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    The Texas Lyceum

    Texas values: Todd Frazier's Buffalo Altar celebrates the Lone Star spirit —where oil & water mix

    Joel Luks
    Aug 10, 2012 | 9:00 am
    • October 2011 performance of Buffalo Altar at Perini Ranch supporting the BuffaloGap, Texas, Historic Village with Marc Sanders, piano, from left; Barry Corbin,narrator; Todd Frazier, composer; and Stephen Harrigan, librettist
      Courtesy Photo
    • Palo Duro Canyon State Park's newest pavilion, just 100-miles shy from where thestory of Buffalo Altar originated.
      OutdoorCentral.com
    • The setting of this performance overlooks the same topography that musedHarrigan's tale and Pettigrew's epiphany.
      Photo by Leaflet/Wikipedia

    "But like I said, I ain't complaining," C.L. Pettigrew Sr., an 81-year-old oilman, asserts while looking back at six decades of drilling for black gold. He reminisces about the Goldsmith strike, the rise and fall of the Shamrock Hotel, million dollar deals, and how Taco Bells and Dairy Queens have intruded on his way of living.

    Amid the memories flooding back, a particular encounter stood out as one he would never forget: A property owner who opted to safeguard a sacred cave atop a bluff rather than enriching himself from royalties from striking oil. Pettigrew learned how he was connected to the essence of Texas, and it had nothing to do with oil or physical terrain. Rather, the meaning of Texas lived within him.

    Pettigrew is on his way home.

    This old-timer is a fictional character in Stephen Harrigan's short story Buffalo Altar, a tale that nods to the archeological find of bison bones at Caprock Canyons State Park in the Texas Panhandle. The fossils offered evidence of Texas life more than 10,000 years ago.

    Houston-based composer Todd Frazier set this text to music in Buffalo Altar: A Texas Symphony, a 30-minute work commissioned by his alma mater, the Eastman School of Music, and the University of Texas at Austin.

    Perhaps Buffalo Altar doesn't nod directly to this most essential resource. But it does surmise that what connects Texans across generations is a desire to recognize what's valuable and safeguard what's meaningful.

    And on Friday, it will be performed at Palo Duro Canyon State Park's newest pavilion in Canyon, just 100-miles shy from where the story originated, overlooking the same topography that mused Harrigan's tale and Pettigrew's epiphany.

    Buffalo Altar premiered in 1997 at Wortham Theater Center with the Houston Ballet Orchestra and was narrated by Barry Corbin. This chamber version will again be narrated by Corbin, with accompaniment by pianist Marc Sanders and percussionist Chaz Robitaille.

    Though the work is Frazier's and Harrigan's answer to a request for a work about the Lone Star State, in this case, that this performance is part of The Texas Lyceum is meaningful. This year's three-day conference now taking place in Amarillo draws attendees to discuss the other liquid gold: Water.

    "Though there is wide consensus on the existence of a problem regarding declining access to water, many people part ways when discussing who may be responsible for it and what to do about it," write conference co-chairs Anna Dragsbaek and Robert Jones in a welcome letter.

    Can oil and water mix? Guests and featured speakers, including T. Boone Pickens, State Rep. Allan Ritter, Harris County Judge Ed Emmett and a coterie of boldface types, will chitchat about such subjects as hydrology, the link between water and oil-gas-electricity, water usage in municipal, industrial and agricultural applications — alongside the obligatory barbecue dinner, ranch outing and lunch buffet.

    Perhaps Buffalo Altar: A Texas Symphony doesn't directly explore this most essential resource. But it does surmise that what connects Texans across generations is a desire to recognize what's valuable and protect what's meaningful.

    And when that's out of balance, it's time to come together to fix things.

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    Movie review

    Nick Jonas and Paul Rudd chase their dreams in music-heavy Power Ballad

    Alex Bentley
    Jun 8, 2026 | 10:30 am
    Nick Jonas and Paul Rudd in Power Ballad
    Photo by David Cleary for Lionsgate
    Nick Jonas and Paul Rudd in Power Ballad.

    Writer/director John Carney is one of the great purveyors of movies featuring music (as opposed to musicals) in the 21st century. Starting with Once in 2007 (which was turned into a Broadway musical several years later), he has made music-themed stories like Begin Again, Sing Street, Flora and Son, and now Power Ballad.

    Rick Power (Paul Rudd) is a former wannabe rock star who is now the lead singer of “Ireland’s #1 Wedding Band,” The Bride & Grooves. While they mostly play smaller weddings, a gig at a country estate leads to an encounter with Danny Wilson (Nick Jonas), a former boy band member struggling to make it as a solo artist. Rick and Danny wind up bonding in a booze- and pot-filled jam session, sharing various song ideas.

    After returning to Los Angeles and desperate for a hit, Danny steals one of Rick’s songs, which miraculously turns into the No. 1 “How to Write a Song (Without You).” Rick, initially overjoyed that something he wrote has become big, is crushed when he finds out Danny didn’t give him credit. His quest to find a way to prove his worth sends him into a spiral, upending the ordinary life he had built.

    Co-written by Peter McDonald, the film is a nice exploration of two men trying to hold on to their music dreams. Their individual circumstances could not be more different, but each of them knows the ups and downs of the business as well as the other, as well as the ineffable magic of creating that one great song. While the music scenes are hit-and-miss because of a reliance on lip synching, the scene featuring Rick and Danny trading ideas is electric with creativity.

    Oddly, though, the film could have used a bit less music and more of a focus on the two men’s personal lives. Rick wound up living in Ireland after falling in love with his future wife, Rachel (Marcella Plunkett), while on tour with his former American band. He spends a decent amount of time with her and his daughter, Aja (Beth Fallon), but his story needed a few more family scenes to drive the point home. Danny’s personal life is all but nonexistent, giving his arc less impact than it could have had.

    Instead of loved ones, Carney and McDonald try to give Rick and Danny more depth through friends and business associates. Rick’s bandmate Sandy (McDonald) is a ride-or-die kind of guy for him, but his presence is only good for a few humorous distractions. Danny’s manager Mac (Jack Reynor) is difficult to parse, as he goes to bat for Danny on multiple occasions, but also seems to keep him at arm’s length.

    It’s long been joked that Rudd never ages, and that youthfulness serves him well in this role, in which his character is supposed to be much younger than his actual age of 57. His energy and enthusiasm make his character appealing throughout, even when Rick starts to go off the deep end. Jonas is decent in his role, selling the music side well, but there might be a reason his character doesn’t have many scenes requiring him to show emotions.

    While Power Ballad has all the hallmarks of another great Carney music movie, it’s missing a few pieces that could have put it over the top. It’s still a fun film with an insanely catchy song at its center, but it’s not quite as memorable as most of the filmmaker’s previous efforts.

    ---

    Power Ballad is now playing in theaters.

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