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    The CultureMap Interview

    Riding the musical rails: Song man/anti-networker Tom Russell gets off the trainfor Houston

    Susan Darrow
    Oct 21, 2010 | 6:10 pm
    • Tom Russell is anything but your typical guitar man.
    • Tom Russell has found that riding the rails is a way to extend the reach of hismusic.
    • Tom Russell will be at the Mucky Duck for two shows on Saturday.

    The storied career of singer-songwriter Tom Russell has taken him all over the world. Early on, somewhere between teaching school in Nigeria during the Biafran War and driving a New York cab, he played everywhere from a carnival in Puerto Rico to strip clubs in Vancouver.

    Years later, his touring still criss-crosses the globe, but these days the venues are significantly more respectable. Before heading for Houston for two shows at McGonigel’s Mucky Duck this Saturday, he shared his thoughts about his recordings, his art, living in El Paso, and one of his new favorite places to play a gig — aboard a moving train.

    Russell’s songs have been recorded by many great artists including Johnny Cash, Nancy Griffith, and Guy Clark, and he’s produced 25 critically acclaimed albums. He’s in the process of working on number 26, a follow-up to his latest release, Blood and Candle Smoke. When he stops by the Duck, Russell anticipates sharing some of the songs from his upcoming album, which he’s recording with an all-star musical cast.

    “I wanted to stretch out, sonically, on this one, “ Russell tells CultureMap. “So we recorded five songs in Tucson, with Calexico, then recorded in El Paso and San Antonio with Augie Meyers and Joel Guzman, and just recently in Nashville with Gretchen Peters, Barry Walsh, Fats Kaplin, Viktor Krauss (Lyle Lovett’s bassist) and others.”

    Although he and Dave Alvin were credited with helping to create the Americana music format following the release of Tulare Dust, their 1994 tribute album to Merle Haggard, Russell defines his music in broader terms.

    “I don’t want to be jammed into that catch-all box they’ve been calling “Americana.’ What the hell does that mean? I notice nobody calls Leonard Cohen or Bob Dylan ‘Americana,’” he says. “If I had a sound that I really want to aim for it would be Leonard Cohen’s live sound in recent concerts ... it references the world without overpowering his masterful songs.”

    Of late, Russell has become a featured performer on a series of moving folk festivals aboard trains in Canada, Mexico and the Great American West, through a company called Roots on the Rails. Each train trek hosts around 70 roots-music enthusiasts for a series of private concerts, music workshops, and late-night song circles — sort of a civilized, land-locked version of those musical cruise ships that have become so popular in the past few years.

    “My partner on the rails, Charlie Hunter (mastermind behind the Roots on the Rails trips), approached me about seven years ago with the idea of putting together performers for Canadian train trips,” Russell says. “Since then we’ve done 10 of those, and two into Mexico, and now have one coming up in January with Jimmy Webb and Jesse Winchester from LA to San Francisco and back ... premier songwriters. Top level!”

    When Russell hosts a Roots on the Rails trip, he personally books his fellow performers.

    “We’ve had Nanci Griffith, Dave Alvin, The Flatlanders, Mary Gauthier, Peter Rowan, Eliza Gilkyson, Ramblin’ Jack (Elliott), Ian Tyson and many others ... but I’m really stoked about Jimmy Webb and Jesse Winchester,” (whom he’s scheduled for a trip in January 2011.) Other train trips have featured the Cowboy Junkies and Fred Eaglesmith.

    Asked whether he’s had a favorite train trip, Russell said, “I love the Flatlanders. They’ve been with us twice now and they’re down to earth, great writers and singers… folks that have ‘been there,’ wrote about it and are still in their prime. Joe Ely, Butch Hancock and Jimmie Dale Gilmore. The true grit. We did Canada and the Southwest. I also liked going into Mexico with Dave Alvin.”

    When he’s off the road (and off the train), Russell heads home, to El Paso. Asked why he’s chosen this relatively remote location, he says, “I wanted to hide. It’s the last frontier. Now, with the war going on in Juarez, it’s the Old West revisited. I love the history here and the desert. I don’t need to live in the networking capitols of the world.

    "I want to hide and write and paint. This is the ideal place to disappear. As Raymond Chandler said: ‘Nobody cared if I died or went to El Paso ...' It’s the Patagonia of the United States. I’ve been prolific here…and the back door is Juarez.”

    In his spare time, Russell has also become an accomplished visual artist, represented by Yard Dog Folk Art in Austin and Rainbow Man in Santa Fe. Past paintings have addressed a variety of eclectic subjects, from Roberto Duran to Lawrence Ferlinghetti. His recent artwork has taken a slightly different direction, however.

    “For some reason I started painting chickens," Russell says. "Aztec chickens, free range chickens, African chickens…who knows why? Chickens, chickens, chickens. Hell, everybody loves a chicken. Who doesn’t love a chicken? Send ‘em over.”

    No need to hop a train to get on board for Tom Russell’s next gig — just show up at the Mucky Duck Saturday night ready for new songs, new stories, and, “Yes, we may have chickens with us. I knew you’d ask…”

    Tom Russell will appear with Thad Beckman for two shows (7 pm and 9:30 pm) Saturday at McGonigel’s Mucky Duck. He’ll also stop by KPFT 90.1 FM for an interview with Rick Heysquierdo around 11 am Saturday morning.

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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