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    Sundance 2015

    Murderer or misunderstood? HBO mini-series on Robert Durst lets viewers decide

    Clifford Pugh
    Feb 6, 2015 | 9:51 am

    PARK CITY, Utah — Andrew Jarecki and Marc Smerling admit they are fascinated by Robert Durst, the scion of one of New York's wealthiest families whose bizarre behavior in Galveston and elsewhere is the centerpiece of a new HBO mini-series, The Jinx: The Life and Deaths of Robert Durst, that debuts Sunday (Feb. 8 at 7 p.m.).

    They duo, whose acclaimed documentary, Capturing the Friedmans, was nominated for an Academy Award in 2003, spent several years making All Good Things, a 2010 film about the life of the wealthy son of a New York real estate tycoon and a series of murders linked to him based on Durst's life. Just as the movie was released, they got a call from Durst and stuck up a strange quasi-friendship which resulted in extensive filmed interviews.

    Much of the first episode of The Jinx is based in Galveston, where Durst was arrested and charged with murder after body parts of his elderly neighbor, Morris Black, were found in Galveston Bay.

    "We weren't that keen on doing another Bob Durst film at that time," Smerling told an audience after screening the first two episodes of the six-part HBO series at the Sundance Film Festival. "We had had our fill of Bob Durst writing a screenplay for 2-1/2 years. (But) we sat down to talk and he was so fascinating that we kept at it for another 5 years."

    Much of the first episode of The Jinx is based in Galveston, where Durst was arrested and charged with murder after body parts of his elderly neighbor, Morris Black, were found in Galveston Bay. The mini-series footage is graphic, and tourist officials won't be pleased with the depiction of the island. "We see Galveston, it's seedy and it's decrepit," Jarecki said. "When you see New York City, it's opulent."

    The contrast is intentional, as Durst's family is responsible for the construction of 11 major New York skyscrapers, including the One World Trade Center (aka the Freedom Tower) and the Bank of America Tower.

    "It's a story that I see as operatic — a multi-generational family with a multi-billionaire dollar fortune in New York City. They've altered the Manhattan skyline. And then you have this remarkable character, Bob, who did not fit into that world, didn't want to be of that world. And I think the wealth of it, the privilege of it is something that never really agreed with him," Jarecki said.

    The episode also features extensive interviews with Galveston Police Department investigators and the dive team that picked the body parts out of the water. All seemed amazed that the mild-manner looking Durst was capable of murder.

    "It doesn't fit," one official says. "That guy looks like a librarian."

    High-priced attorneys

    According to the mini-series, Durst wanted to hire Houston attorney Dick DeGeurin to defend him while Durst's wife favored another Houston attorney, Mike Ramsey. So both attorneys were hired for a reported $600,000 each. In total, Durst says, he spent $1.8 million on his defense. "I hope it gets me acquitted," he tells his wife in a phone conversation.

    While most Houstonians know what happens, we won't spill the results here. Jarecki said the entire fourth episode of the mini-series features the Galveston trial, including never-seen-before views of the proceedings. The judge allowed some video but no audio. However, when the transcripts came in, the filmmakers got the surprise of their lives.

    "And we saw Bob saying this line, 'I did not kill my best friend, but I did dismember him.' I just thought how could that unique moment in time be lost to the ages? It was so lucky we were able to find it."

    "The transcripts came in a big box....And it turns out at the bottom of the box there were these big batch of old-fashioned cassette tapes that were essentially the whole trial that had been recorded. The reason the court reporter had recorded these things without the knowledge of the judge is that it was a big trial, he didn't want to get it wrong, so he had a little tape recorder there," Jadecki said.

    "We synched the two up and suddenly it was 2003 at this trial. We were listening to everything. And we saw Bob saying this line, 'I did not kill my best friend, but I did dismember him.' I just thought how could that unique moment in time be lost to the ages? It was so lucky we were able to find it."

    Jarecki, who directed the mini-series, and Smerling, who shot most of it, won't let on whether they believe Durst is guilty of crimes, including the strange disappearance of his wife in 1982 and the execution-style murder of a close Durst friend in 2000. (Both cases remains unsolved and Durst, now 71, has never been charged in either of them.) But it seems clear that they find him eminently intriguing.

    "At one point (in the interview) I said, 'Some people say that you are the unluckiest person is the world because you lost your wife who you loved, you lost your best friend who was murdered, you lost your neighbor in Galveston you were good friends with, that's terribly unlucky.' Other people say that you were the luckiest guy in the world because you killed your wife, you killed your best friend, you killed your neighbor in Galveston, you have a great lifestyle.

    "I asked him what he thought about that. He said, 'I think of myself as someone who was born with a burden I couldn't carry." We sort of go into what that means. We do what we can to show both sides of the equation."

    Most of the Durst family did not cooperate with the filming. "For the most part, they were adamant about not participating, "Jadecki said. "Just two days ago, I was sued by the Durst family personally.

    "There are very strong feelings. There were a couple members of the Durst family that were extremely forthcoming and have felt strongly that the family did not handle this part of their lives in an appropriate way and felt like they wanted to speak out and be heard. And, to some extent, that's why we have this beautiful home movie footage and history of that family, which is a family that has some significant certainly in New York City but in the history of the country as well."

    A scene from The Jinx: The Life and Deaths of Robert Durst.

    Sundance Film Festival February 2015 The Jinx: The Life and Deaths of Robert Durst
    Sundance.org
    A scene from The Jinx: The Life and Deaths of Robert Durst.
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    Lizzo makes Houston feel 'Good as Hell' at sold-out Rodeo concert

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    Creed concert review

    Creed serve up millennial nostalgia at pyro-packed RodeoHouston concert

    Craig Hlavaty
    Mar 11, 2026 | 11:54 pm
    Creed concert RodeoHouston
    Courtesy of Houston Livestock Show and Rodeo
    Singer Scott Stapp serenades the RodeoHouston crowd.

    Hello, my friend, we meet again.

    I’ve had a torrid relationship with Creed. As a circa-2000s punk rocker, it was implied that I was supposed to hate them. Nevertheless, I enjoyed those hook-laden Mark Tremonti riffs and Scott Stapp’s burly, Bono-grasping vocals, with just a hint of irony deep in the mix. I had “One Last Breath” on a burned mix CD, bunched in with Fugazi, Rancid, and Sham 69. I would skip it as quickly as I could, depending on who was in the car. Driving home from a long day slinging milk in the Kroger dairy cooler? Windows down, Stapp up.

    When I began my music journalism career 20 years ago (!!!), I began sticking up for them, much to the consternation of a lot of my fellow writers who were hung up on stuff that was supposed to be cooler and hipper. Creed’s pop-culture zenith came right as The Strokes and The White Stripes were thrust on us by the music press as a counter to post-grunge, which other music writers were categorically allergic to. Remember when our biggest problems in America were bands that were overtly influenced by Pearl Jam and Alice In Chains?

    In 2012, I interviewed lead singer Scott Stapp along the way for the Houston Press, and I distinctly recall Stapp being confused on our call that a guy from a smug alt-weekly wasn’t asking him stupid questions or making fun of his leather pants. The band was heading to Houston for a two-night stand at the Bayou Music Center in 2012 when they played 1997’s “My Own Prison” and 1999’s “Human Clay” in their entirety.

    Fun fact: “Human Clay” has sold over 20 million albums alone, besting Nirvana’s “Nevermind” and Pearl Jam’s “Ten” by only a relatively small margin. Creed moved more physical CDs when people actually bought music.

    Somehow, along the way, people stopped hating Creed and Nickelback, and the hate gave way to pre-social media, millennial high school, and pre-9/11 nostalgia. The similarly maligned Nickelback sold out the rodeo in 2024.

    On Wednesday, March 11, I saw junior high school kids wearing crispy new Creed shirts with their parents. Gen Alpha is beginning to get curious about what mom and dad were up to during spring break 2001, and Zoomers are rediscovering Y2K fashions. Haven’t you seen those “Mom, What Were You Like In The ‘90s?” memes?

    Creed has been sold out for weeks, drawing 70,007 attendees. If you had told someone 10 years ago that Creed would sell out RodeoHouston, they would have been skeptical. And yet here we are, staring down at a sold-out Creed show. These things run in cycles. Emotions fade. Annoyance turns into wistfulness for the days of Nokia brick phones and 99-cent gas. You can even go on a Creed Cruise now.

    Creed hit the stage just before 9:30 pm, an enviable bedtime for most elderly millennials, kicking off with the TOOL-chugalug of “Bullets,” with Stapp and Tremonti making the best use of their stage platforms, crucial devices for any major rock band in the 2000s. Unrelenting pyro shot from the dirt surrounding the stage every time Stapp lifted or flailed his arms like Elvis if he discovered cardio.

    The dirge of “Torn” — the second single from My Own Prison — was pyro-less, likely giving the cannons a few minutes to cool off. The sweaty Stapp, at just 52, looks to be in better shape than he did 20 years ago, now sporting a conservative haircut like he stepped out of his company’s stadium suite or finished a twilight run at Memorial Park.

    Stapp introduced “My Own Prison” with a preachery pep talk that wouldn’t sound out of place at an altar call at Sturgis. The crowd hung on every emphatic word. Maybe seeing two middle-aged dudes wearing Stryper shirts down on the concourse made more sense than I realized. Is Creed actually just TOOL that accepted Christ? The graphics behind the band could’ve fooled me.

    Stapp introduced “One” with a speech on commonalities and love. Looking back, Creed’s lyrics were much too earnest, hitting at a time when critics were still hungover from grunge.

    During “With Arms Wide Open,” the rodeo cameras would routinely cut to tattooed dads and rocker chicks in the crowd playing air guitar along with Tremonti and singing their guts out like they did the first time they heard it on 94.5 The Buzz. For a large segment of the crowd, they might have had a Gen-X parent jamming this stuff on the way to school in the morning.

    “Are you ready to get higher in here, Houston?” Stapp yells. The place erupts as “Higher” starts. Stapp was in his element, pyro shooting off, his silver jewelry dangling, taking in the crowd, like he didn’t expect such a response.

    Possibly the last true rock power ballad ever recorded, “One Last Breath,” got the biggest screams of the night; it might also be the Gen-Z “Don’t Stop Believing” as long as we’re making wildly controversial statements. [Editor’s note: Isn’t that Mr. Brightside? -ES]

    Welcome back, Creed, from pop-culture purgatory, and props for what might have been the loudest RodeoHouston show in years.

    SETLIST

    Bullets
    Torn
    Are You Ready?
    My Own Prison
    What If
    One
    With Arms Wide Open
    Higher
    One Last Breath
    My Sacrifice

    Creed concert RodeoHouston

    Courtesy of Houston Livestock Show and Rodeo

    Singer Scott Stapp serenades the RodeoHouston crowd.

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