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    Big Boi and Electric Touch rock a heat-soaked dance crowd on day one of ACLMusic Festival

    Dan Solomon
    Sep 17, 2011 | 10:00 am
    • Photo by Jessica Pages
    • Photo by Jessica Pages
    • Photo by Jessica Pages
    • Photo by Jessica Pages

    Big Boi—the less reclusive half of Outkast—really brought it at the first day of the Austin City Limits Music Festival, emerging as the frontman of an explosive seven-piece band, rocking an Atlanta Braves ballcap, camo cargo shorts and a thick gold chain.

    In other words, Big Boi came out determined to show a stylishly commanding presence, and the speed with which the crowd threw their hands in the air and waved 'em like they just didn't care was proof that he'd succeeded.

    By the time Big Boi delivered the first of the set's Outkast hits—2001's "So Fresh, So Clean,"—he had even the most hip-hop averse listener in the palm of his hand. It's hard to argue with a pair of trumpets, two drummers, guitar, drums and a DJ manning a pair of turntables, you know?

    Live hip hop, especially of the "this is the best party you've ever been to" variety (which Big Boi practices) thrives on audience interaction, and the emcee fulfilled his obligations to receive it. He took requests and delivered manic, high energy hits like "GhettoMusick" and "Bombs Over Baghdad" like he was determined to front ACL's best rock band, too.

    In fact, that energy is what really made Big Boi's set special: After a Friday afternoon that steadily heated up (despite a pleasant early rain) and which featured performances from more contemplative acts like Ray LaMontagne, James Blake and Brandi Carlisle, it was great to hear somebody take the stage with an overwhelming amount of energy.

    Big Boi more than just rapped—he invited dancers on stage (if they were prepared "to get crunk"), he asked the audience to pick his next song and he mined his exceptionally deep catalog of both solo and Outkast hits. If he brings this sort of performance to the stage every time he's in Austin, he can play here twice a week for the next year and we'll be there every time.

    Electric Touch shows its grittier side

    Some bands are just plain happy to play a festival. Hometown Austin post-punk heroes Electric Touch are such a band, feeding off both an infectious 10th anniversary giddiness and the first raindrops central Texas has seen in many months. The Austin-by-way-of-Nottingham quintet played ACL on Friday, choosing tracks mostly from their eponymous debut, harboring the dance-punk tendencies of similar acts like Friendly Fires and Arctic Monkeys.

    Yet, Electric Touch's grittier side reared its head, speaking to a youth huddled around vinyls from Shane Lawlor's native England. The Kinks and Sex Pistols emanated through the band's bolder tracks and on this opening day of ACL; Electric Touch was nothing if not brazen.

    "Are you with us?" Lawlor asked, somewhat rhetorically.

    He panted briefly before jumping back into a swift 45-minute set. ACL is all about punctuality, but the bands tend to adapt, packing sets with a density of power normally reserved for Texas chile.

    During one of several buzzing interludes, Lawlor paid homage to his musical peers, blending a track from fellow ACL-ers Foster the People with Rolling Stones' "Satisfaction." The band rifled off rampant versions of "Don't Stop" and "Magnetic," turning the stage to springs with tireless bouncing.

    And when the sweat came on so intensely that towels were required, Electric Touch unplugged a bit and turned out emotive ballads like "Alone." With Lawlor hunched over the keyboard and belting hoarsely, he bared a striking sonic resemblance to Axel Rose.

    "They say this is the music capital of the world," Lawlor stated mid-set. "Let's prove them right today." With a heavy nod, he jump-started another full-bodied number.

    The band's youthful, relentless nature fit well in the overall scheme things. Every opening day of Austin City Limits requires the proper kick-off—one built around high energy and fist-clenching rock.

    And while Electric Touch should exist in or at least near the punk section of your local record store, the band's cleanliness and poppy leanings came to the fore during their afternoon set. Much to their credit, that's what need be done when you are competing with over 100 bands and four other stages. In the end, the band's smooth avant-punk beats and calculated thrashing drew fans in like a moth to a flame.

    Mark Stock contributed the review of Electric Touch.

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    Movie review

    Nerdy teen comedies make a comeback with new movie Summer of 69

    Alex Bentley
    May 9, 2025 | 10:45 am
    Sam Morelos and Chloe Fineman in Summer of 69
    Photo courtesy of Hulu
    Sam Morelos and Chloe Fineman in Summer of 69.

    There was a trend in the late 2010s/early 2020s of bawdy comedies featuring teenage female protagonists, including Blockers, Booksmart, and Yes, God, Yes. Those types of films seemed to go by the wayside in recent years, but they’re making a comeback with the new film Summer of 69.

    Abby (Sam Morelos) is a high school senior and video game streamer who has had a crush on her classmate Max (Matt Cornett) for her entire childhood. When she learns that Max has recently broken up with his longtime girlfriend, she’s determined to make her move. With advice from a confidant that Max likes a certain sexual position, Abby sets out to learn as much as she can about it, including hiring a stripper, Santa Monica (Chloe Fineman), to help her.

    Coincidentally, Santa Monica is facing a situation where the club at which she works, Diamond Dolls, will be closed if the owner doesn’t come up with $20,000 in a week. Abby, who comes from a well-to-do family, seems to offer the perfect solution, and so the two agree to a week of lessons for that amount. Naturally, all sorts of complications arise, as well as the two women forming an unexpected bond.

    Written and directed by Jillian Bell, with help from co-writers Jules Byrne and Liz Nico, the film is both suggestive and innocent at the same time. For all of the talk about sex and innuendo, having the nerdy and inexperienced Abby at the center of the film ensures that the story remains relatively chaste throughout. That includes scenes at the strip club, where Bell makes the choice to show almost no nudity.

    Most of the humor of the film stems from Abby’s lack of experience, highlighted by her having “sexual” fantasies about Max that never actually get to the sex part. The juxtaposition between Abby and Santa Monica is also used for laughs, although Bell and her co-writers make sure to include a side story for the dancer that makes her into a three-dimensional person.

    What ultimately makes the movie succeed is the way it keeps its characters relatable. Many high school films feel the need to play into a bunch of stereotypes, but those are kept to a minimum here. Instead, Bell upends expectations by delivering honest - sometimes to a fault for the characters - dialogue that acknowledges the spectrum of sexual realities for high schoolers, a version that differs from insatiable horniness of some other teen comedies.

    Morelos, one of the stars of Netflix’s That ‘90s Show, makes for a charming lead, someone who can convincingly take her character from awkward to confident over the course of the story. Fineman, best known for her current stint as a cast member on Saturday Night Live, complements her well, showing her comedic prowess in a number of physical scenes. A supporting cast that includes Nicole Byer, Paula Pell, Alex Moffat, and Natalie Morales keeps the energy level high.

    Despite its titillating title, Summer of 69 is much more sweet than naughty. Like most coming-of-age movies, it’s about a girl who’s trying to figure out where she fits in the world. The answers she finds aren’t always the ones she was expecting, but in the best possible way.

    ---

    Summer of 69 starts streaming on Hulu on May 9.

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