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    RodeoHouston 2019

    Carlos Santana masterfully works his black magic at stellar RodeoHouston debut

    Johnston Farrow
    Johnston Farrow
    Mar 14, 2019 | 12:00 am
    Santana RodeoHouston 2019
    He was especially smooth on hits like "Smooth."
    Photo by Jacob Power

    It's hard to say what makes a man a legend — until you see him at work.

    Santana proved why he has been lauded as one of the best performers of the last half-century, drawing on old and new hits to give the 74,161 in attendance a reason to dance in the aisles in what was hands-down one of the best performances at RodeoHouston 2019.

    Carlos Santana made his name as the ringleader of a group of talented players that emphasized psychedelic rock meshed seamlessly with broad strokes of Latin and African rhythms, American blues, and jazz. He gained fame during the turbulent late '60s and early '70s as an artist that could bring together fans of all backgrounds, appearing at the most famous and infamous festivals in the history of modern music. That includes landmark sets at the original Woodstock (where he apparently dropped acid before getting on stage) and at the Altamont Speedway Free Festival.

    But his second act came in the late '90s and early aughts when he successfully brought his eclectic vision to new audiences by teaming up with the most notable pop stars of the day, producing his biggest hits in his career, albeit in more diluted versions of his high energy, early heyday.

    So would the 71-year-old performer rely on the songs more familiar to modern audiences or would he bring back the groove of earlier tunes beloved by Santana die-hards? Thankfully, the answer proved to be both.

    Getting a late start after 9 pm, Santana emerged on stage with a nine-piece backing band and leaned into his back catalogue, a video of that Woodstock '69 show playing overhead as he kicked into the three-song mini-suite from his self-titled debut: the hard-charging "Soul Sacrifice," followed by the African rhythms of "Jingo," and the timeless "Evil Ways," which segued into "A Love Supreme" from 1973 album Love Devotion Surrender.

    The crowd gave their biggest approval of the early evening for Santana's most recognizable pre-1999 hit, "Black Magic Woman/Gypsy Queen" from the 1970 masterpiece Abraxas, a breathtaking display of guitar heroics. The just as great "Oy Como Va" from the same album followed suit, it's contagious bongo-led Latin shuffle reaching the press box on the eighth story of NRG.

    Santana's band kept the energy high, with two vocalists, two guitarists, a bass player, keyboard player, and three percussionists, highlighted by his wife and Lenny Kravitz drummer Cindi Blackman Santana, the heat rising in NRG thanks to the extreme tightness of the group as a unit. Of course, the band leader had plenty of time in the spotlight, and Santana displayed a tremendous touch on his PRS guitar, a virtuosity that moved millions of albums and took home countless awards.

    The night then shifted toward the pop hits of later years, nearly all of them Grammy winners. These included the easy listening Michelle Branch duet "Game of Love" from 2001's Shaman, the Wyclef Jean-produced "Maria Maria" and "Corazon Espinado" from mega-selling, award-winning 1999 LP Supernatural. The set then shifted back in time to 1971's “Toussaint L’Overture,” Santana showcasing the best guitar chops of the evening, including an amazing segment of the classic Beatles tune "While My Guitar Gently Weeps."

    His work with the Isley Brothers on 2017's Power of Peace also got two songs on the setlist, bringing some welcome funk to the proceedings with "Are You Ready" and set closer, "Love, Peace, Happiness." It would be a mistake not to mention the inescapable behemoth pop hit, "Smooth," which was named the second biggest song of the 20th century by Billboard magazine, cementing Santana's legacy as one of the best living performers. No doubt, the legend was nothing but smooth and radiated it throughout the show.

    Cheekily ending the show with a "Deep in the Heart of Texas" riff, Santana and his band humbly walked off-stage to a huge ovation, slowly making their way through the dirt into the inner bowels of NRG Stadium, no SUV needed.

    RodeoHouston 2019 may have the most diverse lineup of any previous edition, but only one show can rightfully claim it brought as many diverse sounds together as wonderfully as Santana did. The NRG stage had the perfect performer to grace its star-shaped stature on Wednesday night.

    Setlist
    “Soul Sacrifice”
    “Jingo”
    “Evil Ways"/"A Love Supreme”
    “Black Magic Woman"/"Gypsy Queen”
    “Oye Como Va”
    “Game of Love”
    “Do You Remember Me (Mona Lisa)”
    “Maria Maria”
    “Foo Foo”
    “Corazon Espinado”
    “Toussaint L’Overture”
    “Are You Ready People”
    “Smooth"
    “Love, Peace, Happiness”

    He quickly ripped into his classics.

    Santana RodeoHouston 2019
    Photo by Jacob Power
    He quickly ripped into his classics.
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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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