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    All About Houston

    Big changes for the Mitchell Center: Arts organization moving in a bold, newdirection

    Tyler Rudick
    Sep 5, 2012 | 1:09 pm
    • Heart Chamber Orchestra
      Photo courtesy of Terminal Beach
    • A scene from SuperEverything* presented by The Light Surgeons
    • Aaron Landsman, City Council Meeting
      Photo courtesy of Aaron Landsman
    • Lynne McCabe
      Courtesy Photo
    • Dario Robleto, The Invention of Loss
      Courtesy Photo
    • Heart Chamber Orchestra
      Photo courtesy of Terminal Beach

    This upcoming fall season marks a major turning point for the Mitchell Center, the innovative arts initiative founded at the University of Houston in 2003 to provide ground-breaking collaborations across the visual, performing and literary arts.

    "It's really the last season you'll see before we dedicate ourselves to a program of long-range residencies," UH Mitchell Center director Karen Farber tells CultureMap.

    The next few months will showcase the Mitchell's usual mix of hard-to-define programming, with events that might be described as "live cinema" or "biological m usic."

    "Starting in 2013, we'll focus entirely on developing projects that use the city of Houston and its citizens to tackle broader national issues . . .

    "It's a bold new direction and I think you can see that transition with a lot of our programming this fall."

    While the next few months will showcase the Mitchell's usual mix of hard-to-define programming — with events that might be described as "live cinema" or "biological music" — the upcoming season harkens to signs of a new mission, with several participants already lined up for future residencies.

    Farber offered a quick run-down of fall events, all of which she guaranteed would "defy categorization." Visit the Mitchell Center website for further details.

    Heart Chamber Orchestra: Sept. 21, Barnevelder Movement/Arts Complex

    Created by electronic musicians TERMINALBEACH, the Heart Chamber Orchestra is a fully immersive audiovisual experience generated by the heartbeats of musicians wired to electrocardiogram sensors. For September's performance at Barnevelder, 12 members from Houston's Two Star Symphony will be hooked to the EKG machines.

    Dario Robleto: Oct. 25, Dudley Concert Hall, University of Houston

    Titled "Boundary of Life Is Quietly Crossed," acclaimed Houston-based artist Dario Robleto will present objects and sounds he's collected for an ongoing project exploring connections between creativity and memory. Farber described the performance as a cross between an art talk and a storytelling session, during which the artist "uses materials from a cabinet of curiosities" to tell brief narratives about his current work.

    City Council Meeting: Nov. 1 and 2, multiple locations to be announced

    Organized by current Mitchell resident Aaron Landsman, City Council Meeting attempts to perform participatory democracy in front of a live audience. Houston area artists, activists and government officials will be asked to read quotes taken from various city council meetings across the country, creating a theatrical version of democracy that casts new light on all those involved. Just in time for the elections, of course.

    Light Surgeons: Nov. 9 and 10, Asia Society Texas Center

    The London-based Light Surgeons fuse pre-recorded film clips with a live electronic musical score to create a portrait of contemporary Malaysia. Called SuperEverything*, the performance juxtaposes tradition and modernity to examine the nation's complex patterns of identity and ritual.

    Lynne McCabe: Nov. 13 and 14, Blaffer Art Museum

    An artist-in-residence for both the Blaffer Art Museum and the Mitchell Center, Lynne McCabe will present two public conversations that employ social sculpture to explore a series of forgotten feminist texts and performance pieces from the 1970s.

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    lizzo concert review

    Lizzo makes Houston feel 'Good as Hell' at sold-out Rodeo concert

    Craig Hlavaty
    Mar 7, 2026 | 12:24 am
    Lizzo RodeoHouston
    Courtesy of Houston Livestock Show and Rodeo
    Lizzo entered the rodeo in a tricked out SLAB.

    Much like Mayor of Trill Town Bun B’s past rodeo shows, Lizzo’s sold-out Friday night show, closing out Black Heritage Day, was a rapturous celebration of Houston pride with a live jukebox.

    The best rodeo shows are when no one sits down, even if their boots make their dogs holler, and when the show ends, everyone spills out of the stadium barefoot, or the menfolk carry the heels. No other city would allow you to eat chicken fried lobster, drink award-winning wine by the bottle, watch teenagers wrestle calves for cash, see kindergartens hold on to a sheep with a death grip, and stomp your Ariats to “Still Tippin’” with 70,000 other people within the span of six hours.

    Along with Go Tejano Day, Black Heritage Day (which became a part of the RodeoHouston DNA in 1993) showcases the diversity found on the concrete and the hay off Kirby Drive every year. It’s a whole day of celebration on the grounds, including field trips, art installations, traveling museum exhibits, and an unofficial HBCU reunion event. As cowpokes in cowboy hats battled various beasts before the show, the big screen highlighted roving bands of women dressed in their finest rodeo attire. The sidewalks around NRG Stadium were a Friday night fashion show. Friday was also the kickoff of spring break for most Houston-area school districts, meaning the grounds will be insanely busy over the next week.

    Proud Alief Elsik High School alum and University of Houston product Lizzo was supposed to have made her triumphant hometown rodeo debut back in 2020, but Covid-19 scuttled the second half of that season, including her appearance. Just a few weeks ago, she gushed on Late Night with Seth Meyers about how important the show would be to her, mentioning seeing John Mayer and Beyoncé during her teen years in town.

    At 9:15 pm, just next door to the 8th Wonder of the World the “9th Wonder of the World” — Texas Southern University’s Ocean of Soul Marching Band — made its way onto the show floor to massive applause as a hype video of Houston landmarks played on the show screens. If RodeoHouston needs a house band — founded in 1969 — this is it. In fact, it should be legally mandated that they appear every year.

    Before Lizzo even appeared, the show felt like a Super Bowl halftime show, with three SLABs driving out into the dirt, with the woman herself kicking off “About Damn Time” from the back seat of a fourth SLAB, clad in a black leather studded duster, surrounded by TSU dancers. This is the kind of big-budget spectacle that the rodeo salivates for. Backed by a mostly-female band onstage, the Ocean of Soul provided a constant brassy, bassy undercurrent.


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    A post shared by RODEOHOUSTON (@rodeohouston)


    “This is the city that raised me,” Lizzo said, taking in the 69,362 souls in her midst.

    She was met with a hurricane-force wall of screams as she launched into “Cuz I Love You,” ditching her black leather duster for a white tank top.

    Houston’s own gospel pop quartet The Walls Group appeared just then for the Black National Anthem, “Lift Every Voice And Sing.” Lizzo and the Walls siblings then wove “Special” into “Total Praise.” We’d all buy a Lizzo gospel album, and you know it.

    Her collaboration with Cardi B “Rumors” — flaunting rodeo lyrical standards — gave way to her own rendition 4 Non Blondes’ “What’s Up,” giving Linda Perry’s grunge pop classic a torch song glow-up.

    Lizzo got back into her custom SLAB for her own “Yitty On Yo Tittys” from last summer’s My Face Hurts From Smiling album, complete with a human-sized dancing Labubu. The Ocean of Soul got its own interlude while keen eyes could see Lizzo side stage, tuning up her famous flute with a familiar line.

    Wait, is that? Yes, by God, that’s Houston’s national anthem.

    Soon Slim Thug, Mike Jones, and Paul Wall sauntered out for “Still Tippin’” as city pride began to sweat from the stadium walls, all while the Ocean of Soul kept strutting along. The professor emeritus’ of Houston's 2000s rap explosion, you look up from your phone and realize all these Houston rap standards are all over 20 years old now. Paul is a silver fox, Slim is a real estate magnate, and even people in Japan know Jones’ personal phone number.

    “At the end of the day, I just want Houston to feel good as hell,” Lizzo said, tapping directly into “Good As Hell.” Was that a pregnant lady in a cowboy hat dancing on the big screen? How much more Houston can a fetus be?

    The only truly Houston things left to do tonight were to sweat through your Wranglers in the parking lot, gaze at the Astrodome, sit in standstill traffic, and join the drive-thru parade at the closest Whataburger.

    Setlist

    With Texas Southern University’s Ocean Of Soul

    About Damn Time
    Juice
    2 Be Loved (Am I Ready)
    Soulmate
    Cuz I Love You

    With The Walls Group

    Lift Every Voice And Sing
    Special > Total Praise
    Rumors > What’s Up

    Tempo > Wobble
    Boys (with Ocean Of Soul)
    Mo City Don (Z-Ro Cover)
    Yitty On Yo Tittys
    Screwed (with Ocean Of Soul)
    Still Tippin’ (with Slim Thug, Mike Jones, and Paul Wall)
    Truth Hurts
    Good As Hell (with Ocean Of Soul)

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