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    UnPlugged

    Relive punk legend Patti Smith's unbelievable Houston night: Voices BreakingBoundaries releases exclusive video

    Tyler Rudick
    Sep 28, 2011 | 3:03 pm
    Relive punk legend Patti Smith's unbelievable Houston night: Voices BreakingBoundaries releases exclusive video
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    As it prepares to launch a new season of programming, the nonprofit arts group Voices Breaking Boundaries has released an exclusive video of punk icon Patti Smith's memorable night in Houston. Smith appeared at the University of Houston’s Cullen Performance Hall last year and it turned into quite the event — one Voices is giving anyone the chance to relive.

    A nonprofit grassroots organization dedicated to social justice through art, Voices Breaking Boundaries has been bringing globally-minded and politically-active artists to Houston since it was established in 2000.

    VBB founder Sehba Sarwar’s relationship with Patti Smith began with a chance encounter at New York's LaGuardia Airport in 2003, following Iraq War protests the two both attended the day before. Already scheduled to interview Smith for her Strange Messenger show at the Contemporary Arts Museum Houston, Sarwar introduced herself to the punk icon, sparking a friendship that has lasted nearly a decade.

    “My daughter is one of the few 7-year-olds who sings Patti Smith songs in school,” Sarwar says, smiling.

    Smith packed the Cullen Performance hall with almost 1,500 people (The video of the show is available on the VBB webiste).

    “I left my little rural area in South Jersey with about 20 dollars, no where to stay and no job,” she said to start the show. “My mother gave me a waitress uniform. But as my mother said, ‘I know you’ll never make it as a waitress.’ She was right.”

    “After a surprisingly low attendance at a 2003 concert in Houston, Patti was nervous about the crowd,” Sarwar says. “We decided to make the tickets affordable at $5 a piece and the theater nearly sold out of seats.”

    In conjunction with the recent release of her award-winning memoir, Just Kids, Smith focused the first half of the performance on her time with legendary photographer Robert Mapplethorpe in New York City during the late 1960s and early 1970s.

    “I left my little rural area in South Jersey with about 20 dollars, no where to stay and no job,” Smith said to start the show. “My mother gave me a waitress uniform. But as my mother said, ‘I know you’ll never make it as a waitress.’ She was right.”

    Smith read several excerpts from the book, before closing with a solo set featuring “My Blakean Year” as well as an a cappella version “Because the Night,” a song she famously co-penned with Bruce Springsteen in the late 1970s.

    This Oct. 22, Voices Breaking Boundaries offers its annual “living room art production” — a one-night art exhibition installed in a local Houston house. Taking place at two homes in the Third Ward, one of which belongs to Project Row Houses founder Rick Lowe, the event will feature more than 10 artists from Houston and Pakistan.

    Titled Third Worlds: Third Ward/Karachi, the art show brings together video, music, installations and performances to explore commonalities between the United States and Pakistan.

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    Movie Review

    Camp Miasma puts a comedic twist on the classic slasher movie

    Alex Bentley
    Aug 14, 2026 | 3:00 pm
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma
    Photo courtesy of MUBI
    Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

    The horror genre really ramped up in the 1970s and ‘80s, bringing the slasher subgenre that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

    Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

    Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death — a transgender person who has an air conditioning vent as a head/mask — may not just be a character created for the movies.

    Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

    But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

    The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

    Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference — Norma Desmond from Sunset Boulevard — to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

    While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

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    Teenage Sex and Death at Camp Miasma is now playing in select theaters

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