejesus out of out of the church, out on this woeful sinner. If the Paul, leaving behind only rapture’s coming, I want to wife Elizabeth sitting on be on his side. Pastor the dais as ally, but she, too, Joshua is all hellfire and confronts him. No longer brimstone and, truth be the little lady in her crisp told, I may not believe anysuit, she feels betrayed and thing he believes, but John Everett abandoned. Betrayal looks Hamilton’s so almighty convincing that it’s hard to (L-R) Shawn Hamilton as Associate Pastor Joshua, Emily Trask as Elizabeth, the Pastor’s wife, Richard Thieriot as Pastor Paul and great on Trask. Why didn’t he confide in her before disagree with him, and aw- Jeffrey Bean as Jay in The Christians. making such a public, if fully hard not to admire heartfelt, declaration? Where is his trust in lissa Pritchett), business interests (Elder Jay, Palace. The idea of witnessing is strong, like him. He’s so damned authentic, his confronher? What else hasn’t he told her? What else Jeffrey Bean) and personal life (wife Elizasome sort of public confession, as inner and tation scene burns with inner intensity. He’s is he hiding? beth, Emily Trask), try to make sense out of outer thoughts are openly projected to all. It’s got fire inside. Everybody else has embers. The weak link is Thieriot, whose converPaul’s blasphemy. He has “cracked the bedA current darling of the off-Broadway crowd a gimmick, but somehow it works in this sion reads more smug than true. Paul has rock” of the church, as he preached in his churchly venue cum reality show. Even stage (Isaac’s Eye; A Public Reading of an Unproduced taken a penny-ante storefront and turned it opening remarks. If there’s no hell, they will directions are spoken aloud by the main charScreenplay About the Death of Walt Disney; Red into “thousands of seats, classrooms for Sunargue with Paul in individual scenes, what’s acter, pastor Paul (Richard Thieriot), who Speedo, which premiered last month in New day school, a baptismal font as big as a swimthe use of Christianity? If we all go to heaven, prods the discussion with mundane “he said”s York; and Hillary and Clinton, which premiered ming pool.” Which is all fine, but we don’t no matter how heinous we’ve been on earth, and “then she said”s. It’s artificial, to say the last week in Chicago), young playwright Hnath believe Thieriot did it. His Paul doesn’t burn why bother being good at all? What happens least, but surprisingly good theater too. When (pronounced “nayth”) knows his Bible, and he with any conviction whatever; he hardly to shame? To guilt? To charity? did you ever see a play performed entirely by turns his play into a meta-sermon taking place Paul rebuts the charges like any decent pro- smolders. Complacent and slightly smarmy, actors talking into microphones? in a sparkling-clean megachurch like our own he’s a charismatic preacher without chafessor of comparative religion. The concept of Paul begins his sermon. And that’s when Lakewood down by Greenway Plaza. A celestial risma. His faith has feet of clay. hell’s been mistranslated. The historical anteall hell breaks loose. Paul has had a converharmony of blond wood, potted shrubbery, Hnath doesn’t play favorites and doesn’t cedent was Jerusalem’s garbage dump, where sion, an epiphany. Is he a contemporary St. azure-tinted rugs and cushions, James YouPaul on the road to Damascus? Maybe, maybe all criminals’ bodies were dumped after execu- tell us how to react, since all opinions are mans’s set design is plummy neo-ecumenical. treated with equal reverence. Director Gregtion. It was an ancient metaphor. He’s clever, not. There are layers, if not especially deep The stained-glass is abstract — no patriarchs or ory Boyd keeps the equilibrium nicely balno doubt about it, but offense is swiftly taken. ones, in Hnath’s own sermon. representations of Bible stories. You may not Incensed, Joshua demands a vote by the mem- anced. There are no villains, no heroes. A missionary in war-torn Africa has told even realize you’re in a church except for the Everything’s open-ended, fit for a lively Sunbers. Who is on the Lord’s side? Joshua loses Paul about a teenage boy who ran into a mammoth two-story back-lit cross: Dan Flavin day school symposium. The ending is approthe battle, and in high dudgeon walks out, losburning hut to save his little sister. The boy goes to heaven. And then there’s the choir, who priately ambiguous. As a play of ideas, The ing his job. Elder Jay tries reason as the coffers died. Because he wasn’t a Christian, his soul proceed into the bleachers as the lights go Christians leaves us with much to discuss, if litdry up. If the basic tenets of the church mean naturally went to Hell. Paul is aghast at this down, and rock out to a Top-40 gospel number tle actual drama. Whether you’re going to Hell nothing, what’s to keep the congregants filling callousness. Surely this isn’t the message of to get us in the Sunday mood. or always wanted to play the harp, there’s the pews and, referencing the bottom line, givGod. God is goodness and mercy. Heaven Although the play is set in the “21st cenplenty to think about — you’ve got an eternity. ing money? Full of righteousness, Paul diswill be filled with everyone, not only Christury,” microphones — and their sinuous cords misses him, too. tians. And that is what he preaches today. — play as important a role as any actor. All five Working-class Jenny, a surrogate for us, it There is no Hell! characters hold their own mikes (no wireless The Christians seems, strikes closer to home. She steps out of The four other characters, who stand in in these modern churches?) and maneuver Through May 15. Alley Theatre, 615 Texas. the choir to read her disapproval letter, alfor clergy (pastor Joshua), laity (Jenny, Methose tortuous cords like Judy Garland at the 713-220-5700, alleytheatre.org.

Houston Press

By D.L. Groover

What happens when a preacher chooses another path but not all of his followers want to go with him?

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| Stage CapSuleS |

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Capsule reviews byJessica Goldman Dollface Medusa was slut-shamed. That’s the premise of

Katharine Sherman’s new play Dollface, a smart, quirky and at times poetic reimagining of the Medusa myth, one that borrows heavily from the classic tale while also speaking to our present culture of sexual assault and victim blaming. “Because you don’t want to be rigid. Because you don’t want to seem frigid. You let your guard down. What could go so wrong?” These are the anodyne thoughts going through young Medusa’s (Arianna Bermudez) beautiful head when a secret admirer invites her to the party of the year on the mainland. She doesn’t really want to go. She’s not terribly interested in the gifts he keeps sending her that wash ashore on her island (a small square dais in the middle of the stage surrounded by craggy rock steps). Flowers, candy, a Victoria’s Secret gift card — they all arrive by sea, much to the excitement of Medusa’s sisters, Sthenno (Susan Ly, almost upstaging the uniformly strong cast with her hilarious Steve Urkel-like performance) and Euryale (Monique Holmes), who are far more boy-crazy and impressed by the wooing than Medusa is. “Dude,” the sisters shout, you have to go to the party; he bought you stuff. He invited you! But this is Medusa as she once was. Sherman, with director Jacey Little’s authoritative finesse, wants to make sure we get the whole picture, so she starts us off as Medusa now is. Living in darkness, alone on her island, hissing snakes in her hair, a cursed woman. It’s only when Perseus (Josh Duga) arrives to slay her (“I came to kill you, but…um…I’m not supposed to hit a girl, right?”) and hesitates that Medusa regales him and us with her tale of assault, shame and excommunication. A rape may happen between two people, but it takes a community to deal with the fallout. Sherman echoes this notion by populating her play with a female chorus (Elizabeth Seabolt Esparaza, Regina Ohashi and Callina Situka) to amplify the play’s heightened emotions. They writhe and undulate in shadows, creating Medusa’s hissing strands of hair. They spout dated ad slogans as the girls get ready for the party (“You are in a beauty contest every day of your life”). Most disturbingly, they admonish poor Medusa post-rape with language we’re unfortunately all too accustomed to hearing. “We’re not saying you were responsible exactly, but what were you thinking?” “A pretty thing like you, you know what he wanted to do.” “Slut.” The chilling result is an uncomfortable surround-sound effect of shame and blame.

| art CapSuleS |

Art

“Canon” As a child, Peru-born Juan José Barboza-Gubo

May 5 - 11, 2016

Houston Press

Capsule reviews by Randy Tibbits and Susie Tommaney

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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

Just as effective as the chorus is in evoking our disturbance is the Andy McWilliams sound design. McWilliams takes us from party mode, in which the girls dance gleefully to Kesha (wink wink for those following the news) and Taylor Swift, to a remarkable acoustic depiction of what it feels like to have something slipped into your drink. Medusa is dancing with her sisters when suddenly the music slows to a nauseating crawl. She begins to lose her balance and tries to remain upright. Music back again to full speed as she attempts to brush off the feeling and dance. Music once again slowed down as she staggers in a kind of alternate-reality state. The party tunes play on as she finally collapses. Little never shows us the actual rape. Or Poseidon, for that matter. And that feels right. It’s not about the act or the assailant. Sherman is writing about the victim and what happens afterwards, and she does so with a deft ability for evocative language, an ear for modern courtroom victim-blaming and a clever way of merging the myth with the modern. Photos were taken of Medusa. Everyone on the mainland has seen what a “slut” she was that night. Yes, she seemed to have passed out, but so what? She probably asked for it. I don’t want to give too much away here because the effect employed is wonderfully clever and arresting, but let’s just say that you’ll never think of a message in a bottle the same way again. Nor will you question the damaging power of social media to further victimize one who has been raped. Meanwhile, poor Perseus has spent most of the play muted and tied to a post, watching the flashback scenes take place. He’s learned what happened, how Medusa came to be the monster she is today, and he comes to understand what turned all those other men to stone. (Hint: It’s not what we thought it would be.) Now able to speak again, he must decide, whether to kill Medusa or to show mercy. Fight or flight. We hold our breath and watch. Through May 14. Studio 101, 1824 Spring Street, mildredsumbrella.com. — JG Heathers They made the 1989 movie Heathers into a musical. With book, music and lyrics by Laurence O’Keefe, best known for composing Legally Blonde, and Reefer Madness author Kevin Murphy, the potty-mouthed, politically incorrect and morbidly dark teen comedy is back in our lives. At the heart of the story is the high school clique, with its power to include and exclude and the resulting emotional (and in this case) physical trauma it causes. Our heroine, Veronica, is part of the popular group of four girls (three of whom are named Heather) at Westerburg High. But while Veronica is part of the clique, she’s also secretly appalled by their sadistic and pointlessly cruel behavior toward each other and everyone around them. So much so that when she meets J.D., a rebel who’s just moved to town, she joins with him in a plot to murder her friends and disguise the killings as suicides. The musical is not an exact replica of the film. But then, did we

really expect that it would be? Remember, folks, Heathers was made ten years before America’s first massive school shooting and in an era where teens weren’t being bullied to death on social media, rape was something that happened to other people and homosexuality was still a tee-hee moment for many folks. The good news is that much of the un-PC stuff we loved about the original is still there — teenage suicide, bullying, homophobia, slut shaming, fat shaming, sexual assault, eating disorders and the blowing up of a school full of kids — yup, it’s all in there. Sure, some sharp corners have been rounded off, but it doesn’t take away from our guilty enjoyment at watching teens behave very badly. Smartly, O’Keefe and Murphy start the show before Veronica became friends with the Heathers to give us insight on why this smart and decent girl was driven to become popular and how that drive led her to murder. On a two-story stage simply but effectively clad in rows upon rows of lockers, the strong opening number, “Beautiful,” sets up the horror that is the high school experience for anyone who isn’t popular. Rather than suffer further loser hell, Veronica (a splendid McKenna Marmolejo) uses her note-forging ability to woo her way into the Heathers gang. But life at the top isn’t all that much better. Leader of the clique Heather Chandler (Kathryn Porterfield, having the bad-girl time of her life) wields her nasty rule over Veronica and the other two Heathers, Heather Duke (Chelsea Stavis, nicely channeling a miss bossy wannabe) and Heather McNamara (Natalie Coca, with a voice like an angel). Enter J.D. (Mason Heathers Butler), the new, mysterious, brooding kid in school, who may look like the role Christian Slater made famous, but this is a J.D. different from the one in the movie. Gone are the upfront malice and intensity that Veronica was both attracted to and scared by. O’Keefe and Laurence instead give us a J.D who is more of a broken soul, lovesick for Veronica and willing to do anything to make her happy. When Veronica tells J.D that she hates her friends, especially Heather Chandler, who has recently shamed her in public and kicked her out of the clique, J.D’s suggestion of murder disguised as suicide is more mettle than malevolence. Still, the dynamic between them works, albeit it’s not as much fun as watching Veronica come under the seductive spell of a true mind-game-playing bad boy. “My teen angst bullshit has a body count,” writes Veronica in her diary after the duo poison Heather Chandler and later shoot jock heads Ram and Kurt (played with excellent

frat-boy idiocy by Andrew Carson and Thomas Williams) for spreading false rumors about their sexual escapades with Veronica. In the new musical version of Heathers, it’s the Ram and Kurt plotline that steals the show with testicular numbers like “Blue,” in which the boys whine about their thwarted attempts at sexual assault and their funeral scene in which their homophobic fathers declare, “I love my dead gay son!” to the audience’s cheers. Here Shay Roger’s go-big-or-go-home choreography and Marley Wisnoski’s darkly comedic direction, solid throughout the show, bring down the house. After all the amped-up fatal frenemy fun we’ve been having, a little turn for the serious is a welcome breather, and we get it with three numbers in the latter half of the show. “Seventeen” is a hummable ballad expressing Veronica’s and J.D.’s wish to lead a stress-free

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 Europe and the United States in the 1920s and 1930s, but it sparkles nonetheless. It may be the dresses,

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 “High Society: The Portraits of Franz X. Winterhalter” may make even butch guys think about putting on dresses and waltzing in the flicker of candlelight. Dressing up would certainly be worth it to be remembered the way Winterhalter’s sitters are depicted — but even in 19th-century Paris, where he flourished, his brush was reserved for kings and queens, emperors and empresses — and occasionally for the merely very, very rich. Though he was born a humble German provincial with a shady background, by mid-century he’d become the virtual court painter of Emperor Napoleon III and his beautiful Spanish Empress, Eugénie. He’d already painted scores of portraits for Queen Victoria of England and her family. He joined a rare group of ultimate portraitists that includes Rembrandt, Van Dyck, Velázquez and, more recently, John Singer Sargent and maybe Andy Warhol — artists whose portraits defined their age. Painting after painting in the exhibition makes clear why, especially those flowing with miles of satin and silk, ribbons and lace, flowers and jewels, executed with a near magical brush, able to make even the — as some might say — plain Victoria, if not beautiful, at least charming. It was an ability that left him much in demand in all the royal courts of Europe. And what becomes a Winterhalter sitter most? A gown by Worth, of course. That would be Charles Frederick Worth, an Englishman who moved to Paris in the 1850s and founded haute couture fashion. The two foreigners worked in tandem, if not quite hand in hand, to give royalty (and wealth in general) a look befitting its status; how nice that their creations are being shown together in the galleries. It’s worth noting that a Spanish

empress, a German painter and an English dressmaker gave the look to the French Second Empire. Just goes to show that globalism isn’t anything new, and has never looked better. Through August 14. Museum of Fine Arts, Houston, 1001 Bissonnet, 713-639-7300, mfah.org. — RT “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. 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. Through July 3. 1370 Southmore, 713-496-9901, asiasociety.org/texas. — ST

VISIt HOuStONpreSS.COM FOr aDDItIONal art aND Stage COVerage 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

Christian Brown

and happy teen life. “Lifeboat” is Heather McNamara’s hauntingly emotional portrayal of her fear and loneliness as she struggles to remain afloat in popularity. Most affecting is “Kindergarten Boyfriend,” loser-girl Martha’s (a sweetly mousy Casey Gilbert) suicidal lamentation of romantic/ social dreams not realized. In the end, after Veronica breaks up with J.D. and his murdering ways and after she saves the school from his final vengeance, O’Keefe and Laurence smooth off one last corner for us. Despite his attempt to blow the whole school to hell, J.D. is allowed some redemption in his number “I am Damaged.” It seems we’re to believe that J.D. — rather than being a bad seed bent on violent destruction at all costs — is simply a lost soul in need of TLC. How very, as the Heathers would say. Through May 8. The Hobby Center for the Performing Arts, 800 Bagby, 713-558-8887, tutsunderground.com. — JG

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Cafe

Luck of the Draw

By Nicholas l. hall

Photos by Chuck Cook

Deuce was basic and boring, with a tightly formed and slightly springy patty lacking any serious beef flavor or flood of beefy juice. I’m equally confused that, until that Cadillac, the best burger I’d had was the most overwrought — and most expensive — one on the menu. A towering example of excess, The Imperial is exactly the sort of burger I tend to avoid. Usually, the relationship between quality and excessive topping on a burger is (sort of ) inversely proportional. There’s a sort of uncanny burger valley, where the more tasty stuff you put on a burger the better, until you reach a point where you’ve gone too far, the result teetering into the ridiculous. That’s fully what I expected here, but not quite what I got. All of the pieces fit together into an ungainly but effective whole. The haphazard, kitchen-sink stacking of mac and cheese, crispy onion strings, bacon chunks, roasted poblanos and a fried egg should have overwhelmed the half-pound burger, despite its custom short rib/brisket grind. It did overwhelm, but somehow everything came together. Still, you shouldn’t have to spend close to $20 and deploy nearly everything in the kitchen to get a decent burger on a menu full of them. I’m frustrated that the gargantuan chicken-fried steak, looking every bit the part, didn’t consistently live up to the promise of its expanse of rippling crust. Served spilling over the sides of a quarter-sheet pan, the mammoth steak was a visual stunner. Unfortunately, one visit’s CFS was all bark and no bite, its craggy, rippling edges writing checks this CFS just couldn’t cash. Edged by flabby crust, it was an exercise in disappointment writ large, enough to make me loathe our unofficial state motto. Better is better, y’all. Among the litany of issues: The thing was woefully oversalted; the crust had no adhesion, slipping off the encased beef at the slightest suggestion of effort; too many bites wound up beefless, many by virtue of the aforementioned skin-shedding, but just as many seemed to have come that way directly from the fryer, making me wonder exactly what proportion of the giant steak was actually just batter, there for the sake of a Texas-size illusion of grandeur.

On the next visit, I actually enjoyed the steak. The rippled and craggy crust adhered well to the beef underneath; a thin sheathing, not a gummy morass, with the kind of satisfying crispness a good CFS needs. The salting issue was mostly gone as well. It was downright odd how much different this steak was from the downright insulting version I received on my first visit. I don’t know if it was praise by association, but even the mashed potatoes seemed better, with a pleasantly rough-hewn texture and a sure garlic note. A crisply coated bite of steak, topped with a dollop of mashed potatoes and dragged through the barrel of simple, black-pepper-bitten cream gravy, proved beguiling enough to make me wonder what had happened that first go-round. Confusing. Frustrating. I’m confused and frustrated that something so seemingly simple as a side of fried pickles with homemade ranch could show similarly split personality. On one visit they were dry and too-thickly breaded, with none of the vinegar tang and swagger that makes fried pickles taste like something other than just generic fried stuff. Later, they were thinly coated and vibrant. I still would have liked a thicker-cut pickle with a more assertive twang, but the two orders were worlds apart. >> p32 Grafitti’s at Union st. 2003 Union Street, 713-869-7000, grafittisburger. com. Hours: 10:45 a.m. to 10 p.m. Mondays through Thursdays; 10:45 a.m. to 11 p.m. Fridays and Saturdays; 10:45 a.m. to 9 p.m. Sundays.

Fried pickles $6.95 The Deuce burger $11.95 The Studebaker burger $14.95 The Cadillac burger $14.95 The Imperial burger $17.45 Super Bee $14.95 The Javelin $9.95 The Duke Platter (CFS) $15.95 Milkshakes $4.95

ay 5 - 11, 2016 MonthM XX–M onth XX, 2014

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If you’re ordering a burger, your best bet is the Cadillac.

Houston Press Press Houston

Under that thick, crunchy mantle, the burger was deeply am confused by and frustrated with Grafitbeefy, and juicy deti’s at Union st. I am confused by the dual spite the default-meconcept, only one-half of which ever dium cook, the patty seems to be open. Across several visits, the loosely formed and odd little tucked-away “lounge” was delightfully craggy. empty of both customers and staff. I might have Sweet and tangy rolled the dice with a Sazerac or an old-fashbourbon sauce highioned, but the bartender never seemed to be in. lighted the burger’s In fact, it feels like he’s never been in, like the meaty oomph, amplibar has never had patrons belly up for a couple fied by the savory of “vintage cocktails.” Though the rails and punch of sautéed back bar broadcast the right message, it feels like a simulacrum, like a recorded greeting play- mushrooms. Grilled onions, tender yet still retaining just a hint of ing in an empty room. gentle crunch, added their own layer of savory I am confused because that very lounge sweetness. Even the golden-domed, just-softfeels so very much at odds with the familyenough poppy seed bun worked well, softening friendly roadhouse shtick at play in the main just right without tearing or turning to mush space, where the environs traffic in the artiunder the onslaught of beefy-saucy drippage. fice of Route 66 nostalgia. I suppose that artifice is their main connection, both feeling like Each element stood out, identifiable among the many components, yet melding together into an airport departure lounge replicas of someone altogether delicious whole. else’s memory. Still, I wouldn’t mind eating I can’t say the same for the other burgers. Alon a soundstage left over from The Langoliers most no matter which I tried, everything if the food fared better. smoothed together into an indistinguishable That’s where Grafitti’s gets frustrating. I am amalgam of dense, heavy flavors. Nothing stood frustrated that it was only on my final visit — arout, but neither did things blend together harranged after my original deadline just so I could moniously. Despite the different names and demesh the conflicting results of previous visits — scriptors, it’s hard to recall individual that I finally received what I can call an uncharacteristics of any of them without good equivocally good burger. It was a Cadillac, notes and a look back at the menu. enthusiastically recommended by the man beI suppose the Studebaker burger came with hind the counter. I had intended to repeat a prerémoulade (though it tasted more like Thouvious order, as a means of calibration. I’m glad I sand Island, and a sweetish, heavy rendition at didn’t. Had this burger defined my experiences that), and I suppose the patty got a shake of here, Grafitti’s would get high marks. blackening seasoning before its hard-turn on Decked out in a sweet bourbon glaze, grilled the griddle, making it the most flavorful burger onions, sautéed mushrooms, roasted tomato, ordered one evening. I suppose it had a scoop of cheddar cheese and mayo (the latter two slaw, limp and listless though it was, but those smoked, the menu tells me), it was by far the are just words lifted from careful mental notes best thing I ate here. The patty came wellmade while examining the burger and its menu crusted (the only thing for which Grafitti’s description, not sense memories culled from burgers get consistently high marks), its aggresactually eating the thing. The memories themsive griddling adding both flavor and texture. selves are dull and plodding, heavy and vague, weighed down by fried toppings (were there both fried pickles and fried onion strings?), struggling for air. I’m confused that a simpler burger, avoiding the traps of overmatched beef, fared no better. Had it been the undressed version of that Cadillac I finally received, I’d have been quite happy. Instead of being straightforward and satisfying, The The lounge at Grafitti’s at Union St. is often empty.

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Depending on what day you show up, grafitti’s at union st. can be great, or just greatly disappointing.

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Luck of The Draw from p31

So, too, with the ranch dipping sauce that accompanies many of the fried items. The first order was pale and wan, with no buttermilk backbone and little herby zip. A subsequent serving was punchy and assertive, with a sure edge of buttermilk and a nice herbal kick. The rest of the menu is of similarly split personality. A fried-chicken sandwich, done in the crunchy-coated Southern style, proved one of the best things on the menu, with a gracefully fried coating and the herbal punch of dill in what we’re told is “spicy mayo” providing a nice hit of freshness. I even liked the paving of smoked gouda and the double punch of fried pickles and onion strings, which added layers of textural interest. It was clean and well-proportioned, revelatory compared to that evening’s lackluster burgers. Then there was the Javelin, a foot-long allbeef dog crowding its quarter-sheet pan that proved the polar oppoA frIedsite. Served on a bun far ChICken too yielding for the SAndwICh blanket proved one overwhelming of semi-melted cheddar of The beST cheese, the dog also ThInGS on piled on chili, chopped onions, “Texas pepper The menU. slaw,” smoked mayo, Dijon mustard and horseradish. It was a mess of clashing elements, never really coalescing. The hot dog itself was good, and well-grilled for some nice crunchy charred bits, but came adrift amid all that other stuff. For all that excess, though, the kitchen was oddly stingy with the chili. Find a sturdier bun, swipe the dog with mustard, chili and maybe even some of that slaw (here, it added an admittedly nice, necessary burst of acidity and a bit of crunchy contrast), and reduce the smothering blanket of cheese, and this might be a fine dog. Of course, when you’re asking ten bucks for a hot dog, I can understand the urge to gild the lily. I remember balking at an $8 hot dog at nearby Good Dog a couple of years ago, but those proved their worth at their price point. This one doesn’t. An appealing-sounding banana pudding milkshake had muddy, artificial flavors and a saccharine edge, while an Oreo Cookie shake proved clean and well balanced, with delightful chunks of cookie strewn throughout. It’s an odd thing when even the milkshakes turn Jekyll and Hyde, especially at a place where milkshakes seem to get top billing. Which brings me to my final point of confusion and frustration, and that’s exactly what kind of place Grafitti’s wants to be. It’s a “familyfriendly” burger and dog joint that will set four folks back a neat $60 or so before tax and tip. It’s a menu of fried standbys that frequently fail to deliver. It’s a speakeasy lounge that’s never open. It’s a beer and cocktail menu that only occasionally appears, leaving unknowing guests to think the tap options far more limited than they actually are (though good luck getting that cocktail). It’s a different restaurant each time you go, swinging like a pendulum between truly disappointing and surprisingly delicious. Even if you hit the middle of the arc, I’m not sure middling burgers — burgers that settle in as some of the priciest burger-joint burgers in the city, no less — warrant aiming for what passes for a confusing, frustrating sweet spot at Grafitti’s.

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| Eating...our words |

Cafe

Dining Out Where to eat in houston this

Mother’s Day. Brooke Viggiano

how your love and appreciation by treating the mothers in your life to a special meal. From elegant prix-fixe feasts to family-friendly brunch buffets, here’s where to dine in Houston this Mother’s Day: Artisans Restaurant, 3201 Louisiana, 713-529-9111

This elegant French restaurant will be serving a six-course meal from 11 a.m. to 3 p.m. for $95 per person. Indulge in dishes such as house smoked salmon roulade, mushroom and goat cheese ravioli, and butter-poached lobster.

MOTHER’S DAY GUIDE

Aura Brasserie, 15977 City Walk, 281-403-2872

Enjoy an elegant Mom’s Day three-course brunch ($45 per person) from 11 a.m. to 3 p.m. Highlights include pork belly and diver scallop, loaded lobster bisque, braised lamb shanks, duo of flounder and Mediterranean sea bass, and crème brûlée. A children’s menu, featuring pasta, petit filet or sliders with soda and dessert, will be available for $15.

Backstreet Cafe, 1103 South Shepherd, 713-521-2239

Chef Hugo Ortega will offer a special threecourse menu from 10 a.m. to 3 p.m this Mother’s Day ($48 per person, $15 per child). Enjoy dishes such as roasted cauliflower risotto, shrimp and grits, Southern fried chicken and gingerbread waffle, and rhubarb strawberry cobbler, as you treat your ears to live jazz by Bob Chadwick. The restaurant will also be offering a three-course Mother’s Day weekend dinner tasting menu on Friday, May 6, Saturday, May 7 and Sunday, May 8. Highlights include lump spring vegetable salad, crab cakes with red pepper beurre blanc, grilled beef tenderloin with truffle butter, and a chocolate and caramel tart with passion fruit ice cream. Cost is $45 per person plus beverage, tax and gratuity.

May 5 - 11, 2016

Houston Press

Bistro Provence, 13616 Memorial, 713-827-8008

Enjoy a three-course, multiple-choice Mother’s Day lunch menu full of seasonal French treats for $39 per person. Guests can choose from dishes such as goat cheese and tomato confit tartelette, duck à l’orange with spring vegetables and crème caramel. Brunch will be offered from 11:30 a.m. to 2:30 p.m.

Brennan’s of Houston, 3300 Smith, 713-522-9711

Honor Mom with a NOLA-style brunch or dinner. The multi-course prix-fixe brunch ($56) will be offered from 10 a.m. to 3 p.m. and features delectable Southern dishes like turtle soup, Texas wild shrimp rémoulade, Texas Hill Country ham, and tableside-flambéed bananas Foster. Dinner will be offered from 5:45 to 9 p.m., with à la carte pricing on house favorites.

The Capital Grille 5365 Westheimer, 713-623-4600 840 West Sam Houston Parkway North, 713-463-5051

Both The Galleria and Houston CityCentre locations will be open this year from 10 a.m. to 9 p.m., offering a full dinner menu in addition to a prix-fixe Mother’s Day brunch menu for both children ($15) and adults ($49) that will be available until 3 p.m. For the appetizer course, guests can choose between menu items such as a cup of spring artichoke bisque

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Courtesy of The Houstonian Hotel

Your mom deserves the world, or at least a nice brunch spread.

or Bibb stack salad. Diners can then select from a range of items for their main course, including bone-in, dry-aged New York strip with fried egg; pan-seared salmon; eight-ounce filet mignon; or The Capital Grille’s lobster frittata. Brunch concludes with decadent dessert choices, such as classic crème brûlée or flourless chocolate espresso cake. Caracol, 2200 Post Oak #160, 713-622-9996

Join this coastal Mexican kitchen in celebrating Mother’s Day with an elegant and overflowing brunch buffet. Special features include marinated vegetable salads; chicharrones stews; enchiladas; seafood-stuffed poblanos; rotating egg dishes like chilaquiles with eggs and migas; cocteles; ceviches; plenty of succulent seafood offerings; and desserts. The brunch will be served from 10 a.m. to 2:30 p.m. and is $45 per adult and $15 per child plus tax and gratuity. Live music by Ikaru. The restaurant will also be offering a three-course Mother’s Day weekend dinner-tasting menu on Friday, May 6, Saturday, May 7, and Sunday, May 8. Highlights include ceviche verde, fire-roasted lobster and coconut cheesecake. Cost is $55 per person plus beverage, tax and gratuity. Ciao Bello, 5161 San Felipe, 713-960-0333

Treat Mom to a prix-fixe three-course menu from open until close. Indulge in refined Italian fare like beef cheek hash with peas, potatoes, onions, peppers and fried egg; challah egg sandwich with house-cured lamb pancetta, taleggio and primavera salad; and crab cake Benedict, a jumbo lump crab cake topped with hollandaise sauce. The menu is priced at $39 per person.

D’Amico’s Italian Market Café, 5510 Morningside, 713-526-3400

Enjoy an authentic Italian meal this Mother’s Day with dishes including everything from fresh housemade pastas, wood-fired pizzas and delicious meat and seafood entrées to specials and dessert. The restaurant will be open from noon to 9 p.m.

Damian’s Cucina Italiana 3011 Smith, 713-522-0439

In addition to a full à la carte menu, Damian’s Cucina Italiana presents a special prix-fixe, three-course menu in traditional Italian-American style. Begin with an antipasto option like lobster bisque with a touch of sherry wine. Then choose from a selection of piatti forti, including the filetto di manzo, a six-ounce filet mignon grilled with ammoghiu and served with grilled asparagus and roasted potatoes, and shrimp Damian with white wine and butter served with fettuccine Alfredo. Finish your meal with a choice of sweet treats such as Italian cream cake and Damian’s classic pecanstudded cake with creamy mascarpone filling. Cost is $49.95 per person.

The Dunlavy, 3422 Allen Parkway, 844-386-5289

Enjoy a beautiful and tasty brunch buffet from 10 a.m. to 4 p.m. for $65 per adult, $25 for kids 12 and under. Eddie V’s Prime Seafood 12848 Queensbury, 832-200-2380 2800 Kirby, 713-874-1800

signature Mexi-South cuisine, plus live music, complimentary professional family portraits with purchase of brunch (a 5x7 print on day of ), complimentary valet and specialty Bloody Marys. Reservations can be made from 10 a.m. to 3 p.m. El Tiempo Cantina

All locations will be open regular hours and offer a long-stem rose to any mother dining on Mother’s Day.

Enoteca Rossa, 4566 Bissonnet, 346-204-4403

Celebrate Mom with an Italian-style à la carte brunch featuring complimentary dessert from 11 a.m. to 3 p.m. The menu of freshly made pastas, made-to-order frittatas, coffees and espressos is sure to please.

Etoile Cuisine et Bar, 1101 Uptown Park, 832-668-5808

Enjoy a special brunch from 11 a.m. to 3 p.m., with dishes including foie gras au torchon (foie gras torchon, dry prune mousseline, toasted brioche), filet de sole meunière (filet of sole meunière, roasted cauliflower, snow peas, roasted Peruvian potatoes) and profiteroles à la pistache (pistachio profiteroles, hot chocolate sauce). Cost is $68 per person.

Both the West Ave and CityCentre locations will be open this year from 11 a.m. to 8 p.m., offering a full dinner menu in addition to brunch, which will be served until 3 p.m. The three-course brunch menu ($49 per person and $15 for children) also includes fresh-baked cinnamon rolls to share. Choose between menu items such as thinly sliced smoked salmon served with capers and pickled red onions or crisp fried green tomatoes served with fresh lump crab, as well as a range of delicious offerings including lobster quiche, pan-seared steak and eggs, shrimp and grits, and desserts like bananas Foster cake.

Genesis Steakhouse and Wine Bar, 5427 Bissonnet, 713-665-2222

This hidden gem now open in The Whitehall Hotel will offer an à la carte brunch featuring its

Harold’s will be serving up a $45 four-course brunch (plus tax and gratuity) from >> p36

Edgar’s Hermano at The Whitehall Hotel, 1700 Smith, 713-739-8800 (x 6200)

A four-course brunch will be served from 4 to 10 p.m for $68 per person and $20 for children four to 12. Enjoy a complimentary glass of bubbly followed by dishes such as seared tuna flowers, peppercorn rib eye and poached pear. Ginger & Fork, 4705 Inker, 713-861-8883

Enjoy a four-course multi-choice menu from this hot new Hong Kong-style restaurant, with dishes including pork-filled puffs, spicy tofu noodles, steamed sea bass, filet mignon strips and chocolate mousse cake. Cost is $39 per person.

Harold’s Restaurant, Bar & Terrace, 350 West 19th, 713-360-6204

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MOTHERâ&#x20AC;&#x2122;S DAY GUIDE Houston Press

May 5 - 11, 2016

5/3/16 12:40 PM

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Eating...Our Words from p34

Mother’s Day Guide

Moms Love Fung’s! MOTHER’S DAY GUIDE

Whether it’s weekend dim sum brunch, or a memorable dinner, Fung’s makes it magical

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7320 SW Freeway near Bellaire | 713-779-2288 | eatatfungs.com

We’d love to have you for Mother’s Day! Serving our Brunch Menu till 3pm Sat. & Sun. & then Dinner

10 a.m. until 4 p.m. A kid’s menu will be available for children 12 years and under for $13. Mom will be treated to a complimentary MOMosa upon arrival, plus a starter for the entire table. Highlights from chef Antoine Ware’s Mother’s Day menu include an appetizer of house-made pork tamales topped with Creole sauce and Oaxaca cheese, as well as a croque madame entrée with a side of house-cut fries. Guests can cap off their meal with either PB&J bread pudding or a strawberry crumble featuring Prosecco-macerated Covey Rise Farms strawberries.

The Houstonian Hotel — Grand Ballroom, 111 North Post Oak, 713-680-2626

Bring Mom to dine in the beautiful Grande Ballroom with selections such as herb-rubbed prime rib; rack of lamb; crawfish cakes Benedict; smoked salmon with crab roulade; caramelized banana crepes with Nutella; and a plethora of brunch classics. Top off your bountiful meal with delectable soufflé cake, tarts and Texas blueberry cobbler, among other treats (including complimentary Champagne and mimosas for those 21 and over). Cost is $79 for adults and $35 for children ages five to 12. Children four and under dine free. Brunch prices are subject to 23 percent service charge and sales tax.

The Houstonian Hotel — Olivette, 111 North Post Oak, 713-685-6713

Olivette Restaurant in The Houstonian Hotel is serving a special seated Mother’s Day menu with individually priced options such as crawfish bisque, chicken-fried Texas quail, Gulf Coast crab cake, Texas Angus filet mignon, Berkshire pork chop, pan-roasted bronzino and all-time-favorite banana French toast with fresh berries and vanilla maple syrup. Finish with the pastry chef’s signature German chocolate cake tower with coconut pecan sauce and milk chocolate ganache, classic cheesecake or blueberry galette with cream cheese dough and lemon custard ice cream.

The Houstonian Hotel — Manor House, 111 North Post Oak, 713-685-6840

May 5 - 11, 2016

Houston Press

705 E 11th St, Heights 713-880-8691 • Zelkobistro.com

With its Southern Creole style, the elegant and historic Manor House Restaurant has its own special menu for Mom, including Gulf Coast seafood gumbo, crawfish enchiladas and prime rib or veal short rib with fava bean risotto. Dessert choices are classic vanilla crème brûlée and the pastry chef’s signature German chocolate cake tower with coconut pecan sauce and milk chocolate ganache, all for $58 per person, plus tax and service charge. Hugo’s, 1600 Westheimer, 713-524-7744

Celebrate Mom this Mother’s day!

take her to kris French bistro this sunday and enjoy a delicious brunch. a perFect way to show her your care.

book your reservation today sunday, May 8 | 10 aM - 3 pM 36

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For reservations ContaCt amanda Lee at 713-358-1059 aLee@CiamL.Com

¡Feliz Día de las Madres! Celebrate Mother’s Day by enjoying the famous bounteous brunch buffet of authentic regional Mexican cuisine at Hugo’s. The buffet will be offered from 10 a.m. to 2:30 p.m. with live music by Viento (from 11 a.m. to 2 p.m.). Cost is $42 per adult and $15 per child plus tax and gratuity. The restaurant will also serve an à la carte dinner menu beginning at 5 p.m. In addition, there will be a three-course Mother’s Day weekend dinner tasting menu on Friday, May 6, Saturday, May 7, and Sunday, May 8. Highlights include Gulf crab tostadas, savory yellow mole with wild mushrooms, and hazelnut-mandarin bomb with chocolate and mandarin sauce. Cost is $45 per person plus beverage, tax and gratuity. Hungry’s Café 2356 Rice, 713-523-8652 14714 Memorial, 281-493-1520

Celebrate Mother’s Day at Hungry’s, and they’ll treat your mom to a free dessert (offer available at both the Rice Village and Memorial locations). Choose from delicious, hearty omelettes, signature croissant French toast and fresh-squeezed juice mimosas. Kenny & Ziggy’s, 2327 Post Oak, 713-871-8883

The whole family can enjoy a relaxed Mother’s Day breakfast, lunch or dinner in Kenny & Ziggy’s comfortable, casual and vibrant atmosphere. Try the house specialties, including skyscraping sandwiches, entrée salads, smoked fish, stuffed cabbage, Hungarian goulash, chicken soup and the restaurant’s famous chopped liver. And don’t forget to save room for New York-style cheesecake and the “world’s largest” éclair. All moms who dine on Mother’s Day will get a complimentary pink and white cookie, a special version of the restaurant’s classic black and white cookie.

L’Olivier Restaurant & Bar, 240 Westheimer, 713-360-6313

La Table will present a delightful brunch buffet from 10 a.m. to 3 p.m. ($55 per adult, $25 per child). La Table, 1800 Post Oak, 713-439-1000

Enjoy a bountiful Mother’s Day Brunch from 10 a.m. to 5 p.m. for $59 per adult and $29 per child, plus tax and gratuity. Offerings include family-style breakfast classics, a raw bar, a pastry corner, a carving station, and a salad and cold cuts display. Le Mistral, 1400 Eldridge, 832-379-8322

Enjoy an elegant four-course (plus amusebouche) Mother’s Day menu, offered from 11 a.m. to 2 p.m. and 5 to 9 p.m. for $75 per person. Highlights include a canapé de caviar, leek and chervil velouté soup, and choice of filet mignon or roasted Chilean sea bass. Laurenzo’s, 4412 Washington, 713-880-5111

The restaurant will be open regular hours and offer a long-stem rose to any mother dining on Mother’s Day.

Mark’s American Cuisine, 1658 Westheimer, 713-523-3800

One of Houston’s most gorgeous restaurants will be open for brunch and dinner this Mother’s Day. From 10 a.m. until 2 p.m. (last seating), brunch will be a multi-course, prix-fixe menu with several items for each course to choose from ($64.95 per adult and $18.95 per child, plus tax and gratuity). Get dishes like steak and eggs made with soft eggs, beef short ribs, caramelized onions, mushroom chicharron, and salsa verde; or French toast and pork made with grilled Kurobuta pork rack, vanilla and cinnamon brioche, peaches, spiced pecans and bourbon syrup. In the evening from 5 to 10 p.m., Mark’s is offering additional options, including a splendid prix-fixe, multi-course dinner menu ($85 per person plus tax and gratuity) or a special à la carte menu, created especially for Mom. The prix-fixe menu includes items like Rossini mignon of beef tenderloin with mushroom marmalade toast, foie gras, spinach, and truffle Madeira sauce; and the Cannelloni 1658 classic, made with rolled pasta filled with crab and shrimp, plus mascarpone and basil with Cognac sauce. Mascalzone 1500 Shepherd, 713-862-9700 12126 Westheimer, 832-328-5151

Mascalzone is giving moms a chance to un“wine”d this Mother’s Day with a complimentary glass of Rossini, Prosecco with strawberry puree. Indulge in authentic Italian dishes for lunch or dinner like squid ink tagliarini with

5/3/16 12:03 PM

Max’s Wine Dive — Fairview, 214 Fairview, 713-528-9200

Mother’s Day brunch will include decadent specials by chef Shay Prigmore and flowers for moms, in addition to the regular brunch menu and mimosa options.

Max’s Wine Dive — Washington, 4720 Washington, 713-880-8737

The restaurant will open at 9 a.m. for Mother’s Day brunch filled with the dive’s favorites, complemented by wine and mimosas, all morning.

Monarch Bistro at Hotel ZaZa, 5701 Main, 713-527-1800

Chef de cuisine Jonathan Wicks has whipped up a yummy menu to celebrate Mom (adult menu $55; kids’ menu $12). Enjoy everything from brioche “toad in the hole” French toast to smoked chicken chilaquiles off the special menu. Celebrate Mother’s Day with a special brunch menu and pop-up bake shop. The à la carte brunch will be served from 11 a.m. to 3 p.m. and features dishes such as buckwheat and ricotta pancakes, curry chicken empanadas, and avocado and salmon toast. Ouisie’s Table, 3939 San Felipe, 713-528-2264

The eclectic Southern style that has always defined the foods at Ouisie’s Table will be showcased in style this Mother’s Day, when the restaurant presents a special brunch menu of old favorites and new creations made just for Mom. Guests who want to add something extra for the lady of the day can order a stunning arrangement from the restaurant’s own in-house florist, Oui Petals & Events. Hours for this special Mother’s Day Brunch are 10 a.m. until 3 p.m. Prego, 2520 Amherst, 713-529-2420

Quattro — Four Seasons Hotel, 1300 Lamar, 713-650-1300

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Rainbow Lodge is one of Houston’s most unique restaurants, an original lodge restaurant featuring seafood and wild game in a historic 113-year-old log cabin on an acre of beautiful grounds. For Mother’s Day, the restaurant will be open for brunch from 10 a.m. to 3 p.m., offering a three-course, Gulf Coast-inspired menu for $49 per person plus tax and gratuity. Celebrate with Champagne, border palomas, bellinis and Texas Bloody Marys. Dinner will be served from 5 to 8 p.m. and include the regular dinner menu and a $15 Sunday supper feature with half-price wines.

Royal Sonesta Hotel | ARA Restaurant, 2222 West Loop South, 713-627-7600

Give Mom the royal treatment with a special Mother’s Day menu, starting with a complimentary glass of Champagne. Next, enjoy your choice of appetizers such as crab and avocado with charred peppers or poached white asparagus with strawberry vinaigrette. Then indulge in entrée offerings such as Australian sea bass with heirloom tomato basil concasse and black orzo or 44 Farms Prime medallion of beef tenderloin with foie gras, truffle and potato gratin. Complete your meal with strawberry velvet cake with rose water syrup. The cost is $42 per person.

MOTHER’S DAY Little Watch Shop 1919 S Shepherd Dr, Houston, TX 77019 (713) 524-2648

Mother-bruncher! Say it to someone you love this Mother’s Day

www.indiasrestauranthouston.com

5704 Richmond @ Chimney Rock • 713.266.0131

Alicea mother’ in Wonderland s day brunch

Seasons 52, 4410 Westheimer, 713-621-5452 842 West Sam Houston Parkway North, 713-464-5252

Guests can enjoy a special Mother’s Day brunch menu starting at 10 a.m. Highlights include shakshuka — pasture-raised eggs baked in a sauce of sweet peppers, tomatoes, chorizo and crumbled feta; and brick oven brioche French toast, served with blueberry-infused maple syrup and whiskey-smoked brown sugar pecans. Sylvia’s Enchilada Kitchen 6401 Woodway, 713-334-7295 12637 Westheimer, 281-679-8300 1140 Eldridge Parkway, 832-230-3842

The original location, on Westheimer, will serve the regular menu and a selection of daily grill specials. There will be a brunch buffet at Woodway and Eldridge, including a made-toorder breakfast station (Sylvia’s famous pancakes, eggs prepared your way, huevos rancheros, migas huevos con chorizo and chilaquiles); an omelette station; salads; a street taco station (beef fajitas, chicken fajitas, carnitas and breakfast tacos); an enchilada extravaganza station featuring five of Sylvia’s enchiladas of the week; side dishes; a dessert station (tres leches, chocolate tres leches, flan >> p38

May 5 - 11, 2016

Celebrate everything that Mom means to you by sharing Mother’s Day brunch at Quattro, available from 10 a.m. to 3 p.m. While a live pianist plays, make your brunch selections from an extensive list of more than 75 menu items, including traditional breakfast favorites, fresh pastas, hot entrées and salads, and a full dessert buffet. There will also be a chef on hand to prepare the omelette of your dreams, and diners can choose from several carving stations with roasted meats, or pick lighter fare from the large array of fresh seafood. The price of the brunch includes mimosas and Bloody Marys. Children have their own buffet, filled with their favorite kid food: chicken fingers, pizza, chocolate milk and more. Cost is $95 for adults and $45 for children ages five to 12, plus tax and gratuity. Children ages four and under are free. Complimentary valet parking.

Rainbow Lodge, 2011 Ella, 713-861-8666

HAPPY

Houston Press

Celebrate Mother’s Day at this contemporary Italian restaurant in the heart of Rice Village. Chef John Watt will be offering the regular menu as well as Prego’s special Sunday brunch three-course menu for $25 per person plus tax and gratuity. There will also be off-the-menu specials for the day. The lunch/dinner menu will be served from 3 to 10 p.m. A children’s menu and a vegetarian/gluten-free menu will also be available.

Chef Jose Hernandez presents two special options for Mother’s Day. From 10 a.m. until 3 p.m., indulge in pasta, egg, carving and salad stations, as well as hot station dishes like eggplant cannoli, chicken parmesan and veal cheeks with mushrooms. Save room for delectable house-made desserts like cheesecake, chocolate mousse, crème brûlée and biscotti. For those who would prefer to take Mom out for a night on the town, Radio Milano’s three-course, prix-fixe dinner menu — available from 6 until 9 p.m. — is the perfect way to start or end the evening. Highlights include sunchoke crispi with shallot and smoked salmon; halibut with asparagus, milanese risotto, balsamic and risotto; and chocolate mousse with blood orange sauce, nougatine and sesame seed ice cream. Brunch is priced at $40 per person, and the dinner menu is $50 per person.

MOTHER’S DAY GUIDE

OPORTO Fooding House & Wine, 125 West Gray, 713-528-0115

Radio Milano, 800 Sorella, 713-827-3545

houstonpress.com

lobster, cherry tomatoes, garlic, and basil in a spicy lobster sauce and grilled beef tenderloin in a peppercorn crust with sautéed wild mushrooms in a creamy brandy sauce.

S P E C I A L F A M I L Y- F R I E N D L Y B R U N C H A N D S H O W S U N D AY M AY 8 T H | W W W. P R O H I B I T I O N H O U S T O N . C O M

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Eating...Our Words from p37

and fresh fruit): and drinks, including aguas frescas. Cost is $19.95 per adult, $13 for kids ages 12 and under, plus tax and gratuity. The buffet is served 11 a.m. to 3 p.m. Add mimosas for $5.

Give MoM the perfect Gift

The Tasting Room CityCentre, 818 Town and Country, 281-822-1500 Kings Harbor, 1660 West Lake Houston, 281-361-0044 Uptown Park, 1101-18 Uptown Park, 713-993-9800

MOTHER’S DAY GUIDE

All three locations will be open for Mother’s Day brunch. Uptown Park will offer a buffet, including an omelette station, a ham carving station, ceviche and seafood, French toast, cheese plates, meat plates, eggs, bacon, and more (adults $39.99 per person, kids 14 and under $16.99, mimosa bar for an additional $12 per adult). Kings Harbor will feature a brunch buffet starting at 10 a.m. on both Saturday and Sunday. Enjoy a full buffet, as well as special pricing on mimosas and Mom’s favorite martinis (adults at $29.99, children five to 12 at $12.99, children up to five years complimentary).

Tony Mandola’s Gulf Coast Kitchen, 1212 Waugh, 713-528-3474

The restaurant will be open from 11 a.m. to 9 p.m. and offer a long-stem rose to any mother dining on Mother’s Day.

LocaLLy owned and operated since 1969. 713-680-2350 10570 northwest Freeway

Tony’s Restaurant, 3755 Richmond, 713-622-6778

From 11 a.m. until 3 p.m., the landmark restaurant will feature a prix-fixe, three-course menu with offerings like the Tony’s Club with choice of homemade potato chips or soup of the day; Wyatt salad with crab, shrimp, mango and citrus ginger vinaigrette; and lobster or classic meat sauce bolognese with wide-ribbon pasta. The menu is priced at $59 per person.

May 5 - 11, 2016

Houston Press

Trevisio, 6550 Bertner, 713-749-0400

Enjoy a bountiful brunch buffet featuring live action stations at this beautiful restaurant, which is perched atop a six-story waterfall in the heart of the Texas Medical Center. A sampling of items includes fresh fruit, imported and domestic cheeses, smoked salmon, roasted potato hash, cinnamon-raisin French toast, pasta with sausage and rapini, grilled vegetables, wild mushroom risotto, an omelette station, prime rib and beef tenderloin, and a dessert buffet. Cost is $45 per adult and $16 per child ages six to 12, plus tax, gratuity and beverages. Children six and under dine free. Brunch is offered from 11 a.m. to 3 p.m. Parking is complimentary.

of Domaine Chandon Brut and four fresh juices to make your own mimosa, bellini, ginger and blackberry spritzers. Cost is $35 for the Domaine Chandon Brut spritzer flight, or $20 for the Wycliff Champagne Brut spritzer flight. Brunch is served on Saturday and Sunday from 10 a.m. until 3 p.m. Vallone’s, 800 Gessner, 713-395-6100

Vallone’s three-course, prix-fixe Mother’s Day menu will be offered all day for $45 per person. Relish in flavorful, festive dishes like The “Tex,” a six-ounce cut fillet served with a side of two homemade cheese enchiladas; fried green tomatoes “Hicks” topped with jumbo lump crab; and The Classic Benedict, served with your choice of a center cut medallion of beef, a crab cake or an organic poached egg topped with hollandaise.

The West End, 5320 Westheimer, 713-590-0616

Take advantage of the Galleria-area hot spot’s expansive patio and treat Mom to an affordable splurge featuring a mimosa, a delectable Southwestern frittata and a 15-minute chair massage for just $15. The offer is available from 11 a.m. to 1 p.m.

The Westin at The Woodlands | CURRENT, 2 Waterway Square, 281-419-4300

Moms will be treated to a complimentary glass of Champagne and a special à la carte brunch menu from rising star chef Nathan Friend. Choose from appetizers like a signature golden gazpacho with local Gulf shrimp, crème fraîche and micro cilantro; breakfast dishes including malted pancakes with Meyer lemon and fresh blueberries plus crab Benedict with cage-free poached eggs and lemon dill butter sauce; and lunch-leaning items such as cilantro marinated chicken with avocado, chipotle spread, peppered bacon and Texas gold cheddar on a brioche roll.

Openings & ClOsings Cleburne Cafeteria burneD to

grounD, plans to rebuilD. alexandra doyle

he big news last week was that beloved family eatery Cleburne Cafeteria, 3606 Bissonnet, burned to the ground on Monday, April 25, just weeks before its 75-year anniversary. Even worse, owner George Micke-

lis used the restaurant as an art gallery for his late father’s paintings, most of which were destroyed in the fire. Mickelis intends to rebuild the restaurant in the same location, although it may take a long time to clear away the remnants of the structure and build a new one in its place. Saloon Door Brewing is open at 105A Magellan Circle in Webster. The brewery serves food, too, and has weekend beer-pairing specials, such as milk stout with Cuban-style pork sandwiches and baked beans for just $12. According to Greg Morago of the Houston Chronicle, the second location of Houston’s famous Kenny & Ziggy’s New York Delicatessen will open this week at 5172 Buffalo Speedway, with much the same menu as the original Post Oak location. Keep an eye on the deli’s Facebook page for opening details. Popular barbecue joint The Brisket House unveiled its third location this week at 3301 Cypress Creek Parkway; Syd Kearney of the Chronicle says that pitmaster Wayne Kammerl plans to expand the menu at this location to include not just barbecue favorites but also Southern fare like chickenfried steak and fried catfish. Bellissimo Ristorante, 1848 Airline, opened its second location last week, at 14520 Memorial in the Energy Corridor, and, for a limited time, they’re waiving the corking fee to help you celebrate the grand opening with your favorite bottle of wine. In sundry openings news, Grand Imperial Chinese Restaurant at 27131 Cinco Ranch in Katy is open, as is another location of popular pasta chain NAM: Noodles And More, located at 132 West Bay Area in Webster, and a Pearland location of Pepperoni’s, 2975 Kingsley. Plans for a new development near I-10 and Mason in Katy have surfaced that include several restaurants; according to the renderings, there will be a Fadi’s Mediterranean Grill, Apex Burger, Tom + Chee, NAM: Noodles And More, Kravin’ Fruit Bar, JINYA Ramen Bar and MidiCi Neapolitan Pizza in the development. In other construction news, Swamplot spotted a Panera Bread in renderings of the revamp of 1705 West Gray in River Oaks.

The Tuck Room at iPic Theaters, 4444 Westheimer, 832-709-2146

What better way to ring in Mother’s Day than with a little bubbly? Let the most important lady in your life revel in the “mom-mosa” of her dreams with the Tuck Room’s Ultimate Mimosa Bar. Prep and personalize your beverage by picking a puree or fresh juice — options include fresh orange, strawberry, passion fruit, blood orange and yuzu. Continue to customize by topping off your flute with a variety of garnishes. A pair of trips to the mimosa bar costs $16, and unlimited mimosas cost $24 (Champagne Piper-Heidsieck options are also available for an extra charge). The mimosa bar will be offered from 11 a.m. to 3 p.m. Urban Eats, 3414 Washington, 832-834-4417

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To celebrate moms, the restaurant will be offering a special spritzer flight to accompany any brunch entrée on Saturday and Sunday, Mother’s Day weekend. Each flight includes a bottle

Phaedra Cook

george Mickelis, owner of Houston’s most beloved cafeteria, tries to stay positive as he surveys the burned-out shell of his popular restaurant.

5/3/16 12:03 PM

Mother’s Day Guide

2009 Dunlavy St, Houston, TX 77006 713-528-5095

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5/3/16 12:03 PM

| rocks off |

Music

Still FlawleSS In our long waltz wIth Beyoncé,

LIVE MUSIC EVEry NIght!

houstonpress.com

Lemonade Is a “eureka” moment.

BRANDON CALDWELL

Beyoncé and Jay Z appeared in Houston during happier times — the 2013 NBA All-star Weekend.

We thought happiness had been achieved, and yet we weren’t prepared for Lemonade. Not a single minute of it. We weren’t prepared for her to hit the streets of New Orleans in a canaryyellow dress swinging a bat named Hot Sauce. We weren’t prepared for Serena Williams smirking and being carefree on “Sorry.” We damn sure weren’t prepared for the mothers of Mike Brown, Trayvon Martin and Eric Garner carrying portraits of their slain sons. I jokingly prepared a counter of all the times Beyoncé curled a “fuck” out of her lips on the record, and watched my face scrunch up as she wailed alongside Jack White’s guitar on “Don’t Hurt Yourself.” Using the Kübler-Ross model, or an extended version of it, Beyoncé channeled all the emotions she faced from not just her father’s no longer being the hero she always looked up to, but the same concerning the man who on 2013’s “Flawless” she championed for “making her feel so goddamn fine.” No, Lemonade, with its color, iconography, Serena f’n Williams twerking in a “Queens Love Queens” moment, Leah Chase’s, sodamn-New-Orleans discussions of conjure and personification of water, and heels dug deep into the African diaspora, tells us what Beyoncé wants to tell us. She’s gone from being deeply happy in love to fighting for her very marriage and sanity. This wasn’t the insecurity of loving just herself; it was her loving the very man (or men, rather) who had tormented not just her but her mother as well. On “Daddy Lessons,” a frolicking moment of country honesty, Beyoncé confronts the ideas and creations her father delivered while looking at her husband. “My daddy warned me about men like you/ He said baby girl, he’s playing you,” she sings after sitting back, remembering what her dad taught her: to maintain her strength, even in the most painful moments of their relationship. Still, unpacking and even attempting to truly understand what Lemonade is will take months; even my premature reactionary moments may seem muddled and all the more incorrect as months pass. When the drums and organs from producer Just Blaze kick >> p42

Fri, may 13 Grady Gaines

sat, may 14 Texas Johnny Boy

sundays: ZydECO!

Best Blues Club –Houston Press, 13 Years Running 5731 Kirby Drive • 713.523.9999

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Monthly Beer Dinner featuring Back Pew Brewing Company May 26th

Thu 05.05.16

Carpet and the Drapes, Ganesha, JVS Reel $5 - Doors @ 7pm

Fri 05.06.16

Beaumonts, Pure Luck, Hard Luck Revival

Sat 05.07.16

Pegstar presents: Scott H Biram, Jesse Dayton (8pm door/9pm start, $10ADV/$12DOS)

Mon 05.09.16

Open Mic Comedy Night Doors@7:30 Show@8pm:FREE!

Wed 05.11.16

Pegstar presents: The Atom Age ($10 tickets)

2010 Waugh 713.521.0521 | rudyardspub.com WiFi 11:30am-2:00am Every Single Day

MAY 5 - 11, 2016

ager until 2011, crafted Beyoncé into this image of a pop princess. When she discovered her father’s flaws, she sought and prayed that her husband wouldn’t be the same. Yet Jay proved just as flawed as well. We’ve been on this roller coaster of self-discovery with Beyoncé for almost two decades, and it’s never felt as paramount as it does now. “Daddy,” from 2003’s Dangerously In Love, is an ode to her father, her initial springboard to power and understanding. Lemonade contains glimpses of their current relationship and healed wounds. In our long waltz with Beyoncé, we’ve finally come to a “eureka” moment. The failures of her perceptions about Mathew and Jay Z led her to own her reality, where she hugs her womanhood, her everything, tighter than ever. Earlier this year, her new single “Formation” allowed us to roll with glee at the literal idea of Beyoncé’s having a bottle of hot sauce in her purse, something so black and Southern that you couldn’t ignore it. Black people rallied behind the concepts of “Negro nose” and “Jackson 5 nostrils” and Beyoncé’s championing Tina Lawson’s Creole heritage and Mathew Knowles’s fearlessness from working and growing up in civil rights-era Alabama. It figures that in 2011, Shire wrote something strikingly similar to “Foundation”’s mixture of Creole and Negro to get “Texas Bama”: “I have my mother’s mouth and my father’s eyes/ On my face they are still together.” Shire’s poetry stands like a giant in the film version of Lemonade, which is chaotic, liberating, dark and at times sad. Sad solely because of how happy we felt with Beyoncé and the idea of her and Jay Z’s marriage. When the 2014 Met Gala and Solange versus Jay Z in the elevator happened, we laughed and found our mouths agape. Not once had we seen them become tabloid fodder; now, the ultimate personification of “relationship goals” had finally been taken down into something we non-celebrities may have dealt with. When Beyoncé stood stoically in that elevator, we heard the results onstage with the changed lyrics of “Resentment” from their “On the Run” tour later that year.

sat, may 7 Jonn Richardson

HOUSTON PRESS

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Marco Torres

Fri, may 6 Catherine Denise

hen Beyoncé speaks, it’s normally not in small statements. Ever since 2013, every step she’s made has turned into a sweeping artistic statement: loud, bold, liberating. Words have been replaced by visuals, by art and the expression of said art. Beyoncé (2013) reveled in feminism, because Beyoncé announced herself as embracing it while also busting out with joy, happiness, seduction and, most important, freedom. Beyoncé, whether she speaks to the press or not, hears all the criticisms levied against her: that she’s not black enough, that she doesn’t represent Houston enough, that she is too commercial, she doesn’t give enough, etc. As a woman, particularly a black woman whose power seems to expand at every breath and moment, Beyoncé has found a way to cultivate the chaos of her celebrity, her scrutiny and even her insecurity into art. As fans, we can only gasp, react and infer what Beyoncé presents us, in both song and film. As of this writing, I was on four plays of Lemonade, Beyoncé’s sixth album and her most unnerving, naked, personal and revealing work yet. Lemonade, the visual film that HBO premiered on April 23, was staring me back in the face, a quiet, inquisitive hum of Warsan Shire’s poetry and Beyoncé peeling shards from her considerably perfect visage. That “perfect” glow that her BeyHive of fans have deemed unbreakable has never seemed more fractured — or inviting. As fans, we have been conditioned by Beyoncé to notice when she pulls the curtain back and allows us in. When we see her, we get our fix, our intoxications; then she promptly closes it and dares us to draw our own conclusions. Lemonade is a conversation about women — the expression of women; the grace of women. The anger that women may possess when pushed off a certain axis. It’s a story about men who can be perceived as heroes, nurturers and protectors, who stand in flesh and bone but appear to be made of light, fire and power. The film and album are as much about Beyoncé’s grandmother as they are her mother; about Tina Lawson as they are Beyoncé; about sister Solange as they are daughter Blue Ivy. They pay homage to Julie Dash’s 1991 film, Daughters of the Dust, the first film ever directed by an African-American woman to gain wide theatrical distribution. Lemonade is about our fathers breaking trust, destroying our images of them as superheroes and then watching the same vision occur with our spouses. Beyoncé’s home, the one that felt so warm and Kennedyesque on Beyoncé, is an absolute mess by Lemonade’s halfway point. Beyoncé has long chased home, both in the figurative and literal sense. Home for Beyoncé was watching her father, Mathew Knowles, and mother, Tina, laugh and play with not only her but Solange. Home for Beyoncé was looking at Jay Z, her husband, and then looking at Blue Ivy and seeing comfort and joy. For a large portion of her career, the perception of the men in her life ruled. Mathew, also her man-

5/3/16 12:03 PM

May 5 - 11, 2016

Houston Press

houstonpress.com

Rocks Off from p41

saturday may 14th Freddie GiBBs

wednesday may 18th Good old War

friday may 20th John Waite & the axemen

in on “Freedom,” it’s purification of the highest order. Somehow they chase away James Blake’s melancholy “Forward” falsetto as if it were the roaring waves after a supposed calm. “I’ma keep running because a winner doesn’t quit on themselves” is a battle cry if anything else, aimed at the women who pick up Ivy Park to fight their own insecurities about health and weight and body image. Or just get to that point wearing whatever. On an album that twists in island rhythms (“Hold Up”) and reimagined dances in the dark to Isaac Hayes’s “Walk On By,” “Freedom” is the most roaring song of importance. Yes, “Don’t Hurt Yourself” is “Ring the Alarm” with more bite, and “Sandcastles” is as powerful a ballad of acceptance and resolution as there has been in her catalog. Yet “Freedom,” at least upon early listens, has me stuck in a trance of constant repetition. Beyoncé’s sold-out “Formation” world tour pulls into NRG Stadium this Saturday. The only forecast I have is this: If the “Mrs. Carter” tour was a powerhouse performer’s mixture of glitz and dancing, “Formation” is going to be an emotional swirl of everything we saw in Lemonade and then some. Prince was right: Albums do matter. In terms of artists who make you think about it all, no one in music, no matter what aesthetic dividers you throw up, is making you think harder while joyously toying with those thoughts than Beyoncé. Beyoncé’s “Formation” world tour visits NRG Stadium (1 NRG Park) on Saturday. Bow down.

Nobody to blame alternatIves to so-called “Bro

country” are pIckIng up tractIon.

CLINT HALE

sunday may 22nd Brett dennen

he late Merle Haggard, while one of the great songwriters of his era, was not a particularly attractive man. No one ever mistook Willie Nelson for James Dean. And Lord knows George Jones never got confused with Kris Kristofferson. Point being, country music (Kristofferson notwithstanding) was once a genre reserved for grizzled vagabonds and ex-cons, men

who wrote songs about life on the road, broken relationships and finding love in the bottom of a bottle. And then that damn Luke Bryan showed up. Bryan, with his fitted T-shirts, coiffed hair and handsome mug, is emblematic of the new era of country music. Gone are the days of storytellers like Hank Williams and Townes Van Zandt, or even more contemporary ones like Alan Jackson and Dwight Yoakam; they’ve succumbed to the likes of “bro country” artists like Bryan and Florida Georgia Line. Or maybe not. Perhaps country music has finally found its medium, one in which bro-country types can coexist with a new era of singer-songwriters — folks like Chris Stapleton, Eric Church, Margo Price, Jason Isbell and Sturgill Simpson, the latter of whom is playing a sold-out show at White Oak Music Hall on May 10. The mainstream certainly seems to be making room. Stapleton and Price have both been musical guests on Saturday Night Live this season, while the former has become a full-fledged superstar over the past year. During that time, Stapleton — a bearded, long-haired outlaw type in the vein of Haggard and Waylon Jennings — debuted at No. 1 on the Billboard album charts with his debut, Traveller. He won three major awards at the Country Music Association Awards, received four Grammy nominations (including Album of the Year) and won two. Stapleton’s success has also benefited his rebel country contemporaries. A recent look at Billboard’s Hot Country Songs charts revealed a mainstream country landscape still centered around bro country, very much so. The airwaves are dominated by the likes of Bryan, Dierks Bentley, Florida Georgia Line and Rascal Flatts. Also appearing on the charts, however, are Stapleton (twice!) and Eric Church. Meanwhile, the Top Country Albums chart is ruled by Stapleton and also features Church and the aforementioned Price, along with mainstays like Willie Nelson, Haggard and Loretta Lynn. Throw in a series of sold-out concerts — like Stapleton’s August 12 show with Hank Williams Jr. in The Woodlands — and you have a groundswell of support for this new country movement. Just don’t expect it to morph into full-on rebel revolution. Stapleton’s out-of-nowhere success story notwithstanding, he and his gang of country

wednesday may 25th hateBreed

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Family matter an unexpected pregnancy leads to an awkward questIon. WILLIE D

Dear Willie D: I got pregnant five months ago [by] my older stepbrother, and I have to figure out a way to tell my dad the truth without him exploding. My stepbrother is my dad’s son from a previous relationship; he has been living with us for more than two years. Abortion is not an option. We love each other and want to get married, but know this will hurt my dad deeply. How do we break the news?

Brother & Sister: Are you serious? That’s your brother, not your stepbrother! My suggestion to you, if you two are intent on being together, is to move far, far away, because your dad is going to kill both of y’all when he finds out. Also, since you and your brother share the same DNA with the same father, your inability to avoid temptation has put your child at a high risk for birth defects. Let’s hope for the best.

wednesday June 1st taake

sturgill simpson

badasses are never going to totally overtake their bro-country counterparts on the airwaves, nor will you ever see the Houston Rodeo’s concert lineup dominated by the likes of Simpson or Jamey Johnson. Whereas Bryan, Bentley and the like sing about beer drinking, good-timing and fun-loving romance, Simpson croons about reptile aliens and LSD, Johnson opines on his grandfather’s weathering the Great Depression while living on a cotton farm, and Price reflects on killing “the angel on my shoulder” with copious amounts of booze. Not the most accessible topics to the average country-radio listener. Therein lies Stapleton’s uniqueness: namely, that his songwriting approach isn’t really all that unique. He writes in the same catchy, radio-friendly tone as the bro-country folks; he simply coats it in a layer of whiskey and dust. Hell, before venturing out as a solo artist, he wrote songs for the likes of popcountry mainstays Kenny Chesney, Tim McGraw and (wait for it) Luke Bryan. This is not an insult; crafting a catchy tune is no easy feat, and Stapleton does just that on Traveller, all the while maintaining his country-outlaw status. Of the album’s 14 songs, only two exceed five minutes (radio stations prefer most singles to clock in under that). Tracks like “When the Stars Come Out” and “Nobody to Blame” were tailor-made for country radio, while “Whiskey and You” and “Was It 26” — catchy in their own right — offset that pop mind-set with tales of regret, alcoholism and broken homes. Fortunately, in today’s era of streaming and downloading, country fans don’t have to choose. Those in the mood for a jolly bro-ish good time can turn their hats backward, throw on some Luke Bryan or Cole Swindell, and chill on the back of a tailgate. Those in the mood to go deeper can curl up with a bottle of whiskey as artists like Simpson, Isbell and Stapleton sing their stories. Country fans can have it all, for better and worse.

Reto Sterchi

Ask Willie D appears Thursdays at houstonpress.com/music.

5/3/16 12:03 PM

houstonpress.com

@PEGSTARCONCERTS Luna, Britta Phillips, Wild Moccasins 5/7 @ Numbers

5/7 @ Rudyard’s

STEAK NIGHT

Torche, Eagle Claw, Omotai

EVERY MONDAY

Wood & Wire, Danny Barnes

$15 RIB EYE $18 FILET COMES WITH 2 SIDES: GARLIC PARM FRIES, BACON ‘N BROCCOLI, MASHED POTATOES, LOADED BAKED POTATO, SALAD

5/12 @ Rudyard’s

5/13 @ The Raven Tower

From Indian Lakes - Acoustic 5/14 @ Walter’s Downtown

MAY 7 SCOTT STAPP THE VOICE OF CREED

Motion City Soundtrack: So Long, Farewell Tour 5/19 @ Numbers

Brett Dennen, Firekid 5/22 @ Warehouse Live

AlunaGeorge, Kiiara 5/26 @ Warehouse Live

1971 W T C Jester Blvd, Houston, TX 77008

MAY 12 L.A. GUNS

MAY 13 TOM KEIFER (OF CINDERELLA)

(FEATURING GEORGE LYNCH)

Tix on Sale @ THEPUBFOUNTAINS.COM 12720 Southwest Fwy. Stafford, TX 77477 281-277-9333

Sig 1 45-56.indd 43

May 5 - 11, 2016

JUNE 17 FUEL

Houston Press

JUNE 9 LYNCH MOB

Scott Biram, Jesse Dayton

5/3/16 5:52 PM

Houston Press

houstonpress.com

| PLAYBILL |

Music

Children of Pop

With Bang Bangz and Vas deferens, 7 p.m. friday, may 6 at raVen toWer, 310 north, 832-925-7585 or raVentoWer.net.

Chase DeMaster is quickly shaping up as one of Houston’s most resourceful and entertaining young songwriters. Mostly working under the pseudonym Children of Pop since 2013’s Fiesta/Drift EP, DeMaster transmits his adventurous, lo-fi brand of acid-house synth-pop in an emotional shorthand that amplifies, as he might say, all of the feels. But

May 5 - 11, 2016 Sig 1 45-56.indd 44

The 1975

With the Japanese house, 7 p.m. saturday, may 7 at Cynthia Woods mitChell paVilion, 2005 lake roBBins driVe, the Woodlands, 281-363-3300 or WoodlandsCenter.org.

Do you love the ’80s? Lots of people do, and the various sounds of the decade are back in a

Some people write off The 1975 as a boy band, but forget about songs like “The Sound.”

as DeMaster moves up in the world, recently negotiating a distribution deal that put his label/DIY operation #veryjazzed into the hands of NYC’s Frenchkiss Label Group, he’s also joined the ranks of local indie-rockers Deep Cvts, electro-folk duo Guess Genes and the improvisational Get a Life. The resulting time squeeze initially led DeMaster to announce that Friday’s release party for Children of Pop’s latest full-length, What Does 69 Mean, would also be a wake for the band, but he later explained he was joking. He’s just one busy dude, is all. Chris gray

Madness On Main Street

4 p.m. saturday, may 7 at the Continental CluB, 3700 main, 713-529-9899 or ContinentalCluB.Com/houston.html.

is that prices are no higher than for many regular weekend shows; advance tickets start at $17.50, or $15 directly from one of the artists. Acts to watch out for this time include immortal vatos rudos Los Skarnales, bootylicious New Orleans psychedelic-funk duo Quintron & Miss Pussycat, and rising H-Town rapper Doeman, but your mileage may vary. Hopefully it will. Chris gray

Entering its third year as the spring counterpart to Mid-Main’s fall fest Yes, Indeed!, Madness On Main offers another enticing assortment of established Houston favorites, intriguing out-of-towners and unsung locals who don’t get the credit that’s probably due. Really, MOM is not much different from any other bill put together by local promoters who really know their stuff; there’s just a lot more of it — 25-plus acts spread over four stages between the Continental and Big Top Lounge next door, to be exact. The genius of MOM, though (no relation to Mother’s Day),

big way. Based on their most recent album — I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It — The 1975 are fans of the era. Not quite a tribute to the time, the album does touch on the familiar stylings that have been creeping up into modern music since “Midnight City” exploded a few years back. For The 1975, it works. I Like It When You Sleep is an easy listen, while not creating the frozen distance between artist and listener that occasionally happens with this style of electo-pop. Matt Healy has a way with words and a way with his voice, one that can play silly and sad equally well. Add in his good looks and stage demeanor, and it’s not weird that some write the group off as a boy band. Oh, if only all boy bands were writing songs as great as “The Sound.” Cory garCia

Beyoncé

With dJ khaled, 7:30 p.m. saturday, may 7 at nrg stadium, 1 nrg park, 832-667-1400 or nrgpark.Com.

Word on the street is that Beyoncé’s hometown stop on her “Formation” world tour may be sold out, but do you think that’s really going to stop the BeyHive? Should it stop you? After dropping Lemonade, her second “surprise” album since late 2013, last month, Beyoncé’s metamorphosis from mere pop star into 21st-century force of nature has reached an advanced stage. Politically en-

gaged, musically frisky — guests include Jack White, James Blake, The Weeknd and Kendrick Lamar — and seething with anger and jealousy, Lemonade immediately saturated pop culture and demanded a social-media referendum on its greatness. Beyoncé won, but what else is new? Chris gray

Luna, Britta Phillips

With Wild moCCasins, 8 p.m. saturday, may 7 at numBers, 300 Westheimer, 713-521-1121 or numBersnightCluB.Com.

Luna is one of those High Fidelity bands beloved by record-store clerks, Velvet Underground geeks and former college-radio DJs, but painfully obscure to practically everyone outside their adoring fan base. Founded by Dean Wareham of Galaxie 500, the revered ’80s indie-rockers who swirled post-punk and psychedelia to great effect, Luna did much the same thing (only poppier) and enjoyed considerable CMJ-level success with mid-’90s releases like Bewitched and Penthouse. The band trailed off after 2004’s Rendezvous, but Wareham and bassist Britta Phillips married not long after that; they continued making music as the duo Dean & Britta, as well as scoring films like Noah Baumbach’s The Squid and the Whale, before Luna reunited last year. Earlier this spring, Phillips put out the feathery electro-pop LP Luck or Magic (Double FeaRogerDekker ture), both a collaboration with and a tribute to Scott Hardkiss, the pioneering San Francisco DJ/electronic musician who passed away in 2013. Chris gray

Wreckless Eric

8 p.m. Wednesday, may 11 at under the VolCano, 2349 Bissonnet, 713-526-5282 or faCeBook. Com/undertheVolCanohouston.

Few label monikers hold more credibility than the UK’s Stiff Records, the original home of “Wreckless Eric” Goulden. An unemployed youngster when he dropped off a demo at Stiff’s London HQ, Eric, within a week, found himself getting ready to record an album with Nick Lowe as producer. Goulden rode the fame — and booze — train until it wrecked him, but he kicked the alcohol and recorded relentlessly, putting together various ensembles (Captains of Industry, Len Bright Combo) and a catalog of songs on a par with almost anyone you could name from the punk-New Wave era. These days Goulden lives in upstate New York and travels the States in a car with a couple of guitars, but even though he’s solo, he still delivers the old energy and spunk he’s been known for. Do yourself a favor and go see this legend who has never caved in to convention or trends. Do him a favor and resist the temptation to make a half-assed cell-phone video of his most famous tune, “Whole Wide World.” Just don’t. William miChael smith

5/3/16 5:52 PM

| listings |

Music

T H I S J U ST I N The 3rd Annual Afro-Latin Fest: Thu., June 2, 6 p.m., $15 to $175.

Rice University, 6100 Main St., Houston. 404 Not Found: With Cop Warmth, Collin Hedrick, Andrew Sainz., Thu., May 12, 8 p.m., TBA. AvantGarden, 411 Westheimer, Houston. Alabama Shakes: With Corinne Bailey Rae., Sat., Sept. 24, 8 p.m., TBA. Cynthia Woods Mitchell Pavilion, 2005 Lake Robbins, The Woodlands. Cyndi Lauper: Sun., Sept. 11, 8 p.m., $60 to $85. Revention Music Center, 520 Texas, Houston. Erykah Badu and Ro James: Sun., May 29, 8 p.m., $69.50 to $99.50. Arena Theatre, 7326 Southwest Freeway, Houston. Fat Tony & Genesis Blu: Wed., May 11, 8 p.m., Free. Valhalla, 6100 Main St., Houston. Feufollet: Fri., June 3, 8 p.m., TBA. Continental Club, 3700 Main, Houston. FreshDark Fest: With J*DaVeY, Gio Chamba, The Aspiring Me, Michele Thibeaux, Jneiro Jarel, Space Villains*., Sat., June 18, 8 p.m., $30 to $150. Last Concert Cafe, 1403 Nance, Houston. John Doe: Fri., July 15, 9:30 p.m., $25 to $27. McGonigel’s Mucky Duck, 2425 Norfolk, Houston. John Evans: With Nick Armstrong and the Thieves., Sat., May 14, 7:30 p.m., $15. Raven Tower, 310 N., Houston. Juvenile: Fri., May 6, 8 p.m., TBA. KAPERS Houston, 13655 Bissonnet St., Houston. Matoma: Sat., June 4, 9 p.m., $15 to $20. Stereo Live, 6400 Richmond, Houston. Mystic Disco featuring Cosmotropia de Xam: Sat., June 4, 8 p.m., TBA. Satellite, 6922 Harrisburg, Houston. Poor Dumb Bastards: With Josefus, TC5., Fri., May 13, 8 p.m., TBA. Continental Club, 3700 Main, Houston. Purple: Sat., July 16, 8 p.m., TBA. Satellite, 6922 Harrisburg, Houston. She Wants Revenge: Debut Album 10 Year Anniversary Tour:

ROCK Acadia Bar & Grill: 3939 Cypress Creek, Houston. The Pukebox,

with Pulse Rate Zero, Matt Cash from Cassette Tape., Fri., May 6, 9 p.m., $10. The Earth As We Know It, with In The Trench, Bow Before Horus, Isonomist, Remnants of IzanagI.,

Sig 1 45-56.indd 45

Honey Dijon., Tue., May 10, 8 p.m., $35.

Rudyard’s: 2010 Waugh, Houston. Carpet and The Drapes,

with Ganesha, JVS Reel., Thu., May 5, 8:30 p.m., $5. The Beaumonts, with Hard Luck Revival, Pure Luck., Fri., May 6, 9 p.m., $8. The Atom Age, Wed., May 11, 8 p.m., $10 to $11. Satellite: 6922 Harrisburg, Houston. Scattered Guts, with Blood Royale., Fri., May 6, 7:30 p.m., TBA. Fea, with Kristeen Young, Action Frank., Sat., May 7, 8 p.m., TBA. Three Man Cannon, with Fight Me., Mon., May 9, 7 p.m., TBA. Scout Bar: 18307 Egret Bay, Houston. Sebastian Bach, with Pulse Rate Zero., Thu., May 5, 8 p.m., $23.50 to $27. An Author, A Poet, with A Midnight in Chicago, Backdrop Violet., Sat., May 7, 9 p.m., $7. Super Happy Fun Land: 3801 Polk, Houston. Saints Can Lie, with Born Under Fire., Sun., May 8, 6 p.m., $10 to $12. Wine Drunk Moms, with Feel it, Felix, Astragal, Derek., Mon., May 9, 8 p.m., TBA. Under The Volcano: 2349 Bissonnet, Houston. Wreckless Eric, Wed., May 11, 8 p.m., TBA. Walters Downtown: 1120 Naylor, Houston. Hit The Lights, with Seaway, Boston Manor, Can’t Swim., Sat., May 7, 6 p.m., $13 to $15. Dangerkids, with Avion Roe., Mon., May 9, 6 p.m., $13 to $15. White Oak Music Hall: 2915 N. Main, Houston. Sturgill Simpson, Tue., May 10, 7 p.m., $28 to $30. White Swan: 4419 Navigation, Houston. Across The Atlantic, with Your Greatest Obsession, Supremacytx, Four Letter Language, Four Bedroom Republic, In One Breath, Burn Out Brighter, Anything Goes, Bearlios., Fri., May 6, 8 p.m., $10. Nihil, with Mind Kill, Sketch//Driven, Numb Generation., Wed., May 11, 7 p.m., $7. POP NRG Stadium: 1 NRG Park, Houston. Beyonce, Sat., May 7, 6

& 7 p.m., TBA.

AMERICANA McGonigel’s Mucky Duck: 2425 Norfolk, Houston. Market

Junction, Sat., May 7, 7 p.m., $20 to $22. Shake Russell, Sundays, 6 p.m., $25 to $30. Eric Taylor, Tue., May 10, 7:30 p.m., $23 to $25. Rudyard’s: 2010 Waugh, Houston. Scott Biram, with Jesse Dayton., Sat., May 7, 8 p.m., $10 to $13. Walters Downtown: 1120 Naylor, Houston. William Elliott Whitmore, Fri., May 6, 8 p.m., $12 to $16. COUNTRY Cottonwood: 3422 N. Shepherd Dr., Houston. Jimmy Pizzitola

with Choctaw Wildfire, Fri., May 6, 7-10 p.m., Free.

Dosey Doe: 25911 Interstate 45, Spring. Jason Cassidy, Fri.,

May 6, 8:30 p.m., $20.

Thu., May 5, 7 p.m., $30 to $33.

Redneck Country Club: 11110 W Airport, Stafford. Steve Helms

Band, Sat., May 7, 7 p.m., Free to $10.

Sam’s Roadhouse: 12772 TX-105 E, Conroe. Sugarball Express,

Sat., May 7, 9 p.m.-1 a.m., Free. Stampede Houston: 11925 Eastex Freeway, Houston. Mark Chesnutt, with Tracy Byrd., Fri., May 6, 9:30 p.m., $25 to $75. Warehouse Live: 813 St. Emanuel, Houston. The Cadillac Three, with Lindsay Ell, The New Offenders., Sat., May 7, 8:30 p.m., TBA.

HIP-HOP House of Blues: 1204 Caroline, Houston. B.o.B, with Scotty

Atl., Wed., May 11, 7 p.m., $20.

KAPERS Houston: 13655 Bissonnet St., Houston. Juvenile, Fri.,

May 6, 8 p.m., TBA.

Studio @ Warehouse Live: 813 St Emanuel, Houston. iAssist

Showcase with Sauce Twinz, with Sauce Twinz, Rizzoo Rizzoo, 5th Ward JP, ESG, Calwayne, Sauce Walka, Big Sanchie., Wed., May 11, 8 p.m., $20 to $40. Valhalla: 6100 Main St., Houston. Fat Tony & Genesis Blu, Wed., May 11, 8 p.m., Free. Warehouse Live: 813 St. Emanuel, Houston. Flatbush Zombies, Sun., May 8, 9 p.m., TBA.

Book your next event at Lucky’s Pub

Company Party • Birthday Party • Sports Viewing • Happy Hour Events Dosey Doe: 25911 I-45 N., Spring. Matt Andersen, with Lee Bachelor & Bachelorette Parties Harvey Osmond., Sat., May 7, 8:30 p.m., $12. www.luckyspub.com Indigo Lounge: 2117 Chenevert, Houston. Blues Tuesdays, or email J A Z info@luckyspub.com Z BLUES

Tuesdays, 8-11 p.m., $5.

Nomi’s Bar and Grill: 8926b Scott, Houston. Tha Lady D and

Downtown Houston 801 St Emanuel Street Houston, TX 77003 (713) 522-2010

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

Free. Woody Witt Jazz Houston Friends, HeightsThursdays, 7:30 p.m.,Cypress Area Trio, Sundays, 7:30 p.m., Free. Bob Henschen & Friends, 2520 Houston Avenue Mondays, 7 p.m., Free.27126 Northwest Freeway Cafe 4212: 4212 Almeda, Houston. Monday Nite Jazz Jam, Houston, TX 77009 Cypress, TX 77433 Mondays, 8 p.m., Free. Cezanne Jazz Club: 4100 Montrose, Houston. Clayton Farris (713) 862-2400 (281) 758-2514 Jazz Trio, Fri., May 6, 9 p.m., $10.

Band, Sat., May 7, 4 p.m., Free. Shakespeare Pub: 14129 Memorial, Houston. Sparky Parker Band, Thu., May 5, 9:30 p.m., Free. The Mighty Orq Solo, Fridays, 6 p.m., Free; James Henry Band, Fri., May 6, 9:30 p.m., Free. Van Wilks, Sat., May 7, 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.

ashford pub PINTS for PAWS

SINGER- SONGWRITER

Dosey Doe: 25911 I-45 N., Spring. Peter Bradley Adams, Thu.,

May 5, 8:30 p.m., $12.

McGonigel’s Mucky Duck: 2425 Norfolk, Houston. Shake Russell

& Michael Hearne, Fri., May 6, 7:30 p.m., $28 to $30. Harry Chrisman, Sat., May 7, 9:30 p.m., $20 to $22. Meca: 1900 Kane, Houston. Lourdes Pérez and May Nasr, Sat., May 7, 7 p.m., $20/$15/$10 (students and seniors). Stafford Centre: 10505 Cash Rd., Stafford. Steve Tyrell, Fri., raffles, silent auction, May 6, 8 p.m., $40 to $150.

May 14th at 1pM

Christ Church Cathedral: 1117 Texas Ave., Houston. Dave

Burrelll’s Full Blown Duo featuring Andrew Cyrille, Sat., May 7, 8 p.m., TBA. Dave Burrell, with Steve Swell., Sun., May 8, 8 p.m., Free to $13. 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. THU The Flat: 1701 Commonwealth, Houston. Thomas Helton’s W/ Vic g & FRiEnDS Sunday5.5 Sessions, Sundays, 5 p.m., Free. Art Fristoe Trio, Tuesdays, FRI7 p.m., Free. House of Blues: Caroline, Houston. Marcos Varela, Tue., 5.6 1204 W/ RApiD Ric May 10, 8 p.m., TBA.

BOOTY cALL

FLEEkY FRIDAY

SAT 5.7

M E TA L

BFE Rock Club: 11528 Jones, Houston. Ripper Owens, Sun.,

May 8, 8 p.m., TBA.

Satellite: 6922 Harrisburg, Houston. U.S. Bastards, with

$7 bbq plates Human Ottoman, OMOTAI., Thu., May 5, 7 & 8 p.m., TBA. donations are now being Scout Bar: 18307 Egret Bay, Houston. Oceans of Slumber, with D accepted J for the auction and raffle Green As Emerald, Hydrilla, Black Market Tragedy, A New all proceeds goHouston. to love last pet The Flat: 1701 Commonwealth, Theat Kitchen ThursHorizon., Fri., May 6, 8 p.m., $10 to $12. rescue and vals and days, with Noey Lopez, Patrickpals Drew,gsd Brotha Jibril., White Swan: 4419 Navigation, Houston. Widower, with paw Mastema, Malevolent Force, God Fearing Fuck., Mon., Thursdays, 9 p.m.,large Free. Flight 1701,rescue With DJ Sun & Friends., May 9, 9 p.m., $7. Fridays, 10 p.m., Free. The Butterfly Effect, with Angelo, Eriko, Tomahawk Bang., Sundays, 4-8 p.m., Free. SUN FREE bbq W/ gRRRL pARTS Little Dipper: 304 Main 13308 St., Houston. Music Mixologyroad with 5.8 westheimer NOIS E 5-10pm. kARAOkE SunDAyS AFTER 10pm Jason Moore & Josh Baggett, Sun., Maytexas 8, 7:30 p.m., Free. houston 77077 Ministry Houston: 702 Franklin, Houston. Electro Pop featuring Super Happy Fun Land: 3801 Polk, Houston. Extreme Noise TUE Tommie Sunshine, Fri., May 6,281-679-6112 10 p.m., TBA. Conference, 5.10 with Insania, Evol, Gas Station of Love, Manthor, Sonic Rabbit Hole, Astrogenic Hallucinauting., OpEn mic cOmEDy Sat., May 7, 6 p.m., TBA. ELECTRONICA

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Fitzgerald’s: 2706 White Oak, Houston. Drab Majesty, with

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Continental Club: 3700 Main, Houston. Madness on Main, with

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HOUSTON PRESS

Sat., June 11, 8 p.m., $25-$30. House of Blues, 1204 Caroline, Houston. Shinyribs: Fri., June 17, 8 p.m., $20 to $25. Fitzgerald’s, 2706 White Oak, Houston. Slim Thug: Sat., June 4, 8 p.m., $23.50 to $27. Scout Bar, 18307 Egret Bay, Houston. Tegan and Sara: Fri., Sept. 16, 8 p.m., $35 to $39. Warehouse Live, 813 St. Emanuel, Houston. Tejas Got Soul: With Felipe Galvan, Hector Gallegos., Fri., May 6, 8 p.m., TBA. Invasion Ice House, 823 Dumble, Houston. Velocityfest 2: With Reagan Youth, Prophets of Addiction, Tricounty Terrors, Jethro Skull, Emerald Heavy, Funeral Horse, The Unconvicted., Fri., May 27, 8 p.m., $20 to $25. With The Dictators NYC, The Velostacks, The Guillotines, Modfag, The Swingin’ Dicks, Die Rottz, Thrill, the Bulemics, Silver Blueberry, the Freakouts, Poor Dumb Bastards, Talk Sick Brats, JT Habersaat & Altercation Punk Comedy., May 27-28, 8 p.m., $25 to $35. Fitzgerald’s, 2706 White Oak, Houston. The Wheel Workers: Fri., July 8, 8 p.m., TBA. Satellite, 6922 Harrisburg, Houston. The Wiggins: Sat., June 11, 3 p.m., Free. Cactus Music, 2110 Portsmouth, Houston.

Visit HOUstOnPREss.COM FOR ADDitiOnAl MUsiC COVERAgE

May 8, 8 p.m., $15.

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.

House of Blues: 1204 Caroline, Houston. Wild Belle, Sun.,

houstonpress.com

Sat., May 7, 8 p.m., $10 to $15. Aep, with Pattern Recognition, In Silence We Sleep., Sun., May 8, 8 p.m., $8 to $12. BFE Rock Club: 11528 Jones, Houston. Losing September, with Burning Winter, Six Gun Sound., Fri., May 6, 8 p.m.-2 a.m., $10. Continental Club: 3700 Main, Houston. Drive the Sky, with Cornish Game Hen., Fri., May 6, 8 p.m., Free. The Corkscrew: 1308 W. 20th St., Houston. Steve Straker, Tuesdays, 8 p.m., TBA. Cynthia Woods Mitchell Pavilion: 2005 Lake Robbins, The Woodlands. The 1975, with The Japanese House., Sat., May 7, 7 p.m., $49.50 to $51.50. Fitzgerald’s: 2706 White Oak, Houston. Strangetowne, with Radio Birds., Tue., May 10, 8 p.m., $10. House of Blues: 1204 Caroline, Houston. Apocalyptica, Mon., May 9, 7 p.m., $25. Filter - Make America Hate Again Tour, with Vampires Everywhere, Death Valley High, Orgy., Tue., May 10, 5:30 p.m., $20. The Nightingale Room: 308 Main, Houston. Daniel Eyes & The Vibes, with Second Lovers., Thu., May 5, 7 p.m., Free. Hour Band, with Jody Seabody & The Whirls., Fri., May 6, 7 p.m., Free. Notsuoh: 314 Main, Houston. The DiMaggios, with Sparkle Motion, JamalRahal., Thu., May 5, 8 p.m., TBA. Steve Cox’s Beard, with The Rest of the Guys., Sat., May 7, 8 p.m., Free. Numbers: 300 Westheimer, Houston. Luna, with Britta Phillips, Wild Moccasins., Sat., May 7, 8 p.m., $20 to $27.

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McGonigel’s Mucky Duck: 2425 Norfolk, Houston. Junior Brown,

Thu., May 5, 7 p.m., $30 to $33.

Redneck Country Club: 11110 W Airport, Stafford. Steve Helms

Band, Sat., May 7, 7 p.m., Free to $10. Sam’s Roadhouse: 12772 TX-105 E, Conroe. Sugarball Express, Sat., May 7, 9 p.m.-1 a.m., Free. Stampede Houston: 11925 Eastex Freeway, Houston. Mark Chesnutt, with Tracy Byrd., Fri., May 6, 9:30 p.m., $25 to $75. Warehouse Live: 813 St. Emanuel, Houston. The Cadillac Three, with Lindsay Ell, The New Offenders., Sat., May 7, 8:30 p.m., TBA. BLUES Dosey Doe: 25911 I-45 N., Spring. Matt Andersen, with Lee

Harvey Osmond., Sat., May 7, 8:30 p.m., $12.

Indigo Lounge: 2117 Chenevert, Houston. Blues Tuesdays,

Tuesdays, 8-11 p.m., $5. Nomi’s Bar and Grill: 8926b Scott, Houston. Tha Lady D and Band, Sat., May 7, 4 p.m., Free. Shakespeare Pub: 14129 Memorial, Houston. Sparky Parker Band, Thu., May 5, 9:30 p.m., Free. The Mighty Orq Solo, Fridays, 6 p.m., Free; James Henry Band, Fri., May 6, 9:30 p.m., Free. Van Wilks, Sat., May 7, 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 Dosey Doe: 25911 I-45 N., Spring. Peter Bradley Adams, Thu.,

May 5, 8:30 p.m., $12.

McGonigel’s Mucky Duck: 2425 Norfolk, Houston. Shake Russell

& Michael Hearne, Fri., May 6, 7:30 p.m., $28 to $30. Harry Chrisman, Sat., May 7, 9:30 p.m., $20 to $22. Meca: 1900 Kane, Houston. Lourdes Pérez and May Nasr, Sat., May 7, 7 p.m., $20/$15/$10 (students and seniors). Stafford Centre: 10505 Cash Rd., Stafford. Steve Tyrell, Fri., May 6, 8 p.m., $40 to $150. DJ 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 Jason Moore & Josh Baggett, Sun., May 8, 7:30 p.m., Free. Ministry Houston: 702 Franklin, Houston. Electro Pop featuring Tommie Sunshine, Fri., May 6, 10 p.m., TBA. ELECTRONICA Fitzgerald’s: 2706 White Oak, Houston. Drab Majesty, with

n. Scott Biram, with Jesse 0 to $13. Houston. William Elliott $12 to $16.

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Quintron and Miss Pussycat, Los Skarnales, Another Run, Say Girl Say, Doeman, The Houston Craze, Kelly Doyle Trio, Keeton Coffman Music, Sphynx, Dollie Barnes, SAnD DUNES, Dead To The World, Trippy Cholo (feat. GIO Chamba), AF the Naysayer, Linus Pauling Quartet, The Skatastrophics, Knights of the Fire Kingdom, Us., SoulofSherif, Daed, Color Gravity, Glass the Sky, A Sundae Drive, Camera Cult, Since Always, Vodi, The Broken Spokes, Tony Badd, Killem Collective DJs., Sat., May 7, 8 & 11 p.m., $17.50 to $25. The Menil Collection: 1515 Sul Ross, Houston. Menilfest - Gulf Coast Indie Book Fest, with da Camera, John Luther Adams., Sat., May 7, noon, Free. FOLK Anderson Fair Retail Restaurant: 2007 Grant, Houston. Jason

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HIP-HOP House of Blues: 1204 Caroline, Houston. B.o.B, with Scotty

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KAPERS Houston: 13655 Bissonnet St., Houston. Juvenile, Fri.,

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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. Cezanne Jazz Club: 4100 Montrose, Houston. Clayton Farris Jazz Trio, Fri., May 6, 9 p.m., $10. Christ Church Cathedral: 1117 Texas Ave., Houston. Dave Burrelll’s Full Blown Duo featuring Andrew Cyrille, Sat., May 7, 8 p.m., TBA. Dave Burrell, with Steve Swell., Sun., May 8, 8 p.m., Free to $13. 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. House of Blues: 1204 Caroline, Houston. Marcos Varela, Tue., May 10, 8 p.m., TBA. M E TA L BFE Rock Club: 11528 Jones, Houston. Ripper Owens, Sun.,

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Satellite: 6922 Harrisburg, Houston. U.S. Bastards, with

Human Ottoman, OMOTAI., Thu., May 5, 7 & 8 p.m., TBA.

Scout Bar: 18307 Egret Bay, Houston. Oceans of Slumber, with

Green As Emerald, Hydrilla, Black Market Tragedy, A New Horizon., Fri., May 6, 8 p.m., $10 to $12. White Swan: 4419 Navigation, Houston. Widower, with Mastema, Malevolent Force, God Fearing Fuck., Mon., May 9, 9 p.m., $7. NOISE Super Happy Fun Land: 3801 Polk, Houston. Extreme Noise

Conference, with Insania, Evol, Gas Station of Love, Manthor, Sonic Rabbit Hole, Astrogenic Hallucinauting., Sat., May 7, 6 p.m., TBA.

PUNK Notsuoh: 314 Main, Houston. Nandas, with The World, Sexpill.,

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Satellite: 6922 Harrisburg, Houston. Sem Hastro, with The

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White Swan: 4419 Navigation, Houston. On The Cinder, with

Revels, Bottom Of The Food Chain., Thu., May 5, 8 p.m., $5.

Wired Up (Modern Conveniences): 1318 Telephone, Spc 1,

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100 Employment 105 Career/Training/Schools THE OCEAN Corp. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298

127 Education SUBSTITUTE & ASSISTANTS NEEDED! For Montessori school in Museum District. Call Melissa at 713-520-0738

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Only online applications only at www.cmhouston.org/careers.

Pusan Pipe America, Inc. dba SeAH Steel America, Inc. seeks an Operations/Logistics Manager for its office in Houston, Texas. Must have two (2) years of experience with steel pipe and Special Bar Quality (SBQ) industry in South Korea. Must have experience with exportation issues of said materials from South Korea. Must be willing to engage in domestic & international travel (5%). Resumes to genelee@seahusa.com. Pipeline Engineer, Tech analysis & support: max. op pressures for natural gas & L-hazards pipeline & safety, R&D: mang. system, manu, & standard, work w/departments, hydrostatic testing & documentation, pipeline integrity & evaluation; BA/PE, 6 mon. exp., C-Foundations, cv@ 703-563-9461; Vienna, VA. Worksite in Houston, TX.

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Air Quality Specialist (Houston, TX) Apply air quality regulatory knowledge to coordinate with regulatory agencies and facilitate local, State, and Federal Air Regulations to accomplish quality tasks such as: Conducting applicability screening for new/existing production sites to determine the level of permitting required based on equipment, throughput, operations, and materials processed/stored for air permitting purposes. Prepare air permit applications, including Title V, NSR, Standard and PBR, for submission to the appropriate state and federal agency. Conduct air dispersion modeling, perform Greenhouse gas (GHG) calculations and inventories for submission in support of EPA’s eGGRT data entry portal; Preparing Spill Prevention Control and Countermeasure (SPCC) plans for oil production/storage facilities; Preparing emissions analysis; identifying & evaluating equipment and operations using programs such as NSPS and NESHAPS. Requires Master’s degree in Energy, Environment and Chemical Engineering. Mail resume to ESE Partners, LLC 19416 Park Row, Ste 120, Houston, TX 77084.

CEMEX, Inc. is seeking a Director, Sales Admin in Houston, TX, to oversee, design & dvlp seamlessness, strategic sys, processes & support functions essential to sales productivity & profitability aligned & integrated to other biz planning processes employed at CEMEX both in the U.S. & worldwide. Must have Master's degree in Biz Admin, Econ, Finance, Engnrg or in a reltd field or its foreign equivt plus two yrs of exp in: sales admin of cementitious products; forecasting sales price & vol for bldg materials & construction mkts behavior; budgeting using macroecon indicators & bldg materials mkt knldg; acctg forecasts & budgeting in acctg reports; strategic planning defining medium term & long term goals based in bldg materials mkt knldg. In lieu of a Master's degree & two yrs of exp, the employer will accept a Bachelor's degree in Business Admin, Econ, Finance, Engineering or in a reltd field or its foreign equivalent plus five yrs of progressively resp exp as set forth above. Send res, cvr ltr & copy of ad to Cynthia Daum at CEMEX, Inc., 929 Gessner Rd, Ste 1900, Houston, TX 77024; No phone calls or walk-ins, pls. EOE.

Manager, Internal Audit, The Woodlands, TX Reporting to Dir, Internal Audit, assist in dvlpmnt & execution of audit planning for our co world-wide. Conduct var audits, ensuring adherence to budget goals, deadlines, & audit compliance using best practices. 50% domestic & internt'l travel reqd. Min req: Mstrs Deg in Acctg, Fin or Systs Sci & 2 yrs of auditing exp or Bach deg & 5 yrs of auditing exp in the industrial mfg field, using IT General Controls, Analytics on fin & transactional data using IDEA or ACL, Systems Audit procedures (SOX & non-SOX), performing assessments of Security & App Control reviews on SAP & Oracle ERP systs. Exp must also incl conducting audits in accord w/Foreign Corrupt Practices Act (FCPA), Anti-Corruption audits, & preparing documentation of audit workpapers & reports using TeamMate or Accelus. CISA and CIA certifications are reqd. 50% domestic & internat'l travel reqd. Worksite address: 1585 Sawdust Rd, Suite #210, The Woodlands, TX 77380. Mail resumes to: Tina Governo, Job Code: AUDMGR, Dover Corp., 3005 Highland Pkwy, Ste 200, Downers Grove, IL 60515.

Senior Software Engineers, Insite360 FuelQuest (Houston, TX) Work on design, development, and support of new software modules, changes to existing functionality, and new software products for Software as a Service application portfolio. 5-10% domestic travel. (Multiple openings.) Send resume referencing job title & Ad # 8469 to employer at: A. Noble, HR, Veeder-Root FuelQuest, LLC, 125 Powder Forest Drive, Simsbury, CT 06089. Equal Opportunity Employer: Race, Color, National Origin, Religion, Sex, Disability, Vet, Sexual Orientation, and Gender Identity.

Software Engineer (Houston, TX): Multi. Positions. Perform high/detailed level planning, test execution/raise defects/gather reqmnts. Test Planning/prepare validation testing schedules. Work with Agile/scrum methodologies. Design/develop Unix Shell Perl scripts, SQL, PL/SQL. Trouble shooting, tracking/analyzing issues. Transpose data, create views to improve performance & flexibility. Req: Bach's deg in Comp./Engg. w/ 5 yrs. exp. or Mstr's Deg in same w/ 1 yr. exp. or foreign equiv. Reloc req'd. Mail resume to GenuineIT, 9894 Bissonnet St. Ste. 827 Houston, TX 77036.

Technical Production Drafter - Boucher Design Group in Bellaire TX seeks Technical Production Drafter to obtain and assemble data to complete commercial architectural designs & draw rough & detailed scale plans for foundations, building & structures using CAD/Revit. Requires Bach. in Architecture + 3 yrs. in-job or working in the design/construction business producing commercial construction documents utilizing AutoCAD & Revit. Please send resume to dina@bdgap.com.

145 Management/Professional The Museum of Fine Arts, Houston (Houston, TX) seeks a Business Analyst to conduct revenue & marketing analytics incl. guest profiling & segmentation, needs analysis, predictive modeling & other types of quantitative & qualitative strategic business analysis. Design & maintain standard reports. Define, measure & track Key Performance Indicators (KPIs) & develop financial forecasting models. Responsible for development & enhancement of performance dashboards. Req: Mstr's Degr in Business Administration & 1 yr of relevant exp. Mail resumes to HR, 5100 Montrose Blvd., Houston, TX 77006.

THE STATE OF TEXAS County of Harris 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 EDWARD VEGA AND RITA VEGA, DECEASED YOU ARE HEREBY COMMANDED to appear before the 151st 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 9th day of May, 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 Original Petition, filed in said Court on the 27th day of May, 2015, in suit numbered 2015-30187 on the docket of said court, wherein Bank of America, National Association, Plaintiff, sued Edward Vega and Rita Vega and The Heirs at Law of Edward Vega and Rita Vega, Deceased, Defendants. The Petition seeks an order to foreclose the lien on the property and assert a claim to the property located at 324 Cole Street, Webster, Texas 77598, and legally described as Lot Four (4) of Silver Lake Condominiums, a Subdivision in Harris County, Texas, According to the Map or Plat Thereof Recorded Under Film Code No. 380068 of the Map Records of Harris County, Texas. GIVEN UNDER MY HAND AND SEAL OF SAID COURT at Houston, Texas this 21st 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/ Wanda Chambers___________ Wanda Chambers, Deputy Clerk

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FORKLIFT OPERATORS

NEEDED! • 1st, 2nd & 3rd Shift Available • Women Encouraged • Felony Friendly In as little as 1 day! perience! With or With out ex ify! We will Train & Cert

166613 W. Hardy Rd, Houston, TX 77060 CALL: 281-875-9883

AVAILABLE POSITIONS

Restaurant Now Hiring:

Morning/Day Shift: Waitstaff Excellent pay w/flexible schedule. PT & FT. Some exp required. harrysrestaurantcafe.com

Apply in person from 8-10am 318 Tuam and Bagby 713-528-0198

167 Restaurants/Hotels/Clubs SERVERS

The isMelting Pot looking for Experienced Servers

Flexible schedules in a fun and unique environment. Accepting applications every day after 12PMNoon. 6100 Westheimer Rd. (Briargrove Plaza)

ATTENTION

*** Now Hiring *** Looking for smiling faces & great personalities! Excellent Servers Flexible schedules avail.

CITATION BY PUBLICATION

167 Restaurants/Hotels/Clubs

Must Have a Great Attitude and Be a Team Player! Experienced Only Please Apply Mon-Thurs., 2:30-4pm ONLY. 901 Commerce (Downtown)

ATTENTION

Shandy's Cafe

is looking for a sandwich / salad maker PM SHIFT with experience . Call after 2PM 713 426-2675 5814 Memorial Drive Houston TX 77007

COUNTER SALES / CASHIER Need a friendly, outgoing person for a bakery/deli. Full Time. Day Shift. Apply in person.

Stone Mill Bakers 2518 Kirby Dr. at Westheimer

PANERA BREAD NOW HIRING DELIVERY DRIVERS Email resume to PaneraDrivers@gmail.com, or apply online at www.panerapeople.com/jobs

177 Salons

Exp'd Barbers Wanted $30/hr or MORE! Upscale shop seeks EXP'D Barbers. Vacation, bonuses & 401(k) after 1 yr. Excellent customer service skills, strong work ethic. Bellaire, Katy, Pearland. E-mail resume to john.santanella@ regisfranchise.com

183 Trades

FORKLIFT OPERATORS NEEDED! In as little as 1 day! With or With out experience! We will Train & Certify! 713.747.8404

Waste Management is hiring a Sr. Heavy Equipment Mechanic in Humble, TX $4,000 Sign On Bonus! Great benefits and competitive pay! Apply online at www.wm.com/careers (#16001395) or call 844.969.6754.

ARE YOU A CIGARETTE SMOKER? You may be eligible for a research study at Michael E. DeBakey Veterans Affairs Medical Center involving e-cigarettes and virtual reality cues. *Participants must be willing to visit the clinic 4 times.*

For more information call 877-228-5777 or email sarp@bcm.edu

5/3/16 5:52 PM

APPLICATION TO ESTABLISH BANK BRANCH OFFICE Notice is hereby given that Wilshire Bank, 3200 Wilshire Boulevard, Los Angeles, California 90010, has filed an application with the Federal Deposit Insurance Corporation on or about May 4, 2016 to establish a branch at 1338 Blalock Rd., Texas 77055. Any person wishing to comment on this application may file his or her comments in writing with the regional director of the Federal Deposit Insurance Corporation at its regional office, 25 Jessie Street at Ecker Square, Suite 2300, San Francisco, California 94105, not later than May 27, 2016. The non-confidential portions of the application are on file in the regional office and are available for inspection during regular business hours. Photocopies of the non-confidential portions of the application file will be made available upon request.

LEGAL NOTICE ATTENTION: PATIENTS OF DR. GIANG TRAN It is with great sadness that we announce the death of Dr. Giang L. Tran, who passed suddenly away on April 4, 2016. We have lost a wonderful friend, colleague and highly skilled physician. It is important for you to make arrangements to find a new physician so that you continue to receive quality medical care. If you need assistance in doing so, please contact your insurance company. If you need a copy of your medical records, please contact Westlake Medical Clinic at (281) 829-3999, 2430 N Fry Rd # 100, Houston, TX 77084. There is a $15 fee to the patient. Note that Westlake Medical Clinic is only the custodian of the records, and cannot write prescriptions, including refills, or give medical advice unless the patient has been recently seen by a physician of Westlake Medical Clinic (not by Dr. Tran) and unless Westlake Medical Clinic also consents to doing so on a patient by patient basis. Thank you for your consideration and cooperation during this very difficult process. Sincerely, Full Moon Physician, LLLP

530 Misc. Services

WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

Having trouble going to the bathroom? Don’t be embarrassed - explore your options

VOLUNTEERS NEEDED FOR MUSCLE METABOLISM RESEARCH We are looking for healthy male and female volunteers to take part in a study examining muscle metabolism and nutrition during inactivity. The study involves an 18 day stay at UTMB’s Clinical Research Center (CRC). Volunteers must be non-smokers between the ages of 60 and 85 yrs and be of normal height and weight. Volunteers will be reimbursed for their time

537 Adoptions

ARE YOU PREGNANT? CONSIDERING ADOPTION? Let us help! Immediate financial assistance available. Housing, medical, counseling and more. Call Adoption United 24/7 1-888-617-1470. (Void where prohibited)

For more information contact: Sneha Prasad: 409-747-9149 ssnagamm@utmb.edu

Researchers are evaluating an investigational medication among people with irritable bowel syndrome with constipation. You may qualify for a research study if you experience any of the following: • Infrequent bowel movements • Abdominal pain or discomfort • Hard or lumpy stools All study-related care will be provided at no cost. Insurance is not needed. To learn more call: 832-967-7568 Southwest Clinical Trials 5900 Chimney Rock Suite X Houston, TX 77081 southwestclinicaltrials.com

Have you been diagnosed with type 2 diabetes for at least 90 days? Are you 18 years of age or older? Are you currently treated with Metformin alone or Metformin and sulfonylureas? If you answer is yes to these questions, then you may qualify for a Diabetes Clinical Trial PIONEER 3. To learn more, please contact Dr. Zeeshan Shaikh 832-967-7568

"QUITE TITLE" i fred-lee: 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, fred-lee: slaughter ; waiverfrom the beginning with God, as my witness, i fred, a true man of God, acknowledge all blessings given by God; repent all transgressions against God; and waive all claims without God.

Irritable Bowel Syndrome with Constipation

527 Legal Notices

houstonpress.com

527 Legal Notices

Houston Press May 5 - 11, 2016 51

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houstonpress.com

Need To Sell Your House? I am Buying!

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Houston Press

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Are you a cigarette smoker? You may be eligible for a research study. Please see our medical research ad in the classified section.

New Lipo Massage -

Using our special Body Glory Sculpting cream to help diminish fat & toxins for a firmer you. Call Healing Haven Massage at 832.296.6513 & schedule your sessions today.

Need To Sell Your House? I am Buying!

Any Situation - Any Condition. Call today! 832-640-1011

Visit us at: Headachehomebuyers.net

AVAILABLE POSITIONS - Restaurant Now Hiring: Morning/Day Shift Waitstaff. Excellent pay w/flexible schedule. PT & FT. Some exp required. harrysrestaurantcafe.com. Apply in person from 8-10am, 318 Tuam and Bagby, 713-528-0198

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Are you a cigarette smoker? You may be eligible for a research study. Please see our medical research ad in the classified section.

HEIGHTS

$900

1/1

May 5 - 11, 2016

306 North St. 77009. Remodeled unit, fresh paint, central a/c. 1 bdrm $900 - gas & water paid. Must see location. Downtown view. Please call 832.640.7739 or 832.646.0222.

Are you a cigarette smoker? You may be eligible for a research study. Please see our medical research ad in the classified section.

Custom Interior Services Auto/Boat/Commercial Upholstery Superior Interior 832-770-9075

Are you a cigarette smoker? You may be eligible for a research study. Please see our medical research ad in the classified section.

MASSAGE - Package Price, $28/hr!!

Student Spa Treatments Now Available!! Courtesy of Phoenix School of Massage Students. SW & NW locations. Call Today, 713-974-5976.

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5/3/16 5:52 PM