An arcane reference for a bar, to be sure, being named for a fixed-point theorem. But Brouwer’s formulation does apply to, for example, stirring a cocktail or beer in a glass: when the liquid comes to rest, some point in the liquid will land in the exact same spot where it started. And hey, it’s a better name for a bar than the hairy ball theorem¹. The owners must be esoteric mathematicians, or, since I didn’t see Möbius strips hanging from the rafters but rather Jan van Eyck style paintings on the walls, it must be a craft beer destination featuring Belgian cuisine. Thankfully for Seattle’s Fremont neighborhood, the latter is the case, featuring 64 beers on draft and over 400 bottles in the cellar, not to mention Scotch and American whiskeys. The stone facing on two walls makes the dark interior almost cavelike, while the wood bar, tables arranged in the center, and the I-beam supported second floor balconies on either side make it feel almost as cloistered as a library. You’d expect to see a ladder sliding along the rails to reach inaccessible books or, in this case, bottles. I found it an inviting nightlife spot, as opposed to the more daytime appeal of the large windows and comfortable furniture at Beveridge Place. Brouwer’s would also make a cozy warren on a cold and rainy Seattle night. Flying solo, I bellied up to the bar and perused the menu. Such Belgian classics as moules frites immediately beckon, and the stoofvlees, a Belgian beef stew over pommes frites with a thyme crème fraîche, is a hearty dish for those cold nights and better than you have any right to expect at a bar. But don’t worry, you can go lighter with a beet and endive salad if you wish. I had to go with the mussels, and hankering for an aperitif, made the perhaps unconventional order of an old fashioned, with its bouquet of bitters. But a beer soon followed, creature of habit that I am, an IPA from a Washington brewery so close to the border it might as well be Oregon, Stevenson’s Walking Man Brewing. Homo Erectus is the double version of the brewery’s flagship IPA, double both in hops and malt. A stronger, bready backbone than you typically find in NW IPA, but the piney hops still asserted themselves enough to come off like a hoppy strong ale or something and, at 9% ABV, that’s probably a fair assessment. By day, as the sun sets in the West, beams of light stream in through the small windows as through a castle’s embrasures, highlighting the bottle selection on refrigerated display behind the bar, like the headpiece of the Staff of Ra showing Indiana Jones the location of the Ark. Brouwer’s cafe brings a beer hall aesthetic from the old world to the new and makes for a craft beer landmark in Seattle. ¹“Whenever one attempts to comb a hairy ball flat, there will always be at least one tuft of hair at one point on the ball.” Seriously.
from http://houstonfoodblog.com/houstonfood/houston-food-blogs/brouwers-cafe-seattle/
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Two current Blu-ray releases prove the adage that dogs drool and cats rule. A Street Cat Named Bob and Max 2: White House Hero aim for different tastes but are somehow oddly in unison from a technical point of view. Keep in mind that tens upon tens of new movies are released in theaters, on disc and on streaming services each week. It’s almost as if filmmaking itself has found a way to grow and not to melt. Street Cat Named Bob may be the first animal-genre film to actually star the feline that it’s based on. Bob, and a couple-of-three lookalike gingers that sub for Bob doing complicated pet things like glancing at the camera in just the right way, running, riding a skateboard, complete the movie with Bob pretty much stealing the entire film. James, a heroin addict in the UK on a methadone program, walks the streets of London as a homeless soul. James bumps into his father only to have his stepmother dis him. James’ councilor finds him supported housing, only the first day an intruder comes in through the kitchen window. Turns out to be a stray cat that for the sake of identification will be forthwith called Bob. Bob insinuates himself into James’ life and a series of life journeys unfold, each more poignant than the last. James reaches sobriety and Bob achieves celebrity status when a reporter does a story on how James busks in Covenant Garden with Bob sitting on his guitar. To date there have been multiple books written about Bob by James Bowden (with Garry Jenkins) and its inconceivable that sequels won’t follow. Roger Spottiswoode, whose credits include editing films for Sam Peckinpah, and directing many cult films over the years, directs Street Cat Named Bob. It would’ve been nice to have some great extra features that the disc lacks. Many such featurettes can be found on YouTube including the real James and Bob at the London premiere of the film. Make no mistake, A Street Cat Named Bob is a film for all ages – game level eight-to-eighty. Max 2: White House Hero takes the conceits of the original Max (2015), which revolved around a Belgian Malinois dog who served in the Army in Afghanistan and returns to live in Middle America with a kind of doggie PTSD, and reduces the story to a tale for kids. Max 2 centers on two 10-year-old kids who just happen to be son and daughter of the President of the United States and the Russian Premiere (aptly named Vladimir Bragov). And charming kids they are. The girl is a sassy redhead who speaks with a Russian accent that makes her sound like Natasha from Rocky and Bullwinkle. The boy has longish hair and a delicate manner and looks not unlike a pre-teen Phoebe Cates. Max 2 may be one of the most innocent depictions of supreme power. C’mon, Lochlyn Munro plays the POTUS. The thin plot involves double agents who are trying to sabotage the American-Russian peace talks. Fortunately the kids figure out the subterfuge and Max saves the day. In one scene Max leaps into the passenger window of a speeding van and wrestles the driver to a halt. Adults will be bored but kids will want to watch Max 2 over and over. Max 2 does feature some extras that reveal how different dogs were used for exacting stunts. For me the best part of the film was a photomontage during the credit roll that shows historical images of Presidents and their canines. There’s a painting of George Washington with his family and their dog; FDR; Clinton; Obama; LBJ; Nixon with Checkers; and George H.W. Bush with Barbara’s dog Millie being hugged by Vladimir Putin. Also On Independent films get released on disc the same as studio fare. Sometimes it’s the only way to see said films as many of these titles were only seen at film festivals or special engagements. Two companies that specialize in getting indie content across, both with streaming services and hard copy DVDs, are Candy Factory Films and IndiePix Films.
Some of the releases were viewed on DVD rather than Blu-ray. from http://www.freepresshouston.com/blu-ray-slight-return-bob-max-edition/ By now you might have seen this viral video of a healthcare worker yelling at his representative about the dire consequences of repealing the Affordable Healthcare Act (Obamacare for the slow). If you haven’t, watch it because I’m not going to say anything better than he said. Still here? Okay, good. Do you know how they measure the beginning of human civilization? Anthropologists look for signs of debilitating injuries, usually broken bones, and then that the person lived for years after that injury. Think about it for a second. The implication is that someone cared for that person even though they could no longer hunt and/or gather. We measure the transition of ape to man by the evidence of a social safety net. I know it’s a day that ends in Y and by the time this piece is published Der Gropenfuhrer has probably already done some asinine new terrible thing, but I am still hung up on the House repeal of the ACA (reminder, that is STILL Obamacare). The American healthcare debate remains one of the silliest, yet terrible, things that has ever existed, and it boils down to a single, salient point. Is healthcare a right? Of course it fucking is. The argument against this seems to be based on the idea that those who provide services should not be compelled to provide them for free or against their will. And there is some merit to that idea, but orthodox adherence to this doctrine is nonsensical. First, there is no “free” healthcare. None. Nada. Zip. Every doctor, nurse, and technician in this country is being paid by someone to perform their tasks. Those paychecks come from a combination of private insurance and public sources. None of them are slaves. Trust me; I’m married to a NICU nurse. If you are receiving care, no one is being forced to provide it against their will or for free. Heart surgeons in America make half a million dollars a year whether the patient has private insurance, Medicare or Medicaid. So, please, let’s not pretend that this debate has anything to do with the drudgery of medical professionals. The sticking point seems to be that the working class is somehow subsidizing healthcare for the parasites, and that’s true, but not in anyway that should be understood. For instance, my wife’s insurance funds parasites. We call them children. I’ve got one. Her best friend from nursing school is about to have another. None of them will so much as chip in a few bucks from a lemonade stand for their healthcare, and unless you think they should then the argument those with means should not help provide care for those without is meaningless. That is just not how insurance works. There’s also this idea that Medicaid is somehow “free,” and that we dodged a bullet having the expansion here in Texas lest more lazy loafers suck the sweat from the teats on our brow (I’m not a life science guy). However, even those who receive Medicaid are paying for it. Payroll tax comes out of their paychecks the same as mine and the same as yours. As a percentage, it comes out exactly the same unless you’re self-employed, in which case you pay double. Most abled-bodied, non-elderly, adult people in this country receiving Medicaid work. The rest are people who can’t, not won’t, and in the hospital where my wife works some 400,000 children come through on the program annually. I had someone quote to me the other day that the only real rights were the right to life, liberty and the pursuit of happiness on this issue. Life. LIFE! How can we possibly provide for the right to life for a 26-week old premature baby with developmental issues. At what point does that baby’s right to life end and the right to not ever have to pay a dime a tax begin? Americans are vastly uninformed to the amount that they are feeding from the public trough. Every trip to the grocery store you take involves food made cheap by heavy farm and ranch subsidies (and most of it is tax free for the consumer to boot). That’s because the government, and until the age of libertarianism the public, understood that food is a right to be fulfilled by the social contract. Transportation is a right, as is water and the ability to communicate by mail and phone, which is why we have laws making sure you can’t build a housing development and not provide those things. Does this count as compelling a service against the will of the provider? Possibly, but that is not an absolute negative. There’s a line in Mario Puzo’s The Godfather, where all the mafia bosses are at a meeting. They accuse Don Corleone of hogging access to judges needed to ensure henchmen would get light sentences. Corleone defers that he does not have a monopoly, but another boss pushes back with this quote. “Don Corleone controls all the apparatus. His refusal to let us use it is not the act of a friend. He takes bread out of the mouths of our families. Times have changed, it’s not like the old days when everyone can go his own way. If Corleone has all the judges in New York, then he must share them or let others use them. Certainly he can present a bill for such services, we’re not communists, after all. But he has to let us draw water from the well. It’s that simple.” Asking someone making less than $20,000 a year to contribute 7 percent of his income from working for medical care for all seems, which no one can afford out of pocket in America any more (more on that in a minute), seems a reasonable fee. Asking someone making more than $125,000 to contribute maybe twice that also seems a reasonable fee. Because none of us “buy” healthcare. We are driven to it, and we have no control over the price. I can buy a nice shelf somewhere and a less nice shelf somewhere else, but I can’t do that to fix a broken arm. Healthcare must be a right because healthcare is already not a choice. One final note. It may seem unfair that the man who makes $125,000 should be asked to pay more. Let me tell you about my uncle. My uncle was a millionaire, a man generous and kind to a fault, and also a man who battled cancer the whole time I knew him. He had the best insurance money could possibly buy (this was pre-ACA), and still, before he died, she spent millions of dollars on care. Far more than he ever put into the systems he paid into. Healthcare is a right priced as a luxury, and we’ve mistakenly started to think of it like we’d think of a car. Even the rich, though, can, and on a long enough lifescale will, take more than they gave unless we are all compelled to make healthcare a universal obligation. The alternative is pain and death, and even money cannot save you. If you don’t start thinking about healthcare as a right, especially if you have enjoyed constant insurance and affordable doctors, you just might find out some day that your access to it will be revoked by others who don’t respect your right. Privilege can be fleeting, but chronic pain and misery? Those things can last the rest of your life. from http://www.freepresshouston.com/healthcare-is-a-right-dumbass/ Still from The Propeller Group’s “The Living Need Light, The Dead Need Music,” 2014. Courtesy of The Propeller Group and James Cohan, New York
This week brings in more than half a dozen opening receptions, including exhibitions at Blaffer Art Museum and the Houston Center for Contemporary Craft, as well as the all-day Summer Jam at the Moody Center for the Arts at Rice University.
Thursday, June 1
Opening Reception — Small Expressions at the Houston Center for Contemporary Craft From 5 to 7 pm, join the Houston Center for Contemporary Craft (4848 Main) for the opening reception for Small Expressions, the annual juried exhibition of small-scale fiber works from the Handweavers Guild of America. The reception will also feature a talk by juror Mary Ruth Smith, open studios by HCCC’s resident artists, and drinks from Buffalo Bayou Brewing. The exhibition will be on view through July 29.
Opening Reception — Chris Bexar: Compulsive Web Time Compression at Wedge Space From 6 to 8 pm, Wedge Space (6815 Rustic) will host the opening reception for Compulsive Web Time Compression, a solo exhibition by Houston artist Chris Bexar, composed of manipulated photographs of imaginary urban skylines. The invented skylines so closely mimic the real thing that viewers often believe them to be veracious. The exhibition will be on view through June 30.
Friday, June 2
Opening Reception — Unspeakably human or unimaginably bestial? at Anya Tish Gallery From 6 to 8:30 pm, Anya Tish Gallery (4411 Montrose) will host the opening reception for the three-person exhibition Unspeakably human or unimaginably bestial?, presenting sculpture by JooYoung Choi, paintings by Gao Hang and monoprints by Karen Lederer, each depicting creatures that come alive within the context of pop culture and the aesthetics of our digital world. The exhibition will be on view through July 15.
Opening Reception — Anthony Suber: Ritual Redux at Cindy Lisica Gallery From 6 to 8:30 pm, Cindy Lisica Gallery (4411 Montrose) will host the opening reception for Ritual Redux, a solo exhibition from Houston-based artist Anthony Suber. The exhibition presents a series of new paintings that draw from the visual vocabulary of African diaspora and contemporary American experience. At 7 pm, the event will feature a performance in collaboration with Suber and dancer/choreographer Harrison Guy, incorporating wearable artwork, sound and video. The exhibition will be on view through July 1.
Opening Reception — The Propeller Group at Blaffer Art Museum From 7 to 9 pm, Blaffer Art Museum (4173 Elgin) presents the first museum exhibition by Ho Chi Minh City collective The Propeller Group. Known for blurring the boundaries between an art collective and an advertising agency, The Propeller Group was established in 2006 as a multimedia platform for creating large-scale art projects. The exhibition brings together seven projects, comprised of videos and an assortment of related objects, that are deeply rooted in Vietnam’s history, politics and everyday life, yet also address international commerce, globalized street culture and the tools of war. The exhibition will be on view through September 30.
Screening — Agnes Martin: With My Back to the World at The Menil Collection From 8 to 9 pm, The Menil Collection (1533 Sul Ross) will host a screening of Mary Lance’s documentary Agnes Martin: With My Back to the World. The film documents the life of the internationally renowned painter between 1998 and 2002, when Martin was in her 90s, as she worked in her studio in Taos, New Mexico, as well as archival footage and images of five decades of her work.
Screening — Midnight Madness: Stop Making Sense at River Oaks Theatre River Oaks Theatre (2009 West Gray) is hosting another of their popular “Midnight Madness” screenings, this time of Stop Making Sense. The film revolutionized the art of shooting rock concerts with this highly entertaining film of several nights of performances by the Talking Heads. Tickets are $10 and the screening starts at midnight. An additional screening will be held on Saturday at midnight. Saturday, June 3
Summer Jam at the Moody Center for the Arts at Rice University Join the Moody Center for the Arts (6100 Main) for their Summer Jam, a day filled with free programming to inaugurate the new site-specific sculpture “Repeater” by Brooklyn-based artist David Scanavino. The event, which starts at noon, will feature a performance by DJ Flash Gordon Parks, food trucks, a spoken word performance, as well as a presentation by the artist at 2:30 pm and the Abstract Animation Film Festival, presented by the Aurora Picture Show, from 4:30 to 6:30. Scanavino’s work installation be on view through August 26.
Discussion — Tuan Andrew Nguyen from The Propeller Group at Blaffer Art Museum From 1:30 to 3 pm, Blaffer Art Museum will present a discussion with Tuan Andrew Nguyen of The Propeller Group as part of the programming for their exhibition. Nguyen will be in conversation with Duy Lap Nguyen, Assistant Professor of World Cultures and Literatures at the University of Houston, and Javier Sánchez Martínez, the Cynthia Woods Mitchell Curatorial Fellow at Blaffer Art Museum.
Opening Reception — Robert Hodge & Tierney Malone: Two & 1/2 Years: A Visual Celebration to the Spirit of Juneteenth and ROUX SALT at Galveston Arts Center From 6 to 9 pm, join the Galveston Arts Center (2127 Strand) for the opening reception for two exhibitions, including a collaborative show between multidisciplinary artists Robert Hodge and Tierney Malone, Two & 1/2 Years: A Visual Celebration to the Spirit of Juneteenth. The exhibition reexamines the story of the institution of slavery in Texas and the origins of the Juneteenth celebration and retells the story musically and visually. ROUX SALT, a group exhibition with work by Rabéa Ballin, Ann Johnson, Delita Martin, and Lovie Olivia, navigates between styles of the past and the proposed future and addresses experiences unique to women of color living in the South. Both exhibitions will be on view through July 9.
from http://www.freepresshouston.com/small-expressions-the-hidden-agenda/
from http://houstonfoodblog.com/houstonfood/houston-food-blogs/a-new-gastropub-is-devoted-to-drawing-diners-outside-the-loop/ Lorde. Photo: Paradigm Agency
Well, it’s that time of year again, when downtown becomes the backdrop for FPSF. While the likes of Lorde, Solange, and more will all be in town for the festival, that doesn’t mean that it’s the only game in town. Performances from JMSN, Dressy Bessy, and Deicide will all be here as well while locals like Cool Moon, The Cops and more fill in the gaps. Houston, here’s what you should be doing this week.
On Wednesday you could get started over at Discovery Green for the Party on The Plaza series, this time featuring the music of Nick Gaitan. Gaitan has been the leader of bands like Umbrella Man, as well as bassist for Billy Joe Shaver and most recently Nikki Hill, and he’s a not to be missed act. The jazz infused Latin rock of Nico Diaz will be on hand as opener for the free and all ages show getting started around 5 pm.
The Cops. Photo: Trie Blair Fulco
If that’s not your thing then you could head to Walter’s for VHS Night: Cop Night with The Cops. That’s right, a live set from Houston punks The Cops will take place after two cop movies are shown on a big screen. There’s also a VHS swap meet of sorts, free donuts, and more for the all ages event getting going with doors at 7 pm and more information, here.
Over at Continental Club, the high energy rockabilly of The Delta Bombers will swing by to perform. These guys are known for their crazed live sets, and their latest release The Delta Bombers sounds like a time warped infusion of rock, swing, and rockabilly. The four piece will be playing without a support act for the 21 & up show with doors at 9 pm and a $10 cover.
Nathan Quick. Photo: Sherita Perez
Thursday you could begin at Presidio when Houston singer songwriter Nathan Quick will stop by to play on the big patio. Quick has been changing up his sound as of late, returning to a more intimate and bluesy sound with last year’s The Sound. The show gets going around 6 pm, it’s all ages, and it’s 100% FREE.
There’s something crazy happening at Improv where Val Kilmer will be on hand to introduce his one man play, “Cinema Twain.” I know, that sounds bizarre, but it’s true. Often referred to by many myths, Kilmer has been acting a long time, and this film covering his one man play about Mark Twain should be nothing if not interesting. The one night only event is 18 & up with doors at 6:30 pm and tickets between $30 and $70.
You might rather head to Nightingale Room when Houston’s Hescher swings by to drop his dark electronica. Hescher is definitely different, but not a stranger to the Houston scene, and while I’ve only heard good things about his live shows, his single “Scarlet Shell” is definitely worth checking out. The electro pop jams of Rex Hudson will open the 100% free show for 21 & up patrons with doors at 7 pm.
Deicide. Photo: Continental Concerts
Down at Scout Bar, the heavy and brutal death metal of Deicide will be here to play their scary sounds. The controversial band has been blowing ear drums since the early nineties, they’re pretty intense to see live, and their latest release In The Minds of Evil from four years ago still holds up. There’s no word of openers or direct support, but that should change on the all ages show with doors at 7 pm and tickets between $12 and $17.
Walter’s will have the anti-racist Oi Skinhead punks, Booze & Glory by to drop a set. These guys have been making London shake for a good while, and they’ve become well known for their crazed energy when they play live. Their mix of rock, punk, and Oi music is pretty impressive, and their latest Chapter IV is London through and through. Houston’s The Velostacks will bring their leather punk on as direct support while the Skinhead hardcore of Houston’s Thug Boots will open the all ages show with doors at 8 pm and tickets between $10 and $12.
On Friday you can get started with the Summer Breeze festival when it gets kicked off over at Splashtown (the DIY Venue, not the water park). The kickoff party will have some epic performances from the likes of Austin’s Nosferatu, Enemy One, Houston’s Narrow Head, LACE, and more for the all ages show with doors at 7 pm and a $10 cover. More information is available here.
Trout Fishing In America. Photo: Don House
Mucky Duck has the funny antics and fun sounds of Trout Fishing In America over to the intimate venue. The acoustic folk rock duo from Houston has been delighting audiences since the late seventies, and their shows are a mix of funny songs and serious licks. Their newest album, The Strangest Times returns the band to their original duo sound. The 21 & up show has doors at 7 pm and tickets between $25 and $28.
Rudyard’s will have Houston’s The Dead Rabbits over to perform their blend of Irish folk meets punk. While the band plays in the vein of bands like Flogging Molly, their Celtic punk sounds are pretty fun and full of energy. The bluesy stoner sounds of Stonework will be on as direct support while the punk of The Unconvicted will go on prior. The insane one man band intensity of D. Kosmo will open the 21 & up show with doors at 7 pm and a TBA cover.
Kimi Kent. Photo: Rachel Lynn Photo
Over in the Foundation Room at House of Blues, you can catch the folky sounds of Houston’s Kimi Kent and Tyler Lucas. With both backed by a full band, each has a sound that’s worth making it out for. Kent has a more blues pop sound full of lush vocals all over her debut, Wayward Child EP, that really showcases her larger than life sound. Lucas has a more singer songwriter sound that’s impressive as well. The 21 & up show has doors at 8 pm and it’s 100% FREE.
The Armadillo Palace will host the birthday party for Houston guitar slinger The Mighty Orq when he headlines a set with his backing band The Unusuals. Orq is definitely an act that every person in this town should check out. While his skills on a six string are fairly unmatched, the good time jams from his latest release To The Bone are hard to deny. Deep voiced singer songwriter John Egan will be on hand as direct support and opener, and he’s a guy you shouldn’t sleep on. His latest album, last year’s Magnolia City sounds like it was recorded on the Delta, complete with some guitar that’d make Muddy Waters proud. The 21 & up show has doors at 8 pm and tickets for $10.
Lil Uzi Vert. Photo: Paradigm Agency
Things on Saturday could begin with an early morning trip to Eleanor Tinsley Park for this year’s FPSF. Opening with sets from Houston’s Camera Cult and Kay Weathers on different stages, the two day festival has a pretty stacked day one. Performances from Deep Cuts, -Us, Rose Ette, and Khruangbin will fill up the early hours of the festival before sets from Hurray for the Riff Raff, Cashmere Cat and Lil Uzi Vert happen later. The first day of the festival is capped off with performances from Grouplove, Post Malone, Cage The Elephant and more for the all ages event that has gates at 11 am and tickets between $148 and $999.
If you’d rather keep things on a more grassroots scale, then the Summer Breeze fest over at Walter’s is probably more your thing. With performances from a slew of punk bands, the technically second day of the fest should be a doozy with a headlining performance from Olympia punks Gag. These guys have been called everything from magnetic to hardcore heroes, and tracks like “Locker Room” should give you an idea of their intensity. Sets from Sexpill, The Secret Prostitutes, The Pose and many more will also be on hand. The whole lineup is available here for the all ages show with a $20 cover or two day pass for $30 and doors at 4:30 pm.
Over at Mucky Duck, the jazz infused Americana of Austin’s Phoebe Hunt will be in town to bring her energy heavy tunes to life. Here to support her newest album which doesn’t get released until the day prior to this show, you can get a feel of her twangy goodness from her last release Walk With Me. The 21 & up show has doors at 7 pm and tickets between $20 and $22.
JMSN. Photo: Orienteer PR
Later on at White Oak Music Hall upstairs, the sexy jams of Detroit’s JMSN will swing by to melt hearts with his sultry tunes. Possibly one of the tightest performers I’ve seen in a good while, this guy dropped It Is last year only to follow it up with Whatever Makes You Happy this year, both of which are full of killer tunes. The soulful jams of Quin will be on as direct support, and she is rumored to be amazing to see in person. The R&B of Canada’s alcordo will open the all ages show with doors at 8 pm and tickets for $15.
Satellite Bar will have the folky electro pop of DC’s Pueblo by to perform. These two make songs that sound like if Dusty Springfield and Air made tracks together. They’ll be here in support of their latest Boring The Camera from this year. Houston’s Alex Riddle will be on as direct support while the folk rock of Grisbee will open the 18 & up show with doors at 8 pm and tickets between $8 and $10.
On William Street, Terraform will return with another unofficial after FPSF party. This edition will feature sets from BRKCHK, gonner, Kunai, and many more. With sound and lights from Lynchpin Audio and an open bar all night, the event should be a banger from start to finish. The doors are at 9 pm, there’s a $10 cover, with address info and lineup here.
Charli XCX. Photo: Paradigm Agency
On Sunday day two of FPSF will get underway with a closing set from New Zealand’s Lorde. The singer songwriter has been turning heads since her dissociative single “Royals” blew up and rocketed her to stardom. Lorde brings a lot to the table, as David Bowie was and the remains of Nirvana are all fans of her work, and with a new album on the horizon, this performance should be full of new songs. That shouldn’t overshadow the fact that Solange will also bring her lovely tunes to the festival, as will The Shins, Portugal The Man, Cheat Codes, and Charli XCX alongside others. The day gets kicked off with early sets from MIEARS, Bang Bangz, The Wheel Workers, Hiram, and Night Drive as well. The all ages event has gates at 11 am and tickets between $148 and $999.
Discovery Green and Wonky Power will team up to bring you a new concert series called Sundays in The Park. This opening edition will feature the indie rock sounds of Houston’s Vodi. Full of lush tones and energy, Vodi is a great way to chill and get excited at the same time in the Summer sun. The all ages show gets going around 4 pm and it’s 100% FREE.
You might want to swing by Walter’s for day two of the Summer Breeze fest, as the second day is just as stacked as the first. With a headlining set from Austin d-beat punks Impalers, Houston’s Skourge, Dress Code and more, things should be insane from start to finish. The whole lineup is here for the all ages event with doors at 4:30 pm and a $20 cover, or a $30 two day pass.
In the studio at Warehouse Live, the hip hop meets pop sounds of San Antonio’s Austin Mahone will be here to drop a set. Mahone makes the kind of songs that stick in your head, while having a personae that he takes to the stage. His latest, For Me+You from last year has gained plenty of steam, and his live show is worth checking out. The R&B of Atlanta’s The YRS will be on as direct support and openers for the all ages show with doors at 6:30 pm and tickets between $25 and $27.50.
Monday you could head over to The Secret Group to catch a set from Houston rapper Kay Jay. since running through a rough patch that included a little time behind bars, this guy has turned his life around and kind of makes moves that’ll make your head spin. With his latest release Seize The Day, Kay Jay has features with Devin the Dude while his last single with Paul Wall “Live For Today,” hits hard. New Trill will open the all ages show with doors at 7:30 pm and a measly $5 cover.
Walter’s will be bringing the no frills and straight ahead rock of The Split Squad to town. Featuring members like Clem Burke of Blondie, this five piece makes music that’s reminiscent of the past without sounding dated, and their debut Now Her This… is pretty epic. The highly energetic and fun sounds of Denver’s Dressy Bessy will be on as direct support and their latest Kingsized sounds better live. There’s no word of openers for the all ages show with doors at 8 pm and tickets between $12 and $15.
Gouge Away. Photo: Zack Rogers
Tuesday you can head to The White Swan to catch Florida’s Gouge Away. Possibly one the most impressive sets I’ve seen from a direct support band before, their last time in Houston opening for Ceremony was amazing. Their newest release, Swallow is hardcore greatness, and their intense show is worth making it out for. Houston’s History Repeats will be on as direct support with Shallow going on beforehand. Things get opened up by DAZE for the all ages show with doors at 8 pm and and $8 cover.
Over at Walter’s the sunny bedroom pop of New York’s Adult Mom will swing by to perform. With critical acclaim and a rumored energetic show, this four piece should be worth making it out for. It doesn’t hurt that their latest release, this year’s Soft Spots is catchy and fun. The indie pop of Philadelphia’s Free Cake For Every Creature will be on as direct support while the energetic indie rock of Houston’s Cool Moon will go on beforehand. Things will get opened by the indie folk of Greg Cote & the Real Life Friends for the all ages show with a $10 cover and doors at 8 pm.
That’s about all that’s happening this week. No matter what you decide to do, please be mindful of others and remember that a safe ride home is just an app away. from http://www.freepresshouston.com/green-light-the-best-of-the-week/
from http://houstonfoodblog.com/houstonfood/houston-food-blogs/reserve-101-goes-way-beyond-whiskey-with-its-new-cocktail-menu/ There are things about being a single mom that I absolutely love. But let’s be honest… There are times when it just plain old sucks too. And while I know that every single mom’s list might look a little bit different, here are my top ten moments in order of rank. #10 :: When the kiddo is […] The post 10 Times When Being a Single Mom Just Plain Old Sucks appeared first on Houston Moms Blog. from http://houston.citymomsblog.com/10-times-single-mom-just-plain-old-sucks/ 3TEETH. Photo: Michael Mendoza
A few weeks ago marked the the sophomore release by Los Angeles Industrial quartet 3TEETH. Already a successful touring band in their own right, their name shot up in the industry when they joined Tool and Primus for their 2016 tour, which included a stop at Toyota Center. If that’s not enough for the group, they will soon embark on another tour that will allow the band to introduce themselves to thousands of people a night as when they open for Rammstein later on this year. Prior to tonight’s show at White Oak Music Hall, vocalist Alexis Mincolla spoke to Free Press Houston about the band’s history, touring around the world, and the importance of holidays.
Free Press Houston: So, congrats on your recent release, <shutdown.exe>. The comments I’ve read, especially on YouTube, have been very positive. For this particular release, did you get the reception that you imagined? Alexis Mincolla: I mean, I don’t have a crystal ball to look into and see how people would receive our record. I guess it’s important if I like it, you know? You just have to hope that other people like it, too. We personally, as a band, are proud of it; we put a lot of work into it. It was something that, when all was said and done, we were excited to release to the universe. So people respond to it. I mean, overall the reviews have been good. Obviously, though, you can’t please everyone. There are some good reviews, and there are some bad reviews. But all-in-all, the ship will keep moving.
FPH: To be completely honest, I am not the most familiar with the industrial genre, but it seems like you guys are changing the classic, textbook definition. Do you consider the band as explorers, or pioneers, evolving the music you play? Mincolla: You know, it’s weird. I think industrial music, in general, has so many definitions, that it’s so subjective to so many people. I think one of the things that I do like about the genre is that it is very experimental. Like there are not as many definitive rules as there is in other kinds of metal. Certain subgenres of metal have very definitive rules; if people break them, others will say, “No! That’s not metal!” Industrial sort of give you a free ride, in a way, to explore what anything could be in that context. For us, we really have fun trying different things and incorporating different elements into our music, for example heavy synth, or weird tones. I mean, it’s music! Enjoy it! It started with us wanting to creative a heavy, danceable record. I don’t know if we’re shifting the landscape of industrial. To some we are, others we’re not.
FPH: Cliche question to say the least, but what is the name of the group in reference to? Mincolla: Yeah, the name 3TEETH was derived from the concept of the trident, which actually means “three teeth.” It was, like, the divine weapon of the Gods, used for the creation of destruction, whether that be Poseidon or what have you. It was a mythic archetype of a divine weapon, which is, essentially, what 3TEETH was based on.
FPH: Ah, okay. I was watching some other interviews with the band, and I must admit that I like how diverse the band is, especially when it comes to culinary tastes. I understand that some of the band’s favorite food consists of chickpeas and mangos? Mincolla: Ha! Yeah. I mean, we’re a diverse bunch of dudes! We definitely have a wide array of tastes, you know.
FPH: How and why did 3TEETH get arena ready? Mincolla: Because we had to! That’s the short answer. I feel like when Adam Jones asked me, “Hey, do you guys want to come on tour with us? We’re hitting the road in two months.” It was an “oh shit” moment, it was like sink or swim. Obviously, you don’t feel ready to go open for Tool, but you don’t say no to that. You can’t say, “Oh, hit us up in eight months when we’ll be ready.” When that opportunity comes you go for it, and you rise to the occasion and see what you’re made of. For us, it was just rehearse, rehearse, rehearse. At that point, with not fucking up the first couple of shows, you realize it’s nothing, that you can do it. We didn’t get booed! Oh my God! At that point, after 40 fucking shows with them, you start to feel really confident in it. Confidence is a real factor in creating a live performance. But that applies to any form of creativity. You have to be confident. People don’t want to go to a show and see someone who’s being humble on stage, they want to see some insane person who has lost themselves to an ecstatic state. I feel like that is something we’ve managed to do. We can amuse ourselves on stage, too. We’re having fun.
FPH: I hear you’re also going on the road with Ramstein in the near future. Are you expecting those shows to get even more crazy? Mincolla: I think it’s going to be a different experience for us. I mean, that bad has an anarcho, dance punk cult following. I look forward to those shows a lot. A Tool fan moves from the waist up at a show, but our fans typically move from the waist down in a dancey, metal way. I think, in that aspect, we might be a little more in common with Ramstein. So yeah, those shows are going to be good for us.
FPH: Correct me if I’m wrong, but those will be in Europe, yeah? Mincolla: No. No, those are going to be in the U.S.. I think Ramstein is going to play four shows in the States: an East Coast, West Coast, a Vegas one, and maybe a festival. We’re doing two of those with them. We’re doing New York and Chicago. Hopefully some Europe shows with them in the future — that’d be good!
FPH: I imagine those shows would be perceived even more intense over there. Mincolla: Oh, yeah. It’s funny, we’ve played some shows in Europe before we even fully toured the States. Actually, I guess it’s weird. We started to get a lot of requests from the U.K., Germany — I always thought that are sounds fits in well over there. But after going with Tool and doing the big stuff over here, it definitely started to open up the market.
FPH: I know bands like to talk about the difference between playing two places, but is that absolutely, positively true? I mean, some countries must feel the same, right? Mincolla: Oh, it varies from city to city, dude. Most definitely from continent to continent. An LA show has nothing to do with a, say, Kansas show. I think you look at secondary market shows, a tier 2 metropolitan area compared to New York or Chicago, I think the former sometimes appreciate music more, because not as much is going on. I think, when you play a show in LA — it’s a lot of industry people who go to shows all the time and sit on their phones. I don’t know. It totally varies. I’ve noticed that when we play in Europe there’s so much less Instagram traffic after the shows — you know, pictures of the set — because people are really in the moment, which is a weird, interesting analysis.
FPH: You’ve been on some big tours, and you’re going on some more coming up; you’ve made it as a musician, haven’t you? I mean, you are in a comic book! Mincolla: Ha! The whole Grant Morrison putting me in an issue of Heavy Metal was sort of a dream come true. But to answer your question, no, I don’t think I’ve made it. I mean, I have like negative $300 in my bank account right now, you know? It’s funny, they make these crazy assumptions like, “Oh, those guys are killing it, they probably bought on to this tour! They probably have so much money!” We’ve scraped by so hard. We just hoping we can make a little money to fix our credit scores and pay off the debts caused by buying gear. At the end of the day, I think it takes a lot of investment — time and money — to make a musical contribution, let alone a live show. So I certainly don’t think I’ve made it, except the fact that yeah, I’m in a comic book! But that was really cool. Ha!
FPH: So we just got through Memorial Day. But with holidays in general, are Americans doing it right? Are there too many, perhaps to few? Mincolla: Yeah, I mean, I don’t know. If you give people a reason to get drunk, they’re gonna. That’s really what holidays have turned into. You don’t have to work, so you can get drunk. In terms of the reference behind it, I don’t know. Sure. If you go to Europe, it’s crazy. In America we get to the end of the tunnel for the hard workers with a long weekend. I guess that’s enough.
FPH: Well I ask because World Goth Day was last Monday, how does one become an Edgar Allen Bro for next year? Mincolla: Ha! Yeah, that was a little bit of a snark on my part. You know, go out and get yourself some black nail polish, some grim music, and maybe an incense. Just stare out the window on a rainy day or something.
FPH: So you play in Houston on May 30th. For someone, let’s say a fan of contemporary jazz or something, who is on the verge of seeing an industrial show, should they? If so, how involved should they get? Mincolla: Yeah! I mean, I grew up on metal. I’m a huge metalhead. But I wanted to make something that wasn’t just a bunch of dudes pushing one another and girls feeling uncomfortable. We like to keep our stuff kind of sexy and dancey. It’s more about a fun experience as opposed to an aggressive, brutal experience. So we like to create a party. The visuals are cool. I like to think we put on a decent show, so come out, get weird, and party with some people wearing black!
3TEETH will perform at White Oak Music Hall on Tuesday, May 30. Tickets are $15 with doors at 7 pm. from http://www.freepresshouston.com/breaking-the-rules-an-interview-with-3teeth/ Kay Weathers. Photo: Pam Ashley
In music today there are multiple versions of genres, that the phrase sub-genre doesn’t really apply. With electro pop, or shoegaze, or even singer songwriter genres, you can think of artists almost immediately. With an artist like Kay Weathers, there’s pretty no way to put your finger on what sound she could be categorized with. Mixing elements of electro pop, indie rock, and pop; her sets are usually a mix of one woman performing by herself with multiple layered tracks while she sings and plays guitar. On her debut EP, last year’s Songs For Lucy, she pushed the bounds of multiple genres while offering up one of the prettiest releases of the year. Now with a set at this year’s FPSF, the solo artist will delight all who catch her perform. Free Press Houston sat down with her to get her take on her sound as well as see what she has up her sleeves for the festival.
Free Press Houston: Your music is essentially electro pop with guitar and loops. What genre would you call your music exactly? Kay Weathers: This is a tough question. I have no idea. I can list tons of bands that have influenced me, but I can’t tell you what I sound like. I’d like to think it’s psych/shoegaze pop? Seriously, I’m stumped.
FPH: You write, perform, and create all of your music by yourself. Was that always the plan to do it solo or was it just easier than getting a band together? Weathers: I actually only write the guitar parts and lyrics. I definitely help choose what other sounds are in each song, but I have to give Josh Applebee credit for the finished products. I didn’t really have a plan on having a band or not. I’ve worked with multiple very talented people in the past, but playing solo is definitely right for me. It is easier in terms of getting everyone together for shows or practice.
FPH: The debut, Songs For Lucy, was made here in Houston, between staying in Louisiana in a back and forth weekend thing. Was there ever a time when you questioned why you were travelling so much to make a record when you could’ve worked with a studio in Louisiana instead? Weathers: No way. Josh is incredible. He’s extremely talented and has a heart of gold. I enjoy working with him very much. As for the drive, I don’t mind it. I have a lot of friends in Houston and love that I can see them as often as I can.
FPH: I know that the title of the album refers to your cat, Lucy. Can you explain where that came from and why you chose that as the title? Weathers: Lucy is my audience. Whenever I write or practice, she jumps on a pa speaker and goes to sleep. I think all my songs are for her.
FPH: I know you’ve started work on a follow up release, is there a release date for that yet and have you been playing the songs out live at all? Weathers: I think I’ll keep this one a secret for now.
FPH: Your live shows are always deep and filled with varying lights and projections while you play guitar over looped tracks. For the larger stages of FPSF, have you got anything planned to mix things up for your set? Weathers: I do have some ideas. You’ll have to be there to find out!
You can find out what Kay Weathers will do at this year’s FPSF when she performs on the Saturn stage at 11:10 am on Saturday June 3. The two day festival that features performances from Lorde, The Shins, Solange, Cage The Elephant and many more will make its return to Eleanor Tinsley Park on June 3 and 4. The all ages event with gates opening at 11 am has tickets between $148 and $999. from http://www.freepresshouston.com/get-to-know-kay-weathers-ahead-of-fpsf/ |
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April 2019
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