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    Fortune Favors the Kind

    Billonaire Texas hair care entrepreneur is the subject of award-winning documentary

    Kendall Morgan
    Jul 14, 2017 | 9:00 am
    John Paul DeJoria Good Fortune movie
    Good Fortune filmmakers Joshua Tickell and Rebecca Harrell Tickell with John Paul DeJoria.
    Courtesy photo

    In America, we are told we can be — and achieve — anything we want. Our fascination with the self-made man lies in the fact that those who truly succeed in that role are few and far between.

    This is why the new documentary Good Fortune is such compelling viewing. It's the story of billionaire entrepreneur and native Los Angelino John Paul DeJoria, who is now based in Austin, and is a passion project of filmmakers Josh Tickell and Rebecca Harrell Tickell, whose previous films include the documentaries Pump, The Big Fix, and Fuel.

    A breezy look at how DeJoria went from homeless biker to billionaire co-founder of Paul Mitchell hair products and Patrón tequila, Good Fortune came about through a fortuitous meeting at the Sundance Film Festival seven years ago.

    “They won the audience award for Fuel and I got to meet them,” recalls DeJoria. “I did a little film for them on electric cars. One thing led to another, and they turned (my life story) into a documentary. We entered the Sedona Film Festival and not only won best documentary but the best of the festival, and Lion’s Gate picked it up.”

    It’s surprising that no one thought of DeJoria as a natural documentary subject in the past. The arc of his life is nearly mythic. Raised poor alongside his brother by a single mother in LA’s Echo Park (friend Danny Trejo jokes in the film DeJoria didn’t know he wasn’t Hispanic until he was 16), he was taught to give back something even when he had nearly nothing.

    “At 6 years old my mom and I gave a dime to a guy ringing a bell,” he recalls. “I said, ‘Mom, that’s two Coca-Colas and three candy bars,’ and she said, “Boys, that’s the Salvation Army, they take care of people who don’t have a house or food to eat.’”

    After a stint in the Navy and the implosion of his first marriage, DeJoria found himself in a similar spot, one of two times he was homeless. Despite dire circumstances, his “the only way is up” philosophy led him to continue to look on the bright side, so much so that in even recalling the most depressing situations he remains relentlessly cheery.

    After succeeding in (but yet still being fired from) a series of sales jobs, DeJoria partnered with hairdresser Paul Mitchell in 1980, turning his boutique line of products into a runaway success with the investment of just a borrowed $700.

    “I knew Paul for nine years before we started a business together,” he says. “Our backer pulled out and we did it anyway. Our dream was maybe we’d do $5 million a year, and that was all the money on the planet. Little did we know what would happen.”

    The company was already a success when its namesake and co-founder died, and DeJoria stepped from behind the scenes into the spotlight, turning it to an even bigger success in the process. Possibly most famous for his friendly, bearded visage staring out from the pages of 1980s fashion magazines, he drove sales up to their current status of over $50 million yearly.

    Not content to settle on his laurels, DeJoria followed that up by co-founding Patrón, currently the world’s number-one ultra-premium tequila, as well as ROK Mobile and Aubio, an over-the-counter cold sore gel. Although the film touches on these highs, what sticks with the viewer is not only how DeJoria treats his employees, but also how he treats human beings in general.

    Says co-director Josh Tickell, “J.P. is one of the rare individuals in today's society who imbibes his business practices with his real world ethos of first taking care of people and the planet, and then — and only then — making a profit. He's cool, he's real, and he is a refreshing antidote to the cynicism that seems so commonplace in America.”

    Bookended with scenes of its star appearing on Shark Tank, the film highlights DeJoria’s ability to think completely differently than the rest of the one percent. As Mark Cuban and the other sharks in the tank try to convince the Florida-based creator of the Tree-T-PEE water conversation system to jack up his prices, DeJoria is the only one to buy into the concept, keeping finances low for farmers so that they can afford it.

    This egalitarian thinking separates DeJoria from his equally successful brethren, and makes Good Fortune work. When the bottom line is “profit, people, planet,” everyone succeeds.

    DeJoria, who contributes to a plethora of charities with a special focus on animals, children, cancer research, the environment, and healthy food, explains his philosophy in terms anyone can understand.

    “I do what I can, and I work it into my style of life," he says. "The right thing for me to do was make the film, because hopefully it influences others in a good way. The average person can wake up every morning and smile at the first three people you see. Find [a charity] you like, and just volunteer some time.”

    ---

    Good Fortune opens July 14 at the AMC Studio 30 in Houston.

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    cult classic

    Performer John Cameron Mitchell celebrate 25 years of Hedwig at Houston show

    Eric Sandler
    Dec 23, 2025 | 3:30 pm
    Hedwig and the Angry Inch movie still
    Courtesy of John Cameron Mitchell
    Hedwin and the Angry Inch will celebrate its 25th anniversary in 2026.

    Next year will mark the 25th anniversary of Hedwig and the Angry Inch, the 2001 cult queer musical and directorial debut of veteran stage actor John Cameron Mitchell. First debuting in Sundance before hitting theaters later that summer, Hedwig (based on the 1998 off-Broadway play Mitchell co-wrote and starred in) became a favorite for those who like their rock musicals anarchic and androgynous.

    Mitchell will be celebrating Hedwig’s anniversary early – right here in Houston. This Sunday, December 28, the film will be shown at legendary Montrose club Numbers, and Mitchell will be there for a live director’s commentary and a post-screening live performance. The screening is one part of a day-long event for Mitchell, who will be teaching a sold-out master class at Cafe Brasil later that day.

    Local nonprofit Arthouse Houston reached out to Mitchell about revisiting Hedwig in H-Town. “I got good buddies from there,” the El Paso-born military brat, 62, tells CultureMap during a Zoom call from his New Orleans home. “My friend Amber Martin, who's from the area and who I’ve sung and DJed with for many, many years, is coming – especially for this. She used to go to Numbers as a kid. My friend Jonathan Caouette, who directed the film Tarnation, lives there. He used to go to Visions in the '80s. So, it's kind of fun to come to an old, classic club and show the film, do some songs, hang around, and do a drunk live director's commentary – or maybe stoned, depending on my feelings that day.”

    John Cameron Mitchell John Cameron Mitchell will perform at Numbers this Sunday, December 28.Courtesy of John Cameron Mitchell

    For Mitchell, revisiting Hedwig takes him back to a simpler time, when an actor/playwright could get a film about a gay, East German rocker whose signature song is about his botched sex reassignment surgery (now you know where “angry inch” comes from) financed and distributed by a major studio. Even though Hedwig flopped in theaters, it would eventually gain a cult following. Mitchell would follow it up with an even more provocative film, the 2005 ensemble comedy Shortbus, which featured actors engaging in graphic, unsimulated sex.

    “That was the last golden age of independent film in the U.S.,” he says. “It was the '90s and 2000s, which pretty much ended at the financial collapse of 2006, which coincided with the rise of the streamers, which really put the final nail in the coffin for independent film as we know it in terms of it being a viable commercial thing. So, a lot of people made fewer films. They had to have more stars. They had to have more Oscar gloss. And the habit of going to see the best-reviewed film that week just because the critics were telling you went away, of course.”

    MItchell still does the acting thing from time-to-time – in February, he’ll take over as Mary Todd Lincoln in Cole Escola’s Broadway drag hit Oh Mary!. But, these days, he;s been teaching master classes and film courses at various colleges (like his “Problemagic Cinema” course at the University of Michigan).

    Along with teaching them film history, he encourages his students to take things – whether it’s a film they want to make or a movement they want to start – in their own hands. “I'm telling my students it's like this: now is the time to create a new kind of underground film, and other things,” he says. “The big question, of course, is how do you get them out there? How do you monetize them so there can be more? I can't quite answer that, but I also know that when corporations abandon a certain form, that's the time to step up and take it back.”

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