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    Deep Listening

    It's Telematic: Pauline Oliveros performs live in Houston with musicians inBogotá & San Diego

    Tyler Rudick
    Nov 18, 2011 | 7:00 pm

    When legendary experimental composer and accordionist Pauline Oliveros joins her fellow performers on stage for this weekend's "Live Telematic Trio" at Rice University, those not in the know might be in for a treat.

    The musical improvisations of her renowned partners Ricardo Arias and Chris Chafe certainly will be seen and heard; they'll just be playing from thier respective performance spaces in Bogotá and San Diego.

    Oliveros has experimented with sound for more than six decades, the last two of which she's worked with telematic performance, a live collaborative technique linking performers in two or more locations by way of the telephones, computers, or any other form of electronic communication.

    On Saturday, Oliveros performs in Houston on accordion, as Arias and Chafe join her live on screen using technology from research collective Internet2. "Live Telematic Trio" marks Oliveros' fifth concert with Nameless Sound, the Houston-based organization started by musician David Dove as a branch of her non-profit music education group, the Deep Listening Institute.

    On her way from a seminar on music improvisation at University of California Riverside, Oliveros spoke with CultureMap via telephone during her layover at Chicago's Midway Airport.

    "I've been working with telematic performance for quite a while, ever since 1990 and I've gone through a number of different technologies to do this," she said. "Through the years I've established contact with lots of people who've worked on telematic performance as well. David Dove and I decided to stage the event in Houston to celebrate Nameless Sound's anniversary."

    "[In the early 1980s], experimental music was something like the Occupy movement," she said. "There were people who had interests that weren’t being met by established organizations, but by pulling together a network, they began to make things happen."

    A Houston native and Moores School of Music graduate, Oliveros' long career in music began to materialize after moving to northern California in 1952. A pioneering electronic musician and founding member of the San Francisco Tape Music Center throughout the 1960s, she has dedicated her decades of work to the exploration of sound through improvisational performance, education, and emerging technologies.

    Oliveros spoke about the importance of forging lasting connections in the relatively small experimental music scene, and how events like the New Music America annual festival — which ran through the 1980s — have shaped the international contemporary music scene organizations like Nameless Sound continue to mold.

    "Gatherings like New Music America were a very important development in new music. Before that, musicians were working in isolation all across America, in a vacuum, so to speak. Once the networking started, it became amazing."

    With the rise of the Internet throughout the 1990s, of course, the distance between these existing networks of musicians no longer hindered creative communication. By the 2000s, communication could develop into collaboration as digital interaction became more instantaneous and accessible.

    "[In the early 1980s], experimental music was something like the Occupy movement," she said. "There were people who had interests that weren’t being met by established organizations, but by pulling together a network, they began to make things happen."

    "I’m going to the Art Guys ceremony at The Menil Collection," she said. "I have a long connection with [Art Guy] Michael Galbreth. He was an assistant for me when I did New Music America in Houston in 1986."

    "I even made a piece for them for a CD they put out in 2008," she laughed. "It was called ‘The Eyes of Taxes Are Upon You.’"

    Pauline Oliveros performs Saturday at the Wortham Opera Theatre in Rice University's Shepherd School of Music with Ricardo Arias and Chris Chafe, who will play from Bogotá and San Diego respectively.

    This "Live Telematic Trio" is presented by Houston music non-profit Nameless Sound and Rice University's electronic music project REMLABS.

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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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