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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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    Movie Review

    Chris Rock’s Misty Green is a funny, excruciating look at Hollywood

    Alex Bentley
    Oct 12, 2026 | 5:00 pm
    Rosalind Eleazar in Misty Green
    Photo courtesy of A24
    Rosalind Eleazar in Misty Green.

    For every well-known/successful actor in Hollywood, there are thousands of others whose lives are more tenuous as they struggle to find work. The new film Misty Green is about one such actor who, after a period in the limelight, now finds herself on the outskirts of the industry, just hoping to find her way back in.

    Misty (Rosalind Eleazar) won an Emmy for a 2000s-era TV show that still gets her recognition, but not much work. Still living in the apartment of a recently-deceased man with whom she was having an affair, Misty spends her days sleeping in and her nights getting blitzed on alcohol and drugs. She seems to be heading nowhere fast until a few things coincide to break up her routine.

    The man’s wife (Amy Landecker) shows up and tells her she has seven days to vacate the apartment; Misty’s brother, Jay (Daniel Kaluuya) — who is bipolar — arrives after being kicked out of his facility for non-payment; and Jordan (Chris Rock), a former colleague with whom she had a falling-out, reappears in her life, offering a possible chance to rehabilitate her image.

    Written and directed by Rock (his first feature since 2014’s Top Five), the film is a funny and excruciating look at how the entertainment industry might actually work. Misty is her own worst enemy thanks to late nights fraternizing with unsavory characters like Zach (Adam Driver), who deals in drugs and women in equal measure, but her frustration proves warranted when her agent, Randy (Topher Grace), and casting directors like Rhonda (Tracie Thoms) hardly give her the time of day.

    Misty tries her best to stay positive, but when jobs like singing in a bar are the best she can do, the mountain seems insurmountable. Rock does an effective job of demonstrating the elements that are within and without Misty’s control that affect her ability to regain her position in the industry. The chip on her shoulder is almost as big as the bias some have against her, and other negative circumstances don’t help matters much.

    There are many small touches that Rock and his crew put in the film to give it an air of authenticity. Filming in Los Angeles (a rarity these days), Rock uses both subtle and overt shots of homeless people in the city, suggesting that the line between the haves and have-nots is a fine one, especially with Misty on the verge of not having a place to live. He also has cameos from a few of his funny friends, including a bit of meta-casting of Anthony Anderson (who has faded a bit after starring in Black-ish) in a bit part as a cop.

    Eleazar, a British actor best known for appearing on the Apple TV show Slow Horses, is a magnetic presence as Misty. The character herself is somewhat cringey in her decision-making, and Eleazar sells every bit of her righteous indignation and self-defeating actions. The supporting cast is great across the board, including Rock, Driver, Kaluuya, Thoms, Grace, Anna Kendrick, and Rich Sommer.

    Misty Green makes you rage against the Hollywood machine, laugh at the various ways different people deal with its maddening quirks, and hide behind your fingers as Misty chooses options that don’t help, either voluntarily or because her back is against the wall. It’s a powerhouse of acting that gives a unique angle on the inner workings of Hollywood, one that ironically might be competing for awards at year’s end.

    ---

    Misty Green is now playing in theaters.

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