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    this one goes out to alex

    New Houston music pop-ups celebrate the life of dearly departed figure

    Johnston Farrow
    Oct 22, 2020 | 1:47 pm
    The lights are dim at Barbarella in Houston after the sudden passing of GM Alex Akers.

    The Houston and Austin nightlife industry is mourning the loss of one of their own.

    Alex Akers, the well-liked general manager with popular Midtown dance club Barbarella, located at 2402 San Jacinto St., passed away suddenly last week. He leaves behind a young daughter, Auden.

    Due to coronavirus restrictions keeping the doors closed at Barbarella, staff at the beloved Midtown nightspot, as well as family, friends, and fans are invited to celebrate his life this weekend with pop-ups at White Oak Music Hall sister bar, Raven Tower, (310 North St.), Thursday, Friday, and Saturday nights.

    Expect themes familiar to regulars: Thursday will be '90s Night, Friday will be New Noise (alternative dance, electronic), and Saturday will be '80s Night. All proceeds will go to support Akers' family. Twin Shadow's George Lewis Jr. will play guest DJ on Saturday night; shows start at 9 p.m.

    Akers was the frontman of the Houston spin-off of the popular Austin dance club that offered cheap cover, cheap drinks, a no-fuss ambiance, and a light-up dance floor. It has been known as the best place to groove in Midtown and joined the pantheon of rare nightlife spots where patrons can simply be themselves.

    Barbarella followed a successful formula to appeal to different tastes, playing music themes throughout the week, including emo and LGBTQ-friendly nights, as well as unique one-offs with the best DJ talent in the city and beyond.

    “We are a dance dive bar and we’re a dance club for those who don’t like dance clubs," Barbarella co-founder, Harvey Graham, tells CultureMap from Las Vegas, home to one of his other clubs. "Most dance clubs are all about bottle service and superficial and we’re like a chef-owned restaurant — we’re owned by DJs and our first concern is our love of music. It’s finding good DJs and playing good music, and everything else comes after that.”

    Akers helped start the club in 2013 as a partner in the Houston venture with owners of the Austin spot, after working his way up the ranks at the ownership group's first club, Swan Dive, located on the Red River-6th Street corridor and later, the Austin Barbarella, which continues on.

    “We really liked people like Alex who are super friendly and good with people," Graham says. "He worked really hard and when we decided to expand to Houston, he said he had some money and would like to become a partner in it. We liked to reward people from within and who liked the concept. So we brought him on board and he helped me start it up.”

    Akers is remembered by those who knew him for being a genuinely kind soul in an often unforgivable business replete with oversized egos, very late nights, and a narrow bottom line with little margin for error.

    "I haven’t had a better experience working anywhere else which is why I’ve been there for seven years," Barbarella resident DJ and Houston musician Brandon Duhon tells CultureMap. "He also loved his mom a lot and she would sometimes come and hang out at the club — I thought it was really sweet that he was in the venue doing all this business, but in the midst of all that, they would still spend time together. I really wish that this didn’t happen because he was a positive influence in this world, and for sure a positive influence in the Houston scene."

    Others remembered the Barbarella GM for taking the time for others, including feeding the homeless population around the venue and offering them odd jobs to put money in their pockets.

    “He was always nice, honest, generous, and considerate," Duhon says. "That is a rarity with people, but it’s even more of a rarity with people who are running nightlife businesses.”

    “He had boyish enthusiasm, a young soul, carefree, always so much fun to be around," Graham adds. “He was the face of the club. To the Barbarella family, it’s a huge loss and it’s going to be super weird doing it without him.”

    Like bars across the country, COVID effectively shuttered the doors at the dance venue leaving many without work. It recently had a lifeline thrown by White Oak Music Hall co-owner Jagi Katial, who invited Barbarella to host a series of outdoor pop-up events at the neighboring venue, Raven Tower, following easing of restrictions for bars.

    For those involved, it was a way to get staff back to work and get people dancing again, but it was also the meeting of two like-minded local music spots with a lot of mutual respect for each other.

    “There’s a do-it-yourself element that’s apparent at White Oak but it comes across visually and aesthetically at Barb’s," says Katial. "White Oak is glossy and brand-new looking but it's definitely a DIY project. Alex saw that, he valued that, and I valued that about Barbs. There’s definitely a similarity in music but more than anything, there was an overlapping philosophy on how we operated organizations.”

    There is no word how Akers' death will affect Barbarella in Houston moving forward. For now, Akers' love of music will be at the forefront this weekend during the Barbarella shows. While all three pop-up nights will raise proceeds for Akers' family, Barbarella staff, friends, and loved ones are invited to attend the Friday night event to raise a toast and share memories.

    “I’d like people to come out a celebrate Alex’s life," Katial says. "If you knew or didn’t know Alex, if you went to Barbs or didn’t, just come out and enjoy one of those nights.”

    The lights are dim at Barbarella in Houston after the sudden passing of GM Alex Akers.

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    Movie Review

    Wicked: For Good clings to the musical and misses out on movie magic

    Alex Bentley
    Nov 20, 2025 | 1:20 pm
    Ariana Grande and Cynthia Erivo in Wicked: For Good
    Photo by Giles Keyte/Universal Pictures
    Ariana Grande and Cynthia Erivo in Wicked: For Good.

    Splitting the film adaptation of the musical Wicked into two parts makes a certain kind of sense beyond the financial incentive of making fans pay for two films. Like most stage musicals, there’s a definitive break between the two acts, and it’s hard to resist going out on the high note of “Defying Gravity” for the first film. And expanding the story for the films puts the entire story at around 5 hours, much too long for one sitting.

    However, separating them puts a spotlight on the strengths and weaknesses of each act of the musical, and it's a popular opinion that the second act is inferior to the first act. In the awkwardly-named Wicked: For Good, Elphaba (Cynthia Erivo) is firmly ensconced as the Wicked Witch of the West, striking fear in people across Oz. Meanwhile, Glinda (Ariana Grande) has ascended as the protector of the land’s citizens, even as she hides the fact that she doesn’t possess the powers that Elphaba does.

    The story speeds through a number of different arcs, including Elphaba’s sister, Nessarose (Marissa Bode), becoming governor of Munchkinland; Glinda essentially forcing Fiyero (Jonathan Bailey) to commit to marrying her; even more bad revelations involving the Wizard of Oz (Jeff Goldblum) and Madame Morrible (Michelle Yeoh); and more. Hanging over all of it is the tenuous bond between Elphaba and Glinda, which is tested on multiple occasions.

    Director John M. Chu, working from a script by original musical writer Winnie Holzman and Dana Fox, leads the way on the faithful adaptation that is perhaps a bit too faithful. Chu helmed the memorable adaptation of Lin-Manuel Miranda’s In the Heights that brought more life to an already lively production. He accomplished similar results in Wicked part one, but For Good often feels less than cinematic, with many scenes coming off as static and too much like a stage production.

    The second film contains a lot of story movement, including the vague or explicit introduction of the four main characters from The Wizard of Oz, providing plenty of opportunity for creative staging or deeper storytelling. Instead, things just sort of happen, with Holzman and Fox failing to see the necessity of connecting story dots in a movie setting. With lots of extra time to work with (the run time is 2 hours and 17 minutes), giving more information about significant events shouldn’t have been an issue, and yet the filmmakers rarely give the audience that luxury.

    The songs, as they should be, are the showcase of the film, and yet none of the sequences measure up to the ones in the first film. The rushed storylines make it difficult to connect with emotionally-resonant songs like “As Long As You’re Mine” and “No Good Deed.” “No Place Like Home” and “The Girl in the Bubble,” new songs created for the film for Elphaba and Glinda, respectively, are decent but lack power. “For Good” is the one everyone is waiting for, but it too fails to land properly.

    Erivo and Grande certainly give it their all, and when they’re allowed to dig deep into their characters, they make as much of an impact as they did in the first film. Unfortunately, it’s nowhere near as often, and their characters’ bond suffers. Most of the other actors are done no favors by the whirlwind storytelling, but Goldblum still stands out in his various scenes.

    Creating a whole film for the second act of Wicked gave Chu and his team a perfect chance to slow things down and give the events it contains extra meaning. Unfortunately, they turned For Good into something that feels less like an expansive movie and more like a slightly more interesting version of the stage production.

    ---

    Wicked: For Good opens in theaters on November 21.

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