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    RodeoHouston 2022

    Journey faithfully rocks out classics for massive RodeoHouston crowd

    Johnston Farrow
    Johnston Farrow
    Mar 10, 2022 | 11:39 pm
    Lead singer Arnel Pineda soared.
    Lead singer Arnel Pineda soared.
    Photo courtesy of Houston Livestock Show and Rodeo

    Judging by the response of the massive 72,000 in attendance for their RodeoHouston debut on Thursday, March 10, there are plenty of fans that haven’t stopped believing in classic rock act Journey.

    If the goal of RodeoHouston event organizers is to appeal to the widest segment as possible, the classic rock act checked all the boxes. On the concourse before the show, guys and gals decked out in cowboy gear mingled with diehard rock ‘n rollers, trimmed beards mixing with shaved heads and goatees, crisp plaid shirts next to leather jackets.

    A review of the group that started in San Francisco wouldn't be complete without talking about the current lead singer, Arnel Pineda, who stepped into the shoes most notably worn by the legendary Steve Perry who left the group in 1987. Searching for a new frontman after Perry's replacement Steve Augeri came down with a throat infection, lead guitarist Neal Schon — the only original member of the band when it started in 1973 — found Pineda singing Journey cover songs with his band in The Philippines via YouTube in 2007, and invited him to join the band.

    In other words, Journey quite literally had to go to the ends of the earth to find someone who could match Perry's range. That's absolutely bonkers. But if one closed their eyes throughout the night's performance, one would be hard pressed to know the difference between Perry and Pineda, the latter with the same raspy, soaring pipes that endeared Perry to millions.

    Coming out to the 1973 Led Zeppelin song, "D'yer Mak'er," the proceedings kicked off with Schon blasting through a rousing rendition of "Star Spangled Banner" that got the crowd primed, akin to Jimi Hendrix’s famed Woodstock performance all the way down to the left-handed guitar.

    With the decibels up, the entire band kicked into "Stone in Love" from the 1981 chart-topping album, Escape, transporting NRG in a time machine to 40 years ago when Journey filled stadiums of this size on the regular. The group was extremely comfortable in front of a huge crowd with always active Pineda using the entire star-shaped stage, including the star points that raised him high into the air several times throughout the concert.

    Whereas some debut acts don't know how to take advantage of the sprawling set, Journey showcased their rock and roll lifer pedigree. "Only the Young," most notably used in the 1985 Matthew Modine wrestling movie, Vision Quest, indulged in the nostalgia, ending with an extended guitar jam, a great rendition of the album, Frontiers.

    No surprise here to say that "Don’t Stop Believin'", another track from Escape, drew the biggest response of the night, turning NRG Stadium into one giant karaoke bar for thousands while Pineda nailed the extreme high notes with gusto. The indelible tune has aged like fine wine and might be even more popular today than it was when it hit No. 4 on the charts back in 1981.

    Then it was back to 1978 for "Lights," which drew the cellphone flashlights from pockets, images of San Francisco playing on the giant video screen behind the band.

    "Dead or Alive" featured a nice spotlight on the baby grand piano by longtime member Jonathan Cain, sounding like the training montage to countless '80s sports movies. Once again, it was a great vocal turn by Pineda, showcasing his high energy, the song ending with a prog-rock bassline and extended drum flourish finish that the crowd lapped up.

    "We paid the price for life on the road," Cain said, introducing the next song. "It made me think of those who are paying the price for the life they are living, those who are here competing in the rodeo. Cowboys and cowgirls, this goes out to you."

    The Rock and Rock Hall of Famers then dipped into their bread and butter with "Faithfully," the cellphone flashlights back for a faithful rendition of the Frontiers radio hit.

    Yet another hit, “Separate Ways" followed with a big scream from the crowd as the unmistakable keyboard riff rang out. Like "Don't Stop Believin'," the song has aged well, even if the parody-prone video hasn't (see the recent New Kids On The Block video for proof). The hits kept coming with the 1978 jam "Wheel in the Sky," complete with its recognizable harmonized chorus.

    It produced yet another singalong from the adoring fans throughout the cavernous stadium. Another extended jam led by Schon brought the heat with shades of hair metal, a drum solo finish drawing huge applause. The youngest song of the set, the 1986 jam "Be Good to Yourself" was next, taken from the band's last top ten album, the aptly named Raised on Radio.

    Schon truly impressed here with his fretwork, basically serving as a clinic for the veteran guitar player. The short, but amazingly executed set ended at just over an hour with 1980 hit single "Any Way You Want It," Pineda indulging in a call-and-response with the still-full stands.

    While many rock fans might consider Journey uncool, the band did all they could to dispel that notion on Thursday night, putting on an electrifying performance that had the crowd on their feet for most of the show. They smartly stuck with the hits and the RodeoHouston faithful were thankful for it.

    "Houston, we'll be friends forever," Pineda exclaimed, the band taking a bow. The feeling was mutual.

    Setlist

    “Star Spangled Banner”

    “Stone in Love”

    “Only the Young”

    “Don’t Stop Believing”

    “Lights”

    “Dead or Alive”

    “Faithfully”

    “Separate Ways”

    “Wheel In the Sky”

    “Be Good to Yourself”

    “Any Way You Want It”

    Lead singer Arnel Pineda soared.

    Journey Rodeo Houston 2022
    Photo courtesy of Houston Livestock Show and Rodeo
    Lead singer Arnel Pineda soared.
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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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