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    RodeoHouston 2018

    He said what about The Astrodome? Garth Brooks talks Rodeo and Houston

    Chris Gray
    Feb 27, 2018 | 4:56 pm
    Garth Brooks poses for selfie with fans to announce RodeoHouston appearances
    Garth Brooks is a master of warming up the crowd before a RodeoHouston show.
    Photo courtesy of RodeoHouston

    Garth Brooks appears downright jolly as he courts the Houston media February 27, hours before his first Houston Livestock Show and Rodeo performance since 1993. Seeming only slightly less pumped to be answering questions than he is singing in concert, he notes that his two Astrodome shows in the early ’90s pushed him towards adopting wireless microphones onstage, and, personally, represented huge strides toward following in George Strait’s footsteps.

    RodeoHouston, Brooks says, is “a place of great history for us...it’s the reason why we started.”

    If anyone can get away with the royal “we,” it’s probably Brooks, now 56. The reigning CMA Entertainer of the Year, he has sold upwards of 148 million albums in the U.S., and 6.1 million seats on his recently concluded Garth Brooks World Tour, which began with 11 straight sellouts in Chicago.

    The morning after the first show of his June-July 2015 stand at Toyota Center, Brooks says, the phone rang with an offer to come back to RodeoHouston. Of the heavy promotion he’s done this week, he jokes, “they’ve been working us like a rented mule since we got here.”

    His groundbreaking turn as the first entertainer on the the rodeo’s new high-tech star-shaped stage wasn’t lost on him either. “We don’t want to push every button,” says Brooks, noting he expects his show to be much different when he returns to close the season on March 18.

    Before heading off to sound check, he took the time to meet individually with a handful of local reporters, including CultureMap.

    CultureMap: What do you like to do in Houston if you have any time to kill?

    Garth Brooks: Oh, it’s just a fun place. It’s a great place to come here to get, you know, your clothes. It’s a great place to come because you’ve got so many choices. But my favorite thing is still hanging out with my buddies. My brother lived down here for a while; he’s back up in Tulsa. But still, all the relationships from there. It’s just the people.

    CM: What do you remember about your days here playing the honky-tonk circuit?

    GB: It was fun, man. I remember coming here. Clint Black was out of here. When we first started Clint just cast this shadow, man. No matter how hard you worked, Clint was the guy. His family came out; I remember seeing them, hugging them, which made me feel really good.

    We played a little place, I almost want to call it the Library, but it wasn’t. It was a club. We had a great time. There was a dancehall. And here comes The Woodlands, with Reba. And then Compaq. And then before Compaq, it might have been...I can’t remember the name.

    CM: The Summit.

    GB: Summit. Yeah. So it was the Summit before the Compaq [now Lakewood Church]. And in between those you’d play the livestock show. So it was fun. This has always been a place that I’m not from but has treated me like I’m from here, if that makes any sense. They’ve always supported me and treated me like a hometown guy and made me feel good.

    CM: What do you think about when you look over and see the Astrodome over there?

    GB: What about it? It’s cool? Have you ever been in the Superdome?

    CM: No.

    GB: It’s the same thing, man. Because they were the new kind of big structures at that time, so it was neat to get to play there. I love to say that I played there.

    I’ll tell you this from just rehearsal right here — this place is amazing. This is a lot different. The Astrodome, if you said [sings] ‘Oh say can you see…’ and before you got to the end of it you heard ‘oh say can you see…’ The sound here is phenomenal. Loved playing over there; really going to love playing over [here].

    CM: One music question: Is it tough to decide which song to play last?

    GB: It’s not hard for me, because “The Dance” has always been that space for me. It would be like going to see Strait, and not hearing “The Cowboy Rides Away.”

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    Movie Review

    Heartfelt movie The Life of Chuck adapts optimistic Stephen King story

    Alex Bentley
    Jun 13, 2025 | 5:30 pm
    Tom Hiddleston in The Life of Chuck
    Photo courtesy of NEON
    Tom Hiddleston in The Life of Chuck.

    Just like actors, once a filmmaker becomes known for a certain genre, it can be difficult to escape that pigeonholing. Writer/director Mike Flanagan has worked for 20 years in both film and television, and literally every project he’s done has been related to horror. He’s finally breaking out with The Life of Chuck, which is ironically based on a short story of the same name by Stephen King.



    Told in three chapters in reverse order, the film is almost impossible to describe without giving away its magic. The first section centers on Marty (Chiwetel Ejiofor), a teacher grappling, like everyone around him, with what seems to be the world falling apart. He’s comforted to a degree by reuniting with his ex-wife, Felicia (Karen Gillan), but is also baffled by multiple ads touting the retirement of Charles “Chuck” Krantz (Tom Hiddleston) after “39 great years.”

    The second section consists of little more than a slightly younger Chuck happening upon Taylor (The Pocket Queen), a drummer busking on a street corner, giving Chuck and a younger woman, Janice (Annalise Basso), the inspiration to start dancing. The final section goes back to the childhood of Chuck (Benjamin Pajak), where he’s raised by his grandparents (Mark Hamill and Mia Sara), discovers dance as an outlet, and wonders about various small mysteries.

    Flanagan finds a way to deliver a lot of story with relatively little effort. Using a wry narrator (Nick Offerman), a limited number of locations, and a series of great small performances, he creates an intriguing premise with few straightforward answers. The structure of the film is designed to confuse the viewer until just the right moment, and the revelation forces you to reexamine everything that came before.

    The biggest accomplishment by Flanagan is making what are essentially three short films and having each of them resonate equally. The film contains elements of science fiction, although the first section may hit a bit too close to home for some of those watching. All three sections, though, have a heartwarming bent to them that sells their central idea without becoming overly saccharine.

    To do so, each of the characters have to connect in a short amount of time. The casting of the film is crucial, and not only does that department succeed with the main roles, but a series of small roles are filled expertly as well. Carl Lumbly as a funeral home owner, David Dastmalchian and Harvey Guillen as parents of students, Matthew Lillard as Marty’s neighbor, Q’orianka Kilcher as Chuck’s wife, and Jacob Tremblay as a teenage Chuck are just a few of the recognizable actors that do yeoman’s work in their brief time on screen.

    Hiddleston is only prominently featured in the second chapter, but his performance there and in small glimpses throughout makes a big impression. Ejiofor is given the star turn in the first chapter and he absolutely kills, both in moments by himself and in scenes with Gillan, with whom he has great chemistry. Hamill, making a rare non-voiceover appearance outside of the Star Wars universe, and Sara, in her first notable role in 11 years, are also very memorable in the final chapter.

    The Life of Chuck is a film that’s filled with emotion, but the full impact of the story is not felt until the final moments. It has a mysterious journey that is initially frustrating, but the performances keep the film going until it gets to its satisfying payoff.

    ---

    The Life of Chuck is now playing in theaters.

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