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    the stones return

    The Rolling Stones rock Houston with unforgettable, satisfaction-filled show

    Johnston Farrow
    Johnston Farrow
    Jul 28, 2019 | 3:00 am

    The question of the night loomed over the proceedings with well over 50,000 packed into NRG Stadium: Can a band — all members over the age of 70 — still rock a huge crowd?

    The answer: yes.

    The Rolling Stones are well past their expiration date and defiantly so. They have been a going concern for over 50 years, the former rivals to The (freaking) Beatles and have assuredly turned their many hits into becoming the biggest band in the world, no questions asked. At this point, they are only on the road to prove they can outdo any young band that might think they can take on their mantle.

    Lead singer Mick Jagger recently had heart valve replacement surgery, and he even acknowledged the postponement of the show that was supposed to be months ago, apologizing, in saying that he “f*cked everyone’s plans.” Drummer Charlie Watts is 78 years old, Ronnie Wood looks way better than he should, and Keith Richards, well, he is still walking.

    Jokes aside, the Stones almost thrive on these thoughts to make converts anew, something they've been doing for decades. This was one helluva show and one that the Bayou City won't soon forget.

    After a set by Bishop Gunn that would have made Black Crowes fans happy, the Stones came out to "Jumpin' Jack Flash," the 1968 hit that still had the resonant, exciting charge as the day it was released. A huge bank of video screens mostly focused on the big four — Jagger, Richards, (Ronnie) Wood, and Watts — and showed that they still had the goods. Any concerns that Mick would be able to give his nimble best were destroyed as he pranced across the huge stage, his iconic moves still as vibrant as ever.

    Between songs, Jagger alluded to their history at NRG Stadium, noting that they were the first band to ever play the venue after it opened in 2002. Later, he pointed out it had been 55 years since they had first played Houston, a mind-boggling fact to anyone born years after their start.

    Fans of all ages showed their approval for their biggest songs — “Let’s Spend the Night Together,” a killer “Sympathy for the Devil,” and “Paint It Black” was everything and more that a fan could expect.

    Significantly changing the setlist up from earlier in the tour made a statement and kept the audience on their toes. The early ’80s hit, "Start Me Up," that launched the modern Stones was a welcome addition. “Brown Sugar” and its extended jam closed out a killer first set.

    The Stones pulled off the perfect one-two shot encore with the mind-blowing “Gimme Shelter,” back-up singer Sasha Allen stealing the spotlight. “(I Can’t Get No) Satisfaction” had the entire stadium up and dancing, proving that good songs can never die, that people will continue to pay to see one of the most legendary acts to ever take the stage.

    Setlist
    "Jumpin' Jack Flash"
    "Let's Spend The Night Together"
    "Tumbling Dice"
    "Out of Control"
    "Doo Doo Doo Doo Doo (Heartbreaker)"
    "You Can't Always Get What You Want"
    "Sweet Virginia"
    "Dead Flowers"
    "Sympathy For The Devil"
    "Honky Tonk Women"
    "Slipping Away"
    "Before They Make Me Run"
    "Miss You"
    "Midnight Rambler"
    "Paint It Black"
    "Start Me Up"
    "Brown Sugar"

    Encore:
    "Gimme Shelter"
    "(I Can't Get No) Satisfaction"

    "(I Can't Get No) Satisfaction" was purely satisfying.

    Rolling Stones Houston concert 2019 NRG Stadium
    Photo by Jacob Power
    "(I Can't Get No) Satisfaction" was purely satisfying.
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    Movie Review

    George Clooney shines in Jay Kelly, a sharp and heartfelt look at fame

    Alex Bentley
    Nov 21, 2025 | 3:00 pm
    George Clooney in Jay Kelly
    Photo by Peter Mountain/Netflix
    George Clooney in Jay Kelly.

    The life of a celebrity is paradoxical in that your life is lived in the public eye, yet who you really are is almost unknowable. Movie history is littered with films that try to dig into the private lives of real and fictional actors, with varying results. The latest film to try to unearth what it means to be famous is Jay Kelly.

    In a perfect bit of casting, George Clooney stars in the title role as an actor who’s still world famous even if he’s edging toward the downside of his career. His coterie of helpers, including manager Ron (Adam Sandler) and publicist Liz (Laura Dern), make sure he is taken care of at every turn, often anticipating his needs before he realizes it.

    A run-in with an old friend, Timothy (Billy Crudup), sends Jay spiraling, questioning not just the meaning of his 35-plus year career, but also his relationships with his two daughters, Jessica (Riley Keough) and Daisy (Grace Edwards). Jay’s attempt to manage the crisis pits his identity as a celebrity and as a father and friend against each other.

    Written and directed by Noah Baumbach, and co-written by Emily Mortimer (who has a small role), the film has to walk the tightrope of making the audience like Jay even as he does and says things that might make him unlikable. There’s a very thin line between the character of Jay Kelly and the real life George Clooney; each is seemingly infinitely charming when dealing with the public, but they lead very different private lives.

    Baumbach takes a light approach to the story, occasionally dipping into more serious territory but never going too deep. For some, this may seem like a copout, as if he’s merely pretending to want to explore what celebrity truly is. But as you see Jay navigate his way between his work, his family, and being out among the public, little details emerge that make him increasingly complex.

    A lot of the film’s pleasure comes from the strong actors cast in relatively minor roles. There are not enough words to express what it means to have actors like Jim Broadbent as Jay’s mentor, or Greta Gerwig as Ron’s wife, or Stacy Keach as Jay’s father, or Patrick Wilson as a fellow longtime actor. Each of them and more lend an instant air of excellence to the film that elevates the story beyond its simple premise.

    Clooney may be playing a version of himself, but as the film notes on multiple occasions, playing yourself is more difficult than it seems. He is deserving of an Oscar nomination, as is Sandler, who doesn’t give off even a whiff of insincerity as a man who has given perhaps a bit too much of himself in aid of another man’s career.

    Jay Kelly is not a world-changing film, and some may accuse it of being another navel-gazing Hollywood story. But the forcefulness of Clooney’s performance, the long line of strong supporting actors, and the subtly effective storytelling by Baumbach and Mortimer (making her feature screenwriting debut) help it become much more than might be expected.

    ---

    Jay Kelly is now playing in select theaters. It debuts on Netflix on December 5.

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