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    The CultureMap Interview

    Hear her roar: 1970s pop queen roars out of retirement for a surprise concert tour

    Joel Luks
    Dec 27, 2013 | 8:32 am

    She's strong, she's invincible, she's woman and she's back roaring her way through a concert tour that includes a stop in Houston. Helen Reddy, the Australian-American pop sensation that rose to stardom in the early 1970s, has come out of retirement to perform again after 10 years of private life.

    Reddy is mostly known for her 1972 anthem "I Am Woman," a song that the United Nations adopted as a theme for the Year of the Woman in 1975. Her classy, easy listening vocals in "Delta Dawn," "Angie Baby" and "Ain't No Way to Treat a Lady" are part of a string of a dozen Top 40 hits that earned her a spot on The Strip in Las Vegas. Celebs such as Joan Rivers and Barry Manilow were her opening acts.

    Why, at age 72, would this dame decide to go on the road again?

    Ahead of her appearance at the Hobby Center for the Performing Arts on Jan. 23, CultureMap chatted on the phone with Reddy from her house in California to learn about her recent past and future plans.

    CultureMap: You've been in retirement for more than a decade. I know that's a long, long time. What were the highlights of this time off?

    Helen Reddy: How long would it take me to tell you that? It was a long time.

    I just took a long holiday. There were health issues, there were family issues, but it was time to stop singing "Leave Me Alone" and get on with life.

    CM: Why come back now?

    HR: I was bored. I have a lot of other interests. I love doing research, I enjoy history. I took some time off and really enjoyed what I was doing. But it came down to this, and you may think this is weird.

    "I think we're at the end of women saying, 'I don't have to be a feminist because my husband lets me do whatever I want, I only have to ask him.' "

    It was my sister's 80th birthday, actually, and she asked me if I would sing a duet with her. One does not turn down one's older sister, true? We sang "Breezin' Along With the Breeze" together. When I heard my voice through the speakers — and I hadn't heard my voice in 10 or so years — I thought, hey that's not bad. So I decided to sing again.

    CM: Arguably your biggest hit, "I Am Woman" was adopted as a theme song for the feminist movement. Do you call yourself a feminist?

    HR: Absolutely yes, I am a feminist. No question.

    CM: How do you define being a feminist?

    HR: It means that you honor yourself and your sisters. For too long we weren't reaching out to each other. For too long we were stuck in our own little holes and missed out on a lot. A great deal has happened in the last 25 years — maybe more — and I think we're at the end of women saying, "I don't have to be a feminist because my husband lets me do whatever I want, I only have to ask him."

    You know what I am saying, right?

    CM: I sure do. Has the meaning of feminism changed from the '70s through today?

    HR: I think it's something personal to every woman. You know we don't agree on everything, of course. But then, who does?

    When I was in school, we had a vocational choices. We had something like five — school teacher and librarian, that sort of thing. There was never any expectations of going beyond that. It would be nice to have some sort of a skill, sure, but then you are going to get married and have children — and that would be the end of your life.

    I found that kind of strange because I come from a show biz family. My mother was on the boards (on stage at the theater) when she was five. So was I. It's a different life.

    CM: What's interesting is that in your teens, you rebelled against your family. In an interview, you said that all you wanted to do was to get married, have a family and be a wife.

    HR: We all rebelled during our teenage years, didn't we? Being a wife was what all the women's magazines were telling me. I religiously read them so I knew what I should be doing. It's a different world now.

    CM: Your greatest hits as we know them: Are they your favorite songs? What will you be singing on this concert tour?

    HR: All the songs are meaningful to me or else I wouldn't be singing them. But I am not doing all the greatest hits individually, although we've put them in a medley.

    Basically I am focusing more on beautiful ballads. Because I was always seen as a pop artist, there are so many beautiful songs that I've been longing to sing — songs that I've recorded, but have never had any airplay. The only way I can get them heard is to sing them in person.

    ___

    Reaction Productions presents Helen Reddy in concert on Jan. 23, 8 p.m., at the Hobby Center for the Performing Arts. Tickets start at $62.75 and can be purchased online or by calling 713-315-2525.

    Helen Reddy during a recent performance of "I Am Woman."

    Helen Reddy video in concert
    Arcadatheater YouTube video still
    Helen Reddy during a recent performance of "I Am Woman."
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    Movie Review

    Meta-comedy remake Anaconda coils itself into an unfunny mess

    Alex Bentley
    Dec 26, 2025 | 2:30 pm
    Jack Black and Paul Rudd in Anaconda
    Photo by Matt Grace
    Jack Black and Paul Rudd in Anaconda.

    In Hollywood’s never-ending quest to take advantage of existing intellectual property, seemingly no older movie is off limits, even if the original was not well-regarded. That’s certainly the case with 1997’s Anaconda, which is best known for being a lesser entry on the filmography of Ice Cube and Jennifer Lopez, as well as some horrendous accent work by Jon Voight.

    The idea behind the new meta-sequel Anaconda is arguably a good one. Four friends — Doug (Jack Black), Griff (Paul Rudd), Claire (Thandiwe Newton), and Kenny (Steve Zahn) — who made homemade movies when they were teenagers decide to remake Anaconda on a shoestring budget. Egged on by Griff, an actor who can’t catch a break, the four of them pull together enough money to fly down to Brazil, hire a boat, and film a script written by Doug.

    Naturally, almost nothing goes as planned in the Amazon, including losing their trained snake and running headlong into a criminal enterprise. Soon enough, everything else takes second place to the presence of a giant anaconda that is stalking them and anyone else who crosses its path.

    Written and directed by Tom Gormican, with help from co-writer Kevin Etten, the film is designed to be an outrageous comedy peppered with laugh-out-loud moments that cover up the fact that there’s really no story. That would be all well and good … if anything the film had to offer was truly funny. Only a few scenes elicit any honest laughter, and so instead the audience is fed half-baked jokes, a story with no focus, and actors who ham it up to get any kind of reaction.

    The biggest problem is that the meta-ness of the film goes too far. None of the core four characters possess any interesting traits, and their blandness is transferred over to the actors playing them. And so even as they face some harrowing situations or ones that could be funny, it’s difficult to care about anything they do since the filmmakers never make the basic effort of making the audience care about them.

    It’s weird to say in a movie called Anaconda, but it becomes much too focused on the snake in the second half of the film. If the goal is to be a straight-up comedy, then everything up to and including the snake attacks should be serving that objective. But most of the time the attacks are either random or moments when the characters are already scared, and so any humor that could be mined all but disappears.

    Black and Rudd are comedy all-stars who can typically be counted on to elevate even subpar material. That’s not the case here, as each only scores on a few occasions, with Black’s physicality being the funniest thing in the movie. Newton is not a good fit with this type of movie, and she isn’t done any favors by some seriously bad wigs. Zahn used to be the go-to guy for funny sidekicks, but he brings little to the table in this role.

    Any attempt at rebooting/remaking an old piece of IP should make a concerted effort to differentiate itself from the original, and in that way, the new Anaconda succeeds. Unfortunately, that’s its only success, as the filmmakers can never find the right balance to turn it into the bawdy comedy they seemed to want.

    ---

    Anaconda is now playing in theaters.

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