My husband and I recently entered the toddler stage with our son. It’s the phase of life where you actually start parenting. Gone are the days of just keeping them alive – you must now help them learn how to be productive members of society. Toddlerhood has so many cool developments to witness: independence, communication, mobility, […] The post My Toddler Hates Me appeared first on Houston Moms Blog. from http://feedproxy.google.com/~r/HoustonMomsBlog/~3/i7eV1TlLaz4/
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Robb Bank$. Photo: BFOS Booking
Well, this is the last week we’ll have to navigate our city with ease before a bunch of tourists visit and make us all really hate the NFL. The week is stacked with sets from French comic Gad Elmaleh, rapper Robb Bank$, and more alongside locals who will help fill up the days in between. Houston, here’s how to spend the next seven days.
Wednesday you can get going over at Walter’s for the screamy second wave emo sounds of Chicago’s Homesafe. Here in support of last year’s Evermore, this three piece has grown in popularity while distancing themselves from most of the bands in their genre with a more melodic sound. The pop punk of Oklahoma’s Life Lessons will be on as direct support while the indie folk of Indiana’s Chase Huglin will open the all ages show with doors at 6 pm and tickets between $10 and $12.
There’s a pretty legit art opening featuring the El Rincon Social artist’s’ works at MKT Bar. The opening reception will have art from Jonathan Paul Jackson, Theresa Escobedo, and more. The all ages event has more information here, it gets going around 6 pm, and it’s 100% FREE.
If that’s not your thing, then you could swing by the Foundation Room at House of Blues for a set from Houston’s Sobe Lash. The punky and raw hip hop of Lash is something you need to see for yourself, as her sets are energetic and her sound from last year’s The Pretty Reckless EP is tough to beat. An opening set from DJ 4k will also be on hand for the 21 & up show with doors at 7 pm and tickets between FREE with RSVP or $10 at the door.
You might remember the band Soul Coughing, and if you do then you should head to White Oak Music Hall to catch their lead singer Mike Doughty. While Soul Coughing was best known for a mediocre song that blew up, Doughty’s solo work is far ahead of what the band ever did and his newest album The Heart Watches While The Brain Burns from last year is pretty solid. New York’s Wheatus, best known for their hit song “Teenage Dirtbag” will open the all ages show with doors at 7 pm and tickets between $20 and $24.
Funeral Horse. Photo: Jordan Asinas
Satellite Bar will host the stoner doom of Louisiana’s Shadow Giant. While I don’t know much about these guys, I can say that what I heard of their music, I liked. However, the fact that Houston’s Funeral Horse will be on as direct support should be enough to attend. I feel like you’ve been missing out if you haven’t seen this metal band dominate a stage with their intensity and their last two albums 2015’s Divinity For The Wicked and 2014’s Sinister Rites of the Master are both epic to say the least. Dread Pixels opens the all ages show with doors at 8 pm and a $10 cover.
On Thursday the campfire gothic folk of Austin’s Name Sayers will be over at Nightingale Room. while they have an almost eerie sound that’s like serenading the moon, their latest drop New Moon is pretty interesting. The bluesy psych of Houston three piece Mojave Red will open things up with doors at 7 pm and it’s 100% FREE.
The Secret Group will have Austin comedic rap duo Vanilla Presley to drop one of the funny sets. While they don’t have an album yet, their single “What’s Up Girl?” is pretty funny. The duo will do more than rap funny rhymes for the all ages show with doors at 7:30 pm and tickets for $5.
New Madrid. Photo: Normaltown Records
Rockefeller’s will host the psych garage rock of Athens’ New Madrid. The four piece has made plenty of waves since they began, and their latest album magnetkingmagnetqueen is pretty impressive. The tongue in cheek meets we don’t care sounds of Houston’s Get A Life will provide direct support while the garage psych of Bernie Pink will open the 18 & up show with doors at 8 pm and tickets between $12 and $15.
God Fearing Fuck is kicking off their tour with a set over at Walter’s. I’m not sure if you’ve seen these guys yet, but man are they solid live. Their latest release Wasteland Hymns is dark metal meets d beat punk in a haze of scary sounds. The sleaze glam of The Killer Hearts will be on as direct support while the tongue in cheek punk of The Cops will go on prior. Hel-Razor will bring their thrash metal on as well and DaggerHead will open the all ages show with doors at 8 pm and a TBA cover.
On Friday you can get started with the ladies of Dem Damn Dames at Numbers for their Third Annual Legislate This benefit show for Planned Parenthood. The always successful event will not only feature those from the Houston based troupe, but special performances from May Hemmer of NOLA, JD Hicock, and many many more. There’s an opening set from everyone’s favorite daredevil clown, Skabz alongside Nicole Quinn and Kris Broken. The 18 & up show is hosted by Al E Cat of Benefit Betties, the doors are at 7 pm, and the tickets are $20.
Khalid. Photo: Uncredited/Courtesy of Artist/Facebook
In the Bronze Peacock Room at House of Blues, you can get down with the sounds of El Paso’s Khalid. This guy has been burning up since he dropped the hit single “Location,” and his infectious sound should be worth making it out for. His latest single “Saved” is definitely a jam, and the all ages show with doors at 7 pm has a lowly $12 ticket, meaning you can tell people you saw him before he blew up.
Fitzgerald’s will have the get down show when Houston’s Kay Jay drops by to release his new album Seize The Moment. While Kay Jay might not be a household name yet, his rhymes and positive attitude alongside a strong live set make him an act to see sooner than later. Houston’s favorite Devin The Dude will be on as direct support for the all ages show with doors at 8 pm and tickets between $5 and $10.
Satellite Bar will have the intriguing and sometimes proggy three piece Mockingbird Brother over to perform. These guys mix genres, so it’s best to call them rock; but oh are their live sets worth seeing. They’ll have the uptempo roots Americana of Son of Bitch on as direct support while the lo-fi garage sounds of Snow Indian goes on prior. The psych pop of Austin’s Brother Sports will open the all ages show with doors at 8 pm and a $7 cover for the adults, or $10 for under 21.
Valhalla Bar on the Rice University campus will host a local show headlined by the hip hop of Houston’s Tim Woods. Woods has made a name for himself with his crazed live sets and his latest drop Pushing Daisies from last year. The R&B of Milky Wayv will go on beforehand and the hip hop of Dallas’ David Morgan will be on to open the all ages event sponsored by KTRU. Things get going around 8:30 pm and it’s 100% FREE.
Angiesliste. Photo: Vibes Not Bribes/Courtesy of Artist/Facebook
The Trust Me Daddy series returns with a headlining set from NYC DJ/producer Baltra. You might not know this guy, but Mixmag and audiences around the globe have praised his sexy tunes. Austin’s deepcreep will bring her techno jams on as direct support while Ledef from House of Kenzo will be on prior. Houston’s Angiesliste will get things going as only she can for the BYOB event with more information here, doors at 10 pm, and tickets for $20.
Saturday, The Heights Theater will host a special show featuring one of my favorite honky tonk acts, Dale Watson who’s partnering with Ray Benson of Asleep At The Wheel for this show. The two have a new album called Dale & Ray that’s basically the best tonkin you’ll hear going today. Aside from the fact that both of these guys can bring it when they play on their own, their harmonies together on this release is pretty special. The all ages show has doors at 7 pm and tickets between $26 and $224.
Unknown Hinson. Photo Atomic Music Group
Of course, I’d guess if you were going anywhere, it’d be to Continental Club to catch the hillbilly sounds of Unknown Hinson. Four hundred year old vampire, borderline comic, or just plain entertaining, Hinson has become best known for portraying Early Cuyler on the cartoon Squidbillies, but I’d be lying if I said his live shows weren’t close to amazing. The 21 & up show has doors at 8 pm and tickets for $20.
Satellite Bar will host the always fun sounds of Austin’s Sailor Poon. Finishing their tour in Houston, the all female garage punks have been making waves recently with great videos and plenty of press. Their latest drop, last year’s Yeast Pigeon is definitely worth giving an ear to. The energized punk of Giant Kitty will provide direct support while Houston’s Whit will go on prior. The Wipers meets Wire punk of Houston’s Ruiners will open the all ages show with doors at 8 pm and a $10 cover.
Only Beast. Photo: Courtesy of Artist/Facebook
At Rockefeller’s you could check out the alt rock sounds of Houston’s Another Run. These guys have been treading the line for over a decade, their music has grown a ton since they started, and aside from a crazy energy in their live sets, their latest drop 700 Days from last year just proves they aren’t quitting soon. The bluesy grooves of Houston’s Fox Parlor will be on beforehand and the insane and not to be missed energy of Only Beast will open the all ages show with doors at 8 pm and a $10 cover.
Rudyard’s will host what could be an epic event for the Linus Pauling Quartet vs. Hearts of Animals show. For starters, it’s two sets no matter how you slice it, both bands are killer with new albums to drop, and the 21 & up show with doors at 9 pm carries a measly $8 cover meaning you have no reason to miss both of these groups.
Sunday, if you were lucky enough to get tickets, then you’ll be catching France’s Gad Elmaleh at Warehouse Live. Considered the Jerry Seinfeld of France, Elmaleh is a pretty funny guy and he’s known to delight any audience he’s in front of. The doors are at 7 pm and it’s SOLD OUT.
Monday you could head upstairs at White Oak Music Hall to catch the sunny rock charm of Florida’s Surfer Blood. While this band got a bad name after some allegations that were later dropped, their music has always been worth checking out. Their live sets have always been fun and their latest releases have been singles from their upcoming release; the latest tracks being the easy going “Frozen.” Houston’s Young Mammals will be on the bill as direct support and openers. Their latest album, last year’s Jaguar is their most focused to date, and their live shows will probably blow the headliners off of the stage. The all ages show has doors at 7 pm and tickets between $13 and $17.
Walter’s will have an epic show when Florida’s Robb Bank$ rolls by to drop a set. Bank$ has become well known for his crazed live shows and his latest release C2:Death of My Teenage is a trip. New Jersey’s Da$h will be on as support while the hip hop of Wifisfuneral will go on before. Houston’s Craig Xen will also be on the bill and Ski Mask The Slump God will open the all ages show with doors at 9 pm and tickets between $15 and $50, the latter including a meet & greet option.
Rick Astley. Photo: Shore Fire Media
Tuesday you can get “Rick Rolled” in the ballroom at Warehouse Live when Rick Astley swings by to perform. Known for his good time hit “Never Gonna’ Give You Up,” the British singer is still going strong with a new album from last year called 50. There’s no word of openers but he will be performing favorites old and new for the all ages show with doors at 7 pm and tickets between $30 and $35.
If that’s not your thing, you could head to Mucky Duck to hear Houston’s Nathan Quick. Quick doesn’t seem to slow down, his live shows are a mix of emotion and fun, and his latest release The Sound from last year sounded like a call to arms, full of bluesy influence and swagger. The 21 & up show has doors at 7:30 pm and tickets between $15 and $17.
That’s about all that’s happening around the city this week. No matter what you decide to do, remember that a safe ride home is just an app or a call away. from http://www.freepresshouston.com/half-bae-the-best-of-the-week/ I always took pride in the fact that my husband and I were a team. We were partners in life and awesome parents to our five children. We loved each other and always thought about what things we could do to make our spouse’s life a bit easier. Things were good. Then, something sneaky crept its […] The post Helping Your Husband With Depression appeared first on Houston Moms Blog. from http://feedproxy.google.com/~r/HoustonMomsBlog/~3/5mG1o8Vi3jw/ Welcome to another week where we get knee-deep in the best music videos to hit the World Wide Web. Put on your big girl panties and let’s get to it!
5. Jimmy Pizzitola — “Pierced and Tattooed” Let’s start with two local boys here. “Pierced and Tattooed” comes to us from my second favorite local music video director, Jerry Ochoa of Two Star Symphony fame. Paired with Pizzitola’s driving honky tonk rock, the video is a low-fi dirty masterpiece that channels the awesomeness of Matt Nathanson’s “Girl in the Kinks Shirt” in style, but keeps it sexy and Texas in tone. Pizzitola plays the new beau of a local tattoo artist (Lauren Charmain Wood), who seduces him into becoming a living work of art. Eventually, she drops him, and he joins other former lovers at the bar, their tattoos forming a larger collage of broken-hearted men. It’s mean and raw and totally lovely every second.
4. Entrance — “Not Gonna Say Your Name” Folks, music and music videos are both going to be very political for the near future, and though the Age of Trump is yet young, the voices and images against it have thus far been some very moving works of art. This is a little found footage film detailing the various demonstrations against the rise of the new American fascism, donated by protestors across the country and edited by Chris Richardson and Matt Popeliuch. Proceeds from the sale of the track go to benefit Planned Parenthood, so if this video moved you like it did me, then consider picking the song up on iTunes or something.
3. Victoria + Jean — “Takes You Like a Rose” Victoria + Jean is one of those bands that when I see they have a new music video I sort of strap in and hope I’m still sane by the end of it. “Takes You Like a Rose,” directed by Kosai Sekine, will leave you shaking and questioning all reality. A man (Joey Capone) who is in thrall to a mysterious drug comes across a woman (Hyunri), that lures him into a strip club where the band is playing. There follows a trip-tastic audio-visual nightmare of sex and song that would put a good David Lynch segment to shame. Everything is hot and loud and sounds like raw nerves feel. Damn fine music video.
2. Troye Sivan feat. Betty Who — “Heaven” God. Damn. You will live and die and not see a more beautiful or perfectly shot music video than “Heaven.” Director Luke Gilford perfectly poises Sivan against the naked chest of a lover or standing forlorn in the rain, all the intercutting images of the gay rights struggle that still continues to this day. You either cry watching this, or you have a pit of scorpions where your soul should be. It’s almost the most amazing thing to happen this week. Almost.
1. MILCK — “Quiet” This video more or less destroyed me this week. MILCK is a survivor of abuse, depression and anorexia, and “Quiet” is an tremendous analogy for living under the terrible pressure of society’s expectations. Director Sammi Cohen traps her in something right out of a Saw film, trying to drown her in a small box. Almost dead, her voice breaks the glass and wins her freedom. It’s a slow burn, utterly moving, and the best of an amazing week of music videos. from http://www.freepresshouston.com/top-5-music-videos-of-the-week-milck-troye-sivan-more/ Adela Andea, “A.57,” 2016 (detail)
Twists in technology, variance in visual velocity, lengthening light, and capturing natural conundrums are all intertwined into Adela Andea’s work. Transitioning from her work on canvas to elaborate sculptures and installations, Andea has been illuminating spaces and captivating audiences here in Houston and beyond for years. The spark seen in her eye is seen in the glow of her sculptures, otherworldly and effervescent in nature. In her latest exhibition at Anya Tish Gallery, Glacial Parallax, the artist grapples with the advancements of technology while the natural world rapidly declines, such as in the glaciers in Alaska and elsewhere. Anya Tish has hosted Andea’s work on multiple occasions, each show luminous in its own right, but this show overwhelmingly brings together multiple concepts and materials to make for a mammoth of visual delight. This sensory experience goes beyond the materials to gracefully pin point important topics racking our society. Andea was gracious enough to elaborate on her current exhibition along with her story on how she came to make such momentous work.
Free Press Houston: What particular part of your childhood unveiled visual art as an interest for you? Adela Andea: As I was growing up in Romania, I had a close connection with the old orthodox churches. The beautifully painted icons and frescos were the only reason my grandmother was able to drag me to the church on Sundays. I remember staring at all the details of the paintings; some were more than 300 years old. I did not have artists in the family, but I found books that inspired me to draw and paint. Before I was in the first grade, before I could read and write I was already attempting to imitate artworks by Goya. These are the earliest memories I have about art.
FPH: How did you make the shift into artistic studies? Andea: After spending some time working as a paralegal in California, I realized that my calling was art so I moved to Houston and graduated Valedictorian and Summa Cum Laude from the Painting program at the University of Houston. I continued my higher education in Studio Arts and I received my Master of Fine Arts in New Media, with a minor in Sculpture from University of North Texas, Denton, Texas. While I was working on my degrees I was introduced to contemporary concepts, trends and theories, which influenced overall my transformation as an artist. It was a difficult experience, as I was constantly trying to better myself, absorb all the information I can possibly can and be the best at what I am doing. It was an opportunity and a luxury I did not have before in my life and I appreciate it every moment.
FPH: What are some experiences that helped shape your artistic concept, drawing from nature and technology? Andea: My art education has the biggest influence over my artistic life. It was during that period when my affinity to contemporary art currents crystalized and gave shape to my endeavors into installations using light. Outside academia, there are periodical events that weight heavier in my artistic carrier. Such events can be recreational in nature – my cruise trip to Alaska a few years ago brought new awareness in me on the ecological issues – or professional – my residency in France last year immersed me in a new culture from where I drew inspiration for my art.
FPH: How did one of your first major shows at Lawndale Art Center help shape your visual voice into creating work of technology and light? Andea: After I finished my BFA in painting at University of Houston I applied for my first solo show at Lawndale, The Green Cyber Web. I majored in painting for the love of painting. While I was in the studio program, I realized that paint or color is a perception of the eye, and it can be achieved with different materials, besides colors from a tube. When I projected the green cathode light on one of my painted objects I was startled by the effect, it was exactly what I was looking for in my art. I knew I made a leap in what I was doing. I was finished with my previous work and I moved on from painting and traditional sculpture into this new medium. I started to research the new technologies on the market. These latest technological advancements inspired me to create the artworks I wanted. None of my works contain neon lights, it is all LED or CCFL. While I was already thinking about big installation, the show at Lawndale offered me the opportunity to create a full room installation. Environments, according to Allen Kaprow, are an extension of painting when referring to the issue of space. The spaces I am working with are a major consideration for how the installation will work and I took in consideration the architecture of the room as a component of the artwork. My proposal at Lawndale was specifically for the gallery that it was displayed in. Also during that time, conceptually my work started to take shape and focus meaning of nature, natural vs. artificial concepts, environmental issues and technological advances. By applying the dichotomy of the concept natural vs artificial and it contemplates positively on the necessity of progress and technological advances, blending artistically the romantic notion of nature with the manmade esthetic.
FPH: Recently you participated in a residency in France. What was that experience like for you? Andea: I had the honor at the end of last year to be invited by Zebra 3 Foundation with funds provided by the city of Bordeaux for a residency and show at the Crystal Palace in the old downtown of Bordeaux. It was a great experience that will stay with me for a long time. The materials were procured by the organization upon my specification upon arriving and I worked with an assistant for almost a month to finish an installation from scratch on the site. While I was working hard to finish the work, I also had the chance to experience the food, the culture and visit historic locations. My assistant there deserves all the credit for being a great liaison.
FPH: Tell me about your evolution of some of your current work on display at Anya Tish Gallery. What are some of the highlights of the show visually and conceptually that you are now expanding upon? Andea: The new concept I wanted to discuss with this show is the technical notion of “parallax” when it becomes a metaphor of the different points of view on the environmental issues. Just like real life parallax produces different views depending of the line of sight, my arts is addressing the different positions taken in the society that vary based on the position and situation of the observer. The environmental movement became a political movement, the new religion of the popular culture, mostly supported by the mass media influence. The whole discussion gravitates around the notion that man-made pollution is the cause of environmental decay. Some of the scientific arguments are contaminated by economic and political agendas. Formally there are three types of work that I developed simultaneously while preparing for the fourth solo show at Anya Tish. While they are all connected conceptually, my continuous concern with the destruction of the environment, formally they differ. The large sphere, titled “A.57,” is representing an imaginary asteroid or planet where the energies of various materials translate into a plasmatic eruption of colors. The work incorporates various previous materials and experiments wrapped into a sphere that encompasses the essence of my work in the past decade. To paraphrase Otto Piene, “Light is the incarnation of visible energy.” For me this piece has a variety of energies that emulate the existence of a live planet. The triangular shaped mirror plexiglass pieces, like “Glacial Fracture,” “Glacial Onyx,” and “Ice Flare,” maintain the simplicity of geometric shapes while allowing through multiplicity to create organic shapes for the pieces. This play between organic and geometric insists on the visual transformation of inorganic into organic matter. The aesthetic aspects of this work comment on the antithetic perception of real vs. artificial or organic vs. geometric, deconstructing the structure of nature into geometric forms. Multiplicity is another formal element that I embrace with my work. Either it is a large installation or a small wall dependent piece. The “Ice Grain” series and “Sun Draft” focus on one type of material that I repeat a million times. They become mini universes, obsessive detailed work that takes months to finalize. However, I enjoy the process as it also allows my mind to develop new ideas.
FPH: How has your interaction with the community here in Houston and beyond with large site-specific instillations affected you as an artist? Andea: I like to interact with artists who are unique and confident on their work. I think Houston attracts these independent type of artists. To be original and different from everybody else seems to characterize what artists have in common in this area. This lack of a cohesive art scene is what I appreciate the most and I consider it an asset to this community. It is a very vibrant and diverse group of people, also very warm and welcoming.
FPH: In a time where technology is put on such a pedestal, how does art/how does your art manage to strike a balance between the digital and the visual? Andea: My art offers opportunities to investigate the visual significance of the contemporary technologies. It provides a commentary on the individual interaction, theoretical discussion of the post-traditional self and how certain technologies are embedded in our culture. The infusion of my art with the new technologies relies on recent technological advances, which are also well received through consumer perspective.
FPH: Any upcoming projects you would like to mention? Andea: The upcoming show from May through September at the Total Plaza in downtown Houston is curated by Sally Reynolds and will display a large installation, as well free standing and wall dependent sculptures. Also, I am working on an outdoor sculpture project that I prefer to keep it secret until the details are finalized.
Adela Andea’s exhibition “Glacial Parallax” is on view at Anya Tish Gallery (4411 Montrose) through February 4. from http://www.freepresshouston.com/visual-vernacular-adela-andea/ Flowers Delivery in Houston | Orchids Delivered in TX - https://youtu.be/3x76JiizVdU from http://enchantedfloristpasadena.tumblr.com/post/156313571447 Houston Moms Blog is excited to partner with Birds Barbershop through this sponsored post. We hope you and your family will visit them for your next haircut too!When I first started taking the twins for haircuts, I’m not sure who was more stressed :: me, the kiddos, or the stylist. Lord. I mean, it’s just […] The post 5 T’s for a Stress-Free Toddler Haircut {+ Exclusive Coupon} appeared first on Houston Moms Blog. from http://feedproxy.google.com/~r/HoustonMomsBlog/~3/mzE9lJ1QDxY/ The Women’s March on Houston kicked off right after 11 am on Saturday, joining the hundreds of “sister” events held across the nation and around the world to protest the inauguration of Donald J. Trump as the 45th president of the United States. Despite the threat of rain and several days of flash floods throughout the city, an estimated 23,000 Houstonians gathered at Jamail Skate Park to march on City Hall where organizers planned a “Free Speech” rally featuring speeches by local citizens and leaders.
People of all genders, ages, races, classes, nationalities, and nearly any other locus of identity you can imagine turned up to represent a host of issues and communities, ranging from a more generalized feminism and concern for women’s rights to racial justice, transgender rights, immigrants’ rights, disability rights, accessible health care, climate change, education reform, sex workers’ rights, and electoral corruption. What began as a march to highlight issues of women’s rights under the Trump administration evolved into an energetic display of the intersections of Houston’s hugely diverse communities.
Handmade and printed signs floated above the heads of the crowd as it marched down Allen Parkway toward City Hall, emblazoned with statements like “NOT MY PRESIDENT,” “BRIDGES NOT WALLS,” “ONE NATION (OF IMMIGRANTS) UNDER GOD,” and “KEEP YOUR HANDS OFF MY RIGHTS (AND PUSSY).” Many women wore pink knitted “pussy” hats, and one marcher carried a Trump piñata bearing the words “Putin’s Puppet.” An elderly woman held a handwritten sign that described, in English and in Spanish, her personal experience with police brutality in Houston. Members of the Houston Police Department lined the half mile-long march route; a number of marchers clapped and thanked them as they passed.
When asked why they chose to join the march, many people responded with concern over the divisive words and actions of now-President Trump. Tatiana, a New Yorker who moved to Houston two years ago, said, “I feel like as president you should be a uniter, and I have not heard those words coming from our [new] president.” 27-year-old Joshua from Houston explained that he was marching in solidarity with the women in his family, as well as out of frustration that Trump “doesn’t respect that women are human beings and…think[s] you can control them, grab them, tell them that they don’t have the right to do whatever they choose with their own bodies.” Referring to Trump’s oft-derided campaign slogan, Fran, 39, said, “America is already great and you can’t talk about it being great unless everyone is inclu[ded],” particularly queer and black communities.
There were a number of young people present at the march, including a boy named Harry who stated his belief “in women’s rights and Black Lives Matter.” A trio of teenage girls cited their inability to vote as the impetus for their presence. “I’m…trying to do my part to show…even though I couldn’t vote I still support what I believe,” said Daphne, 16.
Older generations also turned out to show their support for causes past and present. Christina, a 77-year-old cancer survivor from La Porte, said she joined the march “because [I’ve] done this before, because [I’ve] fought for women’s rights and reproductive rights and [I’m] still fighting. [I] can’t tolerate intolerance,” she concluded. Guruatma, who is 65 years old and deaf, praised the march as a “positive” form of dissent that “gives me a voice to say, this is who I am [and] this is who I am not,” as well as the chance to demonstrate her solidarity with disabled Americans.
Women who emigrated to the U.S. from different parts of the world spoke of their concerns over the dehumanization of immigrants in America’s overtly xenophobic political climate. “I am doing this march for all the women… [of] all colors and countries,” said Mojan, who came to Houston from Iran 42 years ago. “I hope they can hear us, and see us, and I hope that it affects [them].” Nadia, a 41 year-old Muslim woman originally from Jordan, emphasized that women “are not less than any other human being here [even if] we came from [a] different place or different country…we are all women.”
The mood was celebratory as the march ended and the crowd of thousands gathered around the reflecting pool in Hermann Square to hear from lead event organizer Robin Paoli, former Democratic Texas State Representative and current Houston City Councilwoman Ellen Cohen, U.S. Congressman Al Green (D), State Representative Gene Wu (D), Houston City Councilwoman Amanda Edwards, Houston Chief of Police Art Arcevedo, and Judge Phyllis Frye of the Houston Municipal Court, who is the first openly transgender judge to serve in the U.S. Councilwoman Cohen emphasized the importance of women running for state and local offices, while Rep. Wu praised “the power of Texas women” who have been active in fights for equality around the state. Judge Frye used the platform as an opportunity to criticize Senate Bill 6, otherwise known as the “bathroom bill,” which disproportionately targets transgender men and women. Mayor Sylvester Turner (D) also addressed the crowd, highlighting Houston’s status as the country’s most diverse city before declaring, “I came to the steps of City Hall to say we are not going back.”
Before the march began a 9 year-old named Abby told me she was marching “so that Donald Trump isn’t president.” Her mom laughed and said it was too late for that; if the size, strength, and passion of the Women’s March on Houston is any indication, however, it’s not too late for ordinary citizens to turn their dissent into a catalyst for change. from http://www.freepresshouston.com/local-voices-at-the-womens-march-on-houston/
3516 S Shepherd Dr, Houston, TX 77098 I was scrolling through instagram and a friend in Houston posted a beautiful photo of the newly opened Honey Art Cafe. It was so pretty I made it my first priority when I came into Houston last weekend. I tried to beat the sunset as taking photos at night is so challenging with my camera. The torrential downpour Houston had a few days ago and the rush hour traffic made it impossible to get there before sun down. Luckily for me the lighting at Honey Art Cafe is beautiful and amazing! The sunny and bright interior was a pleasant and stark contrast to the storm happening just outside their doors. They have a room in the back as well with another pretty mural. They sometimes use the back room for art classes and it’s available to rent! It seats about 18 people. I bought my first egg waffle ice cream at Honey Art Cafe and am smitten. Of course, I paid an extra $1.50 to add a matcha latte macaron because matcha. I know it’s only been one date, but I’m going to call it. Honey Art Cafe is my new favorite friend-date spot in Houston! Question: What’s your favorite spot to meet friends?Follow my eating adventures and happenings on Instagram. You can also see what is catching my attention in the food world on Twitter and Facebook. Possibly Related Blog Posts (automatically generated)January 2, 2015 Houston: Siphon CoffeeFebruary 19, 2013 Houston: Blacksmith January 29, 2014 Houston: The Banana Split at Cloud 10February 1, 2013 Houston: Sweet Paris April 24, 2013 Wordless Wednesday: Central Market Passaporte BrasilThe post Honey Art Cafe Inspires Houston With Colors And Art appeared first on Girl Eats World.
from http://houstonfoodblog.com/houstonfood/houston-food-blogs/honey-art-cafe-inspires-houston-with-colors-and-art/ Bucky Thuerwachter. Photo: Mars Varela
Houston was once known, for a long time, as a place where cover bands thrived and touring acts feared to appear. It doesn’t seem that way now, but in my lifetime I’ve seen it shift dramatically from those dark days that lead us into the mid-’90s. You see, the music back then was nothing short of lackluster, minus a handful of bands. Today that’s pretty much changed and bands don’t skip Houston as often as they once did. While there are plenty of names who helped make that possible, the best bearer of the flame is possibly Bucky Thuerwachter, formerly of booking collective Hands Up Houston. The guys behind the collective changed how agents looked at Houston and helped pave the way for the thriving scene we have here today. While Thuerwachter has moved on to multiple projects since the collective parted ways, his place in the city’s history should never be overshadowed. Free Press Houston caught up with him to talk about all he’s done and what he’s up to now with his new shop, Wired Up.
FPH: How do you pronounce your last name and is your birth name Bucky? Bucky Thuerwachter: Full name is William Buckley Thuerwachter. It’s pronounced Thuer-walk-ter.
FPH: How long have you been like you are with music, meaning that you’re involved with bringing in bands and interested in bands that aren’t popular when you discover them? Thuerwachter: Ha, I’ve been into music since I was a wee skate rat at the tender age of thirteen. I was always looking and digging and discovering more and more bands, reading lyric sheets and interviews and notating bands thanked and name checked. That can send you down a rabbit hole pretty quick. The popularity or not of a band doesn’t really matter to me. It’s just that thirst for the next band that i’m going to be completely excited about. It’s really more like a drug. You’re always looking for that high (says the straight edge kid). In terms of booking, my first show I set up was in, I believe, June of 1995. I lived in Augusta, Georgia and my friend and I were massive ska fans. He had just received a record order in the mail from Far Out records from Florida and there was a flyer in there asking for help booking Against All Authority (ska punk) and Hudson (NOFX-style jams) on an East Coast tour. Well, duh, of course I was down to set that up. Got the venue, set up the gig, and then Less Than Jake called and asked if they could jump on the bill with their friends. Hell yes! Another touring band called Peepshow rounded out the show and there you had it. Less Than Jake, Against All Authority, Hudson, and Peepshow. I remember being so nervous that no one would show up, but it ended up a resounding success. Shortly after that, the guys that owned the venue where I had done the show were working on opening another venture and asked me to take over for them. So for a year or so, after my actual job (clerk in a mall music store), I ran the Capri Cinema in scenic downtown Augusta, Georgia, one of the first places James Brown ever performed at. That lasted until I moved back to Houston in December of 1996. In the interim, the Capri hosted performances by Archers Of Loaf, Wax, Letters To Cleo, AFI, Blanks 77, Scofflaws, Mephiskapheles, Sunbrain (Dave Dondero’s punk band), Pond, and a bunch more I can’t even remember now.
FPH: How did Hands Up Houston begin and what was your role within it? Thuerwachter: Settle in for a bedtime story kids… The germ for Hands Up started probably sometime in late 1999/early 2000. Russell Etchen and I had talked about starting a music zine. We had both done previous ones — me in Georgia and Russell had a couple of great ones called Velvet Comics and Rumpshaker — but we really wanted a music zine for our scene/city. However, there really weren’t that many shows happening at that point in time. The scene of kids that had come up and done shows primarily at DIY places like Fonde Community Center (Inner Loop), Tamina Hall (Woodlands), Jasmine Hall (Lake Jackson), and Wade Road Skatepark (Baytown) had started to die down as kids graduated and/or moved to Austin or away. There were still quite a few larger shows happening at Fitzgerald’s and an occasional Numbers gig, and the local scene was thriving with bands, but there didn’t seem to be as many touring acts putting Houston on their routing so much anymore. Part of that was due to many of the venues at the time giving these bands a raw deal payment-wise or just general poor promotion making for poor shows. Not that I blame a band for skipping a bad town. We quickly realized, no bands meant not much for a zine. Our solution? Why not bring the bands ourselves. Our mutual friend, Jason Colburn, had been bugging me about booking shows again with him so he was quickly brought into the fold. We three met and discussed it and really liked the idea of a collective of folks that bought all their own contacts and talents into the mix. Strength in numbers, right? Besides, we were tired of shows being halfway promoted and our friends not getting paid. We reached out to Lance Scott Walker, Ryan Chavez, and Anthony Calleo (of Pi Pizza) because they had all been bringing shows to Houston in the meantime. An advantage we had early on was that we had similar tastes, but definitely diverged from the core into different genres, guaranteeing us a wide variety of acts. So at the first gathering of us all we worked out some basic tenets that stayed with the group through its duration: good promotion, payment of local openers (as often as possible), and mostly importantly, if you’re not having fun, you’re free to leave the group at anytime. Next up, we needed a name. Luckily, we had the name from our stillborn zine “Hands Up, Who Wants To Die?,” which was the opening line of Sonny’s Burning off the Birthday Party’s Bad Seed EP. Lance suggested, very democratically, that the name sounded rather negative and perhaps we shorten it to just Hands Up. Houston was quickly added for regional pride and voila, Hands Up Houston. Lance, Ryan, and Anthony were the initial contacts with agents and bands since they were already doing that and Russell and Jason both worked at Copy.com, providing us a steady avenue to make and print high quality, full color posters and enabled them to have near constant online presence via Friendster (ha!), then Myspace and our message board. I was the indie buyer at Soundwaves which kept me in contact with labels and I could spread the word that there was a new group of kids booking shows in town. It was also a great place to disseminate show info and turn folks onto touring bands. I am also a bit of a control freak, so I’d help do production and logistics on a lot of the shows, get hospitality, and was also responsible for most of the postering and flyering. But in the end, we all did a little of everything. It was decided that any show already set up by any of us would fall under our banner, so thusly, on Friday, March 10, 2000, Hands Up Houston put on it’s inaugural show which was Port Vale (Lance’s band), Freedom Sold, and Modulator at the Oven (later Mangos). Within the next three months we had put on shows by Alkaline Trio, Honor System (pre-Rise Against), American Steel, Elizabeth Elmore (Sarge), Aloha, Sean Na Na (aka Har Mar Superstar), Good Clean Fun, Planes Mistaken For Stars, The Casket Lottery, The Paper Chase, 90 Day Men, Orchid, and the first of many Lightning Bolt shows. And from there this just really started to take off.
FPH: Was the plan for it to grow as big as it did and what was your favorite show that you guys booked? Thuerwachter: Not really. We didn’t have any set rules for it. I mean, it started off as a group of friends that wanted to set up shows for our out of town friends and other bands we liked. To put Houston back on the map, so to speak. And to do so ethically. Make sure we can pay the bands. Houston had had a long history of promoters more than happy to turn tail with the box office and run, even with larger promoters. And any profit went into savings to pay for maybe a show that doesn’t do as well or for better PA equipment. We wanted to be able to provide a good live experience. And we also grew with a lot of the bands. It just so happened that a lot of what we liked and booked kinda blew up. Our first Alkaline Trio show had maybe 40 to 60 folks. Right place, right time possibly. By around a year in we had done shows with Blood Brothers, The Faint, Leatherface, Samiam, At The Drive-In, The Locust, Murder City Devils, Botch, Radio 4, Le Shok, New Found Glory, Dashboard Confessional, Ted Leo, Poison The Well, and a ton more. It was crazy how fast it picked up, but we didn’t really think about it. We just plowed ahead.
FPH: What caused Hands Up to end, and would you start another booking collective again? Thuerwachter: Hands Up ultimately ended because it became not fun anymore. You have to remember, this was all volunteer. Nobody got paid. It was a complete and total labor of love. There were mandatory weekly meeting, in addition to days spent designing and disseminating flyers and posters. That’s not including actual process of producing the show. That’s a lot of time to devote. By the end, we were doing an average of one show every three days. We’d had plenty of people go through our ranks, and once someone left, we’d bring others in. But in the end, it became too much of a strain. For everyone. We used to joke that you didn’t have a job, or a significant other, or a life; you had Hands Up. So when we decided no one was having fun, we wound things down. The last show was Wednesday, February 9, 2005. High On Fire, Planes Mistaken For Stars, and Kylesa. Hands Up was officially put to bed on March 10 of that year, 5 years, to the day, after it started. As far as doing it again? Never say never. And that didn’t mean I stopped doing shows. I’ll still set up and occasional show here or there for bands I’d really like to see. Lightning Bolt on Khon’s rooftop in midtown, Masshysteri from Sweden, Casiotone For The Painfully Alone, Youth Code.
FPH: Was it strange doing Domy with Russell from Hands Up? Thuerwachter: Not at all. Russell and I never stopped being friends and I loved what Domy was about. I was very honored to be asked to take over the Houston location while he set up and ran the Austin store. Our tastes were similar enough and we’re both obsessive, so we just built on our strengths.
FPH: Was opening an Austin location what caused Domy to close up? Thuerwachter: No. Russell and I just worked for the owner. Domy was really his baby. He just trusted us enough to leave us with the keys to the candyshop. He eventually envisioned other plans for the spaces. Namely, returning the Houston store to a full fledged art gallery, The Brandon.
FPH: After all you’ve been through with booking shows and a retail location that closed up, what made you want to do it again with Wired Up? Thuerwachter: I’ve always wanted to own a record store and after working at Domy I wanted to add books and cultural things into the mix as well. Just kind of noticing a void and filling it. Plus all of those things tie into and influences each other more than most folks know. Ryan Taylor of East End Barber had a space available next to him, was a fan of Domy, and shared the inclination of having a music, so he invited me to join him and our mutual friend, Toby Taylor (no relation) in opening a store. And now here we are.
FPH: Do you ever feel like with Hands Up and with Domy and Wired Up that the city isn’t ready for things as progressive and forward as it is in places like Brooklyn? Thuerwachter: Not at all. Lots of people picked up the torch after Hands Up. You had Super Unison, Hate Tank, and Pegstar all bringing shows to town. Domy was definitely supported and well-loved by the community. Sometimes it’s just boils down to circumstance. These places didn’t close down for lack of support, it was just their time. Some of it may be that Houston is just now really becoming a city that people move to instead if away from. You always need new blood. New inspiration. That’s kinda the message maybe. If there’s something you like in your town or any other you happen to be in, then help keep it alive and support it. Because behind most of those places, events, whatever somebody is pouring their time and effort into and making their town great.
You can definitely learn a lot about someone in how they choose to spend their free time, especially when they’re doing it for love or love of the game. I’ve always kind of felt like Bucky has been ahead of the curve, and always doing things in Houston that make this vast swamp feel a lot closer to LA or Brooklyn. You can catch up with Bucky daily at Wired Up Modern Conveniences, usually in the afternoon, and ask his opinion on what you should purchase. Because when you ask someone who makes a living off of what they love, their opinion is almost always the best indicator. from http://www.freepresshouston.com/houstonian-tales-bucky-thuerwachter/ |
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