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    Summer Fest 2012

    Summer Fest Day Two: Fighting the collective hangover with musical energy and afriendly waterboy

    Reid Schroder
    Jun 4, 2012 | 5:00 am
    • Crowds kept the energy up on the second day of Summer Fest.
      Photo by Jeremy Keas
    • Robert Ellis at Free Press Summer Fest.
      Photo by Jeremy Keas
    • Photo by Jeremy Keas
    • Photo by Jeremy Keas

    Two short scenes from Free Press Summer Fest on Sunday that defined the weekend for me:

    Scene One: It’s toward the end of Robert Ellis’ 1:30 p.m. set, and the crowd near the main stage isn’t even halfway full yet.

    We had just arrived, settling in to the sweet summer twang of Ellis’s threadbare voice, when suddenly his band starting tweaking and tuning with their instruments while the bass and drums kept a steady and lively rhythm. As the band tinkered around, my ears perked up.

    Ellis’s voice could be heard clear across Eleanor Tinsley Park. At that exact moment, the nicest breeze that anyone felt all weekend synched with the band to welcome everyone to Free Press Summer Fest 2012, Day Two.

    Slowly but surely, the group found their sweet spot and stayed there for a while, creating a nice space for Ellis to do whatever he wanted. When it was time for him to enter the song, Ellis’s voice could be heard clear across Eleanor Tinsley Park. At that exact moment, the nicest breeze that anyone felt all weekend synched with the band to welcome everyone to Free Press Summer Fest 2012, Day Two.

    What followed on the main stage was an afternoon full of carefree Sunday whimsy, the perfect come-down from the debauchery of day one.

    Scene Two: I’m walking along Allen Parkway after just having heard a blistering set full of pop bliss from Jared Boulanger, Amarah Ulghani, and the rest of The Sour Notes, when I notice a tall makeshift lifeguard stand occupied by a kind soul who took it upon himself to keep everybody cool with a water hose. This was around 6:00 p.m., but it was still a sauna outside.

    Sure, the 12-foot-by-35-foot Watergate installation along the main drag was entertaining and refreshing, but as I spent a few minutes observing complete strangers being doused by this jovial man atop his perch, I realized that these are the little moments that sets Summer Fest apart from other festivals.

    This is Houston. If we want something done, we do it ourselves (often in a clever way).

    Grassroots creativity

    Throughout the weekend, grassroots creativity like that watering tower were as prominent as the music echoing between stages. Passing the pine trees in the park during Young the Giant’s set, I saw people helping each other climb to the top limbs to get a better look at vocalist Sameer Gadhia as he howled with a voice that sounded like it came from deep within the brush alongside Buffalo Bayou thousands of years ago.

    I also observed plenty of makeshift poles throughout the crowd that were defined to me as “crowd beacons.” These beacons could be seen from hundreds of feet away and were adorned with mini-art installations like bubble machines, shopping bags, or my personal favorite; a plastic rabbit straddling a neon light saber.

    All too often, Houston gets passed up by musicians on their way from New Orleans to Austin. After four years of steady evolution, it finally feels like Houston has an avenue for the local talent to bloom.

    It’s a logical idea, marking yourself in the crowd so that your friends can find you when your Wi-Fi service goes out, but the personal touches that came with these poles were a distinct piece of FPSF (and by proxy, Houston) ingenuity.

    Apparently I wasn’t the only person that noticed everybody pitching in to help each other have fun. “The best part about Houston is fans interacting with each other,” Houston rapper Jon Black told me after a run-in I had with him in the Fancy Pants tent shortly after Ellis’s set. Later on in the afternoon, The Avett Brothers echoed Black’s commentary in the middle of their spirited set, thanking the crowd for letting them be a part of our good time.

    I wasn’t surprised to hear this sentiment, having heard it time and time again from visitors over the years, but it never fails to make me proud to be a Houstonian.

    I always enjoy Sundays at FPSF more than Saturdays. People seem to be in better moods, and the musical lineup does a great job of countering the collective hangover that seems to befall Sunday afternoon’s crowd. For the more self-aware and conscientious members of the crowd, day two is an opportunity to learn from any mistakes made on day one (H2O-norexics, I’m looking at you). When all of these elements combine on a day featuring a Willie Nelson set while the sun beats down on your bare feet, you can’t help but relax and just enjoy yourself.

    Though day two was mostly filled with lighthearted moments, Derek Smith (a.k.a. Pretty Lights) brought the evening to a close in no uncertain terms. A DJ with a serious electronic bent, Smith somehow managed to take an entire weekend of assorted musical genres, distill it, and morph it into a triumphant musical experience that transformed the tired, sweaty masses that made up the crowd into a jubilant whir of glow sticks, waving hands, and hopping bodies before closing out the weekend festivities with breathtaking fireworks display over the Houston skyline.

    All too often, Houston gets passed up by musicians on their way from New Orleans to Austin. After four years of steady evolution, it finally feels like Houston has an avenue for the local talent to bloom. After seeing national acts like Primus, The Flaming Lips, Pretty Lights, and The Avett Brothers discover this city’s soul together with the local fans, I can’t help but wonder what’s next.

    “Free Press Summer Fest is an answered prayer for the Houston music scene,” Jirod Greene of Suite 709 told me earlier in the day.

    As I exited the gates for the last time this year, I couldn’t help but agree with him.

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    Awards Season

    CultureMap critic's guide to the 2026 Oscar Best Picture nominees

    Alex Bentley
    Jan 22, 2026 | 2:00 pm
    Michael B. Jordan and Miles Caton in Sinners
    Photo courtesy of Warner Bros.
    Sinners leads all films at the 2026 Academy Awards with a stunning 16 nominations.

    The nominations for the 2026 Academy Awards have been announced, with 10 films vying for Best Picture. Leading the way is Sinners with an astonishing 16 nominations, the most in Oscars history.

    The other top films include One Battle After Another, which earned 13 nominations, and Marty Supreme, Frankenstein, and Sentimental Value, which each got 9 nominations.

    As a refresher, below are links to the full reviews for each of the nominees covered by CultureMap in the past year, as well as brief thoughts on the films and their various nominations.

    Movie fans will have plenty of time to catch up with each of the nominees, as this year's Oscars ceremony will not take place until Sunday, March 15.

    Here's the list of Best Picture nominees, in alphabetical order:

    Bugonia
    Yet another off-the-wall film from director Yorgos Lanthimos features two great performances by Emma Stone (nominated for Best Actress) and Jesse Plemons at its center. Written by Will Tracy (nominated for Best Adapted Screenplay), the conspiracy theory film is alternately brutal and funny as the characters played by Stone and Plemons use their form of power to try to manipulate the other. With a fair amount of intrigue and two great actors going head-to-head for much of its running time, it gives even more Oscar pedigree to its filmmakers and stars.

    F1
    The biggest surprise among the Best Picture nominees has to be the racing movie F1. It was a technical marvel, to be sure, as its nominations in Film Editing, Sound, and Visual Affects attest. But the fact that it has no other nominations in any of the above the fold categories indicates that its other qualities are lacking. As a showcase (aka advertisement) for the sport it depicts, the film works relatively well. As a complete movie, though, there’s not much to recommend, to the point that it almost negates any of the positives that come from the racing scenes.

    Frankenstein (not reviewed)
    Writer/director Guillermo del Toro (nominated for Best Adapted Screenplay) loves himself a monster movie, and he takes on one of the classics with his new version of Frankenstein (now streaming on Netflix). Oscar Isaac plays Victor Frankenstein, who brings to life The Creature, played by Jacob Elordi (nominated for Best Supporting Actor). With a slew of nominations in technical categories, there's a chance this film goes home with a lot of awards at this year's ceremony.

    Hamnet (not reviewed)
    Writer/director Chloé Zhao (nominated for Best Director and Best Adapted Screenplay alongside co-writer Maggie O'Farrell) gets back to her Oscar-worthy skills for the first time since 2020's Nomadland (after the unfortunate detour into the MCU with Eternals). A story about love, loss, and grief involving William Shakespeare and his wife, Agnes, the film is most notable for the performances of its two leads, Jessie Buckley (nominated for Best Actress) and Paul Mescal.

    Marty Supreme
    There was no other movie this year, or maybe even this century, like Marty Supreme. Directed and co-written by Josh Safdie (nominated for Best Director and Best Original Screenplay alongside co-writer Ronald Bronstein), the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives. At its center is the fast-talking, powerhouse performance by star Timothée Chalamet (nominated for Best Actor), who cements his status as his generation’s movie star one year after playing the polar opposite role of Bob Dylan in A Complete Unknown. Look for the film to be a strong contender in the inaugural Best Casting category, as Safdie fills the film with non-actors who are crucial to the film's success.

    One Battle After Another
    Writer/director Paul Thomas Anderson (nominated for Best Director and Best Adapted Screenplay) has an acclaimed career going back 30 years, but has yet to actually win an Oscar. That will change this year, as One Battle After Another is one of the favorites to win Best Picture thanks to Anderson's stellar filmmaking, as well as multiple great performances that earned the film four acting nominations (Leonardo DiCaprio for Best Actor, Teyana Taylor for Best Supporting Actress, and Benicio Del Toro and Sean Penn for Best Supporting Actor). Add in a story with a very timely political critique (that's getting more relevant by the day) and you have the recipe for a big winner on Oscar night.

    The Secret Agent (not reviewed)
    No foreign country has quite the influence on the Oscars as Brazil, which for the second straight year has gotten one of its films nominated for both Best International Feature Film and Best Picture. Written and directed by Kleber Mendonça Filho, the film is anchored by the performance of Wagner Moura (nominated for Best Actor) as a technology expert in the late 1970s who flees from a mysterious past to try to find peace in his hometown.

    Sentimental Value (not reviewed)
    For the third year in a row, two international films made the cut in the Best Picture race (but whither It Was Just an Accident?). Directed and co-written by Joachim Trier (nominated for Best Director and Best Original Screenplay alongside co-writer Eskil Vogt), the film is tied for the most acting nominations this year, earning nods for Renate Reinsve for Best Actress, Elle Fanning and Inga Ibsdotter Lilleaas for Best Supporting Actress, and Stellan Skarsgård for Best Supporting Actor.

    Sinners
    It takes a special kind of filmmaker to make movies that are both popular and Oscar-worthy, and writer/director Ryan Coogler (nominated for Best Director and Best Original Screenplay) has done it again, seven years after helming the Oscar-winning Black Panther. Both a tribute to Black music history and a gnarly vampire movie, the film is led by Michael B. Jordan (nominated for Best Actor) in dual roles as twins Smoke and Stack. With a story infused with all manner of subtext and a bunch of great supporting performances, including Best Supporting Actress nominee Wunmi Mosaku, the film demonstrates Coogler's great filmmaking abilities that should keep him in demand for years to come. Amazingly, there was only one category for which it was eligible in which it did not receive a nomination.

    Train Dreams (not reviewed)
    The second Netflix movie this year to be nominated, Train Dreams is a contemplative film about a logger (played by Joel Edgerton) in early 20th century America who tries to adapt to a rapidly-changing world. Nominated for Best Adapted Screenplay for the script by director Clint Bentley and co-writer Greg Kwedar, the film is most notable for the work done by Adolpho Veloso (nominated for Best Cinematography), who showcases the Pacific Northwest in all its glory.

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