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    Usher's Crazy Houston Night

    Usher makes the most dramatic concert entrance ever, flashes nipple and teases Houston in record Rodeo night

    Tarra Gaines
    Mar 8, 2014 | 5:51 am

    Mark your journals in red, Houston. March 7, 2014, that was the night we’ll always remember, the night we met our perfect rodeo luvah, Usher.

    We first felt his presence, not by his whisper of our name echoing to us across Reliant Stadium, but by the growl of engines. Suddenly, 12 single headlights illuminated the darkness. Where only minutes before steers were wrestled and mutton busted, at that moment, in what is likely the most epic rodeo entrance ever, motorcycles came zooming unto the dirt floor.

    Circling the stage again and again, one popped a little wheelie. Could that be Usher? We know it was.

    Of course we scream. We had to scream. Our perfect rodeo boyfriend had arrived.

    The lights dimmed and then exploded as he stopped with an intentional skid in front of us, ripped off his helmet and bound onto the stage. He was wrapped all in black, jeans and a leather motorcycle jacket, because he knows what we like. He nodded to us, surveying his domain. And then he said our name: “Houston.”

    Of course we scream. We had to scream. Our perfect rodeo boyfriend had arrived.

    He stayed with us for a little over an hour. We leaped to our feet early on for “Love in the Club,” and never sat down again. Instead, we stayed up dancing like it was the last night of our life.

    He burned us up on “Burn.” He called us “Bad Girl,” and we let him know just how bad. During “U Remind Me” he crooned us into taking a little soul trip. Sometimes he sang straight to us. Other times, he fell to his knees like the song was breaking him in two. He joined his backup dancers in so many routines his jeans seemed to grow blacker with sweat. Others times he stood apart and like a maestro conducted his dancers in a kind of half-clothed simulated orgy.

    He teased us mercilessly when he asked if we minded if he got a little comfortable and slinked off his jacket, even giving us a few nipple glimpses, now and then. Still he wouldn’t show us the goods.

    He swore to us again and again that this was his first rodeo, but his moves and the way he worked us into a frenzy made us wonder if he could be lying. Surely there had been others before. But no, when he looked into our eyes — or the camera, whichever — during our Usher/crowd duet of “Climax,” we knew in our hearts he’d always be true.

    He joined his backup dancers in so many routines his jeans seemed to grow blacker with sweat.

    Yet, for one brief moment late into his serenades, he seemed almost adorably self-conscious when we gave him cause to doubt our love. Yes, in the intro to “Yeah” when he mentioned his Voice partner in bromance, Blake Shelton, we might have let out a little squeal for Blake, but we were only trying to make Usher jealous. We’re not really that fickle. So when he tested us with a “Blake” vs. “Team Usher" poll, oh boy did we yell his name.

    He prepared for our bitter parting with our favorite “Without U,” and ended with the words “I will never be the same, without you, Houston.” He told us he loved us, dropped mike (literally) and jumped back on his waiting motorcycle. As he circled once around, perhaps to glimpse our 75,067 faces one last time (a new Black Heritage Day Rodeo record crowd), fireworks exploded from the earth.

    Then, as the smoke cleared, he was gone, back into the night, leaving us with only a faint hope in our hearts that one night he would return to us.

    Come back, Usher, come back. We promise we’ll love you forever. Or at least until Adam Levine gets here on Thursday. Yeah, we might be a bit fickle.

    Set List:

    OMG

    Love in the Club

    U Make Me Wanna

    Lemme See/Lil Freak

    U Remind Me

    Twisted

    Caught Up

    Climax

    Burn

    U Don't Have to Call

    Bad Girl

    Yeah

    DJ Got Us Fallin in Love

    Without U

    Usher certainly made the most of his hour on the Houston Rodeo stage.

    Usher riding
    Photo by © Michelle Watson CultureMapSNAP.com
    Usher certainly made the most of his hour on the Houston Rodeo stage.
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    series/htx-rodeo-2014

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    Movie review

    Messy Frankenstein movie The Bride! stitches camp and confusion

    Alex Bentley
    Mar 9, 2026 | 3:45 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

    moviesfilmmaggie gyllenhaalannette beningchristian balejessie buckleypeter sarsgaardpenélope cruzmovie review
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    series/htx-rodeo-2014
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