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    Get the Party Started

    Concert of the Year? Pink gets a gold star for dazzling show: She sings, she soars, she sparkles!

    Jane Howze
    Feb 22, 2013 | 11:05 am

    Pink, whose Truth About Love Tour kicked off its U.S. leg in Phoenix last week, with 99 total shows planned worldwide, touched down in Houston’s Toyota Center on Thursday for a sold-out performance. Even those not familiar with Pink through her 2009 Funhouse tour will remember her breathtaking, unforgettable acrobatic performance of “Glitter in the Air” at the 2010 Grammys.

     

    One mark of a good concert is that you may not know every song in the program when you enter, but you walk out wondering how fast you can get home and start downloading. Pink delivered that and more.

     
     

      How Pink can sing while hanging upside down suspended by three male dancers is a mystery.  

     

     

    The first thing I noticed was the age of the crowd. After going to a Justin Bieber concert last year, where the average age seemed to be about 12, and a Paul McCartney concert that was geared to the baby boomer generation, the Pink fan is harder to peg and includes a slightly older crowd, though clearly not one that had to be coaxed out of their seats. Yep Yanni fans, that would be you.

     

     The Hives, a Swedish garage band, opened for Pink with a short, highly energetic set which, unlike many opening acts, brought enthusiastic applause.

     

     Game show start

     

    Pink’s concert starts as a TV game show, with a slightly annoying emcee scanning the crowd for someone to compete on "The Truth About Love." Surprise! Pink is selected as the contestant and then makes her entrance by being shot into the air on bungee cords as she opens with “Raise Your Glass.”

     

    It is a dramatic and stunning number, and how Pink can sing while hanging upside down suspended by three male dancers is a mystery.

     

    The 21-song setlist uses vignettes about one night stands, rejection, parties and regret as a way to introduce songs from her sixth Grammy nominated album, Truth About Love.

     
     

      I have always said that Chris Martin, frontman of Coldplay is the hardest working entertainer around, but I’m reconsidering, and now I’m giving Pink the nod.  

     
     

    Pink quickly moved into some of chart topping hits and fan favorites including "Walk of Shame," "Just Like a Pill,” "F***in' Perfect," "So What," “Family Portrait” and her latest singles, “Try” and "Just Give Me A Reason," featuring Nate Ruess.

     

    I have always said that Chris Martin, frontman of Coldplay is the hardest working entertainer around, but I’m reconsidering, and now I’m giving Pink the nod. A Pink concert is a little like a Cirque du Soleil performance. There is so much happening on stage—the songs, the dancing and of course the acrobatics—it is a feast for the senses. Sometimes there were so many dancers on the stage that I had trouble finding Pink.

     

    The stage set was an elaborate production with five screens, one of which was in the shape of a heart, along with dramatic staircases, a wildly talented five piece band, two back-up singers and a high octane crew of dancers.

     

    Pink made numerous costume changes, many of which showed off her phenomenally toned body. I was particularly drawn to her footwear choices. For some numbers she performed barefoot, but she also sported boots, high high heels and sneakers.

     

     Best for last

     

    Pink’s voice sounded strong, especially considering that most of the numbers included strenuous dancing or physically demanding acrobatics. And if she used back-up vocals no one seemed to care.

     

    During one of the few pauses, Pink asked the audience how many people had been to a prior concert of hers. The audience erupted in cheers. Pink acknowledged the fans by reaching out to grasp hands of those near the stage during several numbers and chatted with fans, saying that her daughter was in the audience and appearing to wave to her saying, “She is a better dancer than I.”

     
     

      With Madonna’s last concert tour playing to mixed reviews and Lady Gaga cancelling her 2013 tour, Pink may prove to be the concert of the year.  

     
     

    Pink saved the best for last. Dressed in a gold bodysuit and strapped into a harness, she flew over the crowd several times, singing “So What,” taking brief stops on perches set up on each side of the arena. She got so close that some in the audience said they could see the detail on her costume.

     

    It was so spectacular and mind-blowing that there was not one person in the crowd who was not trying to capture the moment on their camera. But Pink was not done. Reprising her famed Grammy performance, "Glitter in the Air," she was again in the air for a hauntingly beautiful performance that had her spinning gracefully as she sang.

     

    With Madonna’s last concert tour playing to mixed reviews and Lady Gaga cancelling her 2013 tour, Pink may prove to be the concert of the year. Based on the reactions of fans at the Toyota Center Thursday night, Pink gets a gold star.

    Pink soared above the audience.

    Pink concert, February 2013
      
    Photo by Alison Finlay
    Pink soared above the audience.
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    Movie review

    New movie Eddington confronts the chaos of early pandemic life

    Alex Bentley
    Jul 18, 2025 | 3:30 pm
    Joaquin Phoenix and Pedro Pascal in Eddington
    Photo courtesy of A24
    Joaquin Phoenix and Pedro Pascal in Eddington.

    The coronavirus pandemic had a profound impact on the entire world, one that has been shown in various ways by movies and TV shows. However, even though a number of productions have attempted to show what life was like during the early days of the pandemic, few have tried to truly reckon with the way lockdowns and restrictions changed people.

    Filmmaker provocateur Ari Aster does just that in Eddington, set in a fictional small town in New Mexico in early 2020 that proves to be a microcosm of the debates taking place worldwide at that time. Sheriff Joe Cross (Joaquin Phoenix) is not a fan of mask mandates or other restrictions imposed by the government, while mayor Ted Garcia (Pedro Pascal) tries to lead by example in an effort to keep his community safe.

    The men butt heads not just on how to deal with the pandemic, but also over a personal history involving Joe’s wife, Louise (Emma Stone). When news of the murder of George Floyd in Minnesota makes its way to town, it starts a slow simmer among the town’s youth population, putting even more stress on Joe and his small department. Conspiracy theories, white guilt, partisan politics, cults, and more combine to make the community into a powder keg that threatens to explode at the slightest provocation.

    Aster (Midsommar, Beau is Afraid) takes aim at all sides in a film that’s part satire and part thriller. No matter how each viewer reacted to the pandemic, the film offers at least a character or two that will come close to representing their viewpoint. Although opinions may differ, it seems clear that Aster is not portraying one side as “right” or more righteous than the other. What he is doing is demonstrating just how much was happening in a short period of time, and how those things could negatively affect anyone.

    On the flip side, the film also challenges viewers with viewpoints that may not match their own, which can make for an uncomfortable experience at times. The reactions various characters have to certain events range from rational to wholly unexpected, and Aster seems to delight in keeping the audience on their toes the entire time. This is especially true when violence rears its ugly head, resulting in some intense and upsetting scenes.

    Not everything in the film lands, though. A subplot involving Louise and Vernon (Austin Butler), a cult leader who preys on her fears, feels tacked on, with no relation to the film as a whole. In fact, the character of Louise is a misfire in general, one whose purpose makes little sense. Aster also lets (asks?) some actors speak in almost inaudible tones at various points in the film, a frustrating experience in a film as dialogue-heavy as this one.

    Phoenix loves to dig into off-kilter characters, and this one ranks high on that scale. Even if you don’t enjoy what his character does, it’s hard to fault the performance that brings him to life. Most of Pascal’s scenes are with Phoenix, and while he matches Phoenix’s energy, the lower key nature of his character leaves him overshadowed. The nature of the film means few others make an impact, although Deidre O’Connell as Joe’s passive-aggressive mother-in-law and William Belleau as Officer Jiminiz Butterfly stand out in their scenes.

    Few of us would volunteer to go back to the baffling days of early 2020, but Eddington does a great job of examining what was happening at the time and how events united some and divided others. It’s not a feel-good film, but it is one that will make viewers re-examine their reactions at the time and how those influenced the current reality.

    ---

    Eddington is now playing in theaters.

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