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    Usher's Crazy Houston Night

    Usher makes the most dramatic concert entrance ever, flashes nipple and teases Houston in record Rodeo night

    Tarra Gaines
    Mar 8, 2014 | 5:51 am

    Mark your journals in red, Houston. March 7, 2014, that was the night we’ll always remember, the night we met our perfect rodeo luvah, Usher.

    We first felt his presence, not by his whisper of our name echoing to us across Reliant Stadium, but by the growl of engines. Suddenly, 12 single headlights illuminated the darkness. Where only minutes before steers were wrestled and mutton busted, at that moment, in what is likely the most epic rodeo entrance ever, motorcycles came zooming unto the dirt floor.

    Circling the stage again and again, one popped a little wheelie. Could that be Usher? We know it was.

    Of course we scream. We had to scream. Our perfect rodeo boyfriend had arrived.

    The lights dimmed and then exploded as he stopped with an intentional skid in front of us, ripped off his helmet and bound onto the stage. He was wrapped all in black, jeans and a leather motorcycle jacket, because he knows what we like. He nodded to us, surveying his domain. And then he said our name: “Houston.”

    Of course we scream. We had to scream. Our perfect rodeo boyfriend had arrived.

    He stayed with us for a little over an hour. We leaped to our feet early on for “Love in the Club,” and never sat down again. Instead, we stayed up dancing like it was the last night of our life.

    He burned us up on “Burn.” He called us “Bad Girl,” and we let him know just how bad. During “U Remind Me” he crooned us into taking a little soul trip. Sometimes he sang straight to us. Other times, he fell to his knees like the song was breaking him in two. He joined his backup dancers in so many routines his jeans seemed to grow blacker with sweat. Others times he stood apart and like a maestro conducted his dancers in a kind of half-clothed simulated orgy.

    He teased us mercilessly when he asked if we minded if he got a little comfortable and slinked off his jacket, even giving us a few nipple glimpses, now and then. Still he wouldn’t show us the goods.

    He swore to us again and again that this was his first rodeo, but his moves and the way he worked us into a frenzy made us wonder if he could be lying. Surely there had been others before. But no, when he looked into our eyes — or the camera, whichever — during our Usher/crowd duet of “Climax,” we knew in our hearts he’d always be true.

    He joined his backup dancers in so many routines his jeans seemed to grow blacker with sweat.

    Yet, for one brief moment late into his serenades, he seemed almost adorably self-conscious when we gave him cause to doubt our love. Yes, in the intro to “Yeah” when he mentioned his Voice partner in bromance, Blake Shelton, we might have let out a little squeal for Blake, but we were only trying to make Usher jealous. We’re not really that fickle. So when he tested us with a “Blake” vs. “Team Usher" poll, oh boy did we yell his name.

    He prepared for our bitter parting with our favorite “Without U,” and ended with the words “I will never be the same, without you, Houston.” He told us he loved us, dropped mike (literally) and jumped back on his waiting motorcycle. As he circled once around, perhaps to glimpse our 75,067 faces one last time (a new Black Heritage Day Rodeo record crowd), fireworks exploded from the earth.

    Then, as the smoke cleared, he was gone, back into the night, leaving us with only a faint hope in our hearts that one night he would return to us.

    Come back, Usher, come back. We promise we’ll love you forever. Or at least until Adam Levine gets here on Thursday. Yeah, we might be a bit fickle.

    Set List:

    OMG

    Love in the Club

    U Make Me Wanna

    Lemme See/Lil Freak

    U Remind Me

    Twisted

    Caught Up

    Climax

    Burn

    U Don't Have to Call

    Bad Girl

    Yeah

    DJ Got Us Fallin in Love

    Without U

    Usher knows how to heat up a stage — and use his backup dancers.

    Usher women
    Photo by © Michelle Watson CultureMapSNAP.com
    Usher knows how to heat up a stage — and use his backup dancers.
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    news/entertainment
    series/htx-rodeo-2014

    Movie Review

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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    series/htx-rodeo-2014
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