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    The coolest of cats

    Friends share memories of Houston musician Scott Gertner, who died this week

    Craig D. Lindsey
    May 2, 2025 | 5:30 pm
    Scott Gertner
    Courtesy Cindy Gertner

    Scott Gertner, one of the most prominent figures in Houston’s music and nightlife scenes, has unexpectedly passed away.

    A brief statement by the musician’s family did not share a cause of death. It thanked people for their condolences, asked for privacy, and stated that funeral details would be shared soon. [Update: A representative for the family tells CultureMap that Gertner died of natural causes. He will be buried on Monday, May 5.]

    Gertner was, without hyperbole, the coolest of cats. As a multi-talented, thrice-Grammy-nominated musician and singer, no one could resist his soulful stylings. As a nightclub owner, he knew how to open up the right spots at the right time. Before its closure in 2010, Scott Gertner’s Skybar was Montrose’s jazz temple in the sky, where people could check out live music while gazing at the stars. (Skybar also attracted celebs like Luther Vandross, Steve Harvey, and Shaquille O’Neal, so the stars weren’t just in the sky.) A decade later, he opened up Scott Gertner’s Rhythm Room on Memorial Dr., luring people in with live grooves and a mouth-watering menu.

    In my previous life as a nightlife reporter, Gertner was the person I usually contacted whenever I needed intel on jazz clubs in the city. (I also believe that, during one of these sitdowns, I surprised him one day with a 12-inch single he recorded in the late ‘80s for CBS Records, a lost item I picked up at a nearby record store.)

    But I know I’m not the only person who has sparkling memories featuring Gertner. I reached out to a few friends and asked them what they’ll remember the most about the late, great, swaggerific impresario:

    T.J. Callahan, film critic/radio personality: “We had many fantastic CBS Radio Houston Christmas parties at the Skybar. Scott was always the most gracious host and fun performer.

    “Also, two of my close friends went to high school at HSPVA with Scott. They are all musicians. During our college years, Scott was playing at the old Ruggles on lower Westheimer, back when everyone cruised that area on the weekends. Every time we passed by the restaurant, my friends and I would scream ‘Gertner’ out the car window, like he was going to hear us and come out and say hi. Hey, we were 18. The boys were so excited Scott had a real gig.”

    Russell V. Guess, music producer/former Skybar bartender: “When I tell you I wouldn’t know half the people I know — I wouldn’t have made a good deal of the money I’ve made in my life — and not have had many of the experiences (too many!) that made me who I am if not for this man, it isn’t an exaggeration at all.

    “But there’s so much more to remember about the guy. A true artist, bandleader, music lover, and businessman. I soaked up so much game about music and nightlife, a course more valuable than any class I could’ve taken. To know him personally was a privilege not to be taken lightly; he’d hit you with that smile that always said everything his words didn’t. Always the encourager, he supported me in and outside the nightlife. Even after I stopped working for him, we’d still text each other on our birthdays since they were 11 days apart. I was always welcome wherever his venue was located and, if he was there, that smile and a hug was soon to follow.”

    Mark Towns, jazz guitarist: “One of the first times I heard Scott play was back in the heyday of Cody’s, when he was on bass and vocals with Paul English’s incredible band. That group was something special — Paul on piano, Kirk Whalum and Johnny Torres on saxophones, and Scott bringing his unique energy and voice to the mix. The vibe was electric at those shows.

    “Later, Scott held down Wednesday nights at Cody’s in the Village, and those nights became legendary. It was the hottest night of the week, and, as the story goes, Scott was making more money that one night than the club owner was making all week. That’s the kind of draw and charisma he had.

    “From there, Scott opened the Skybar at the original Cody’s location on Montrose, and I was honored when he hired my Flamenco Jazz trio to play a Wednesday night series there, sponsored by The Wave radio station. We alternated Wednesdays with Joe Carmouche’s excellent trio — great times. He also was the gracious host for the CD release party for my first album, Flamenco Jazz Latino, at Skybar.

    “Back in the late 1980s, way before Skybar and those Village Cody’s Wednesdays, Scott and I played together at the legendary Blues Jam with Ardis Turner (RIP) at Live Bait on Greenbriar — me on guitar and Scott on bass. Too bad there are no recordings of that. We had some wild jams.

    “There was a weird kind of synchronicity with Scott — I’d run into him all over Houston, at all hours, in the most random places. It happened often. The last time I saw Scott was at the Rhythm Room last year. We ended up talking for a long while. He was extremely interested in hearing details about some health issues that I had firsthand knowledge about.

    “Scott was a great singer, a great guitarist, a great bassist, and a powerful presence on stage and off. As a performer, a businessman, a leader, and a cultural force, Scott Gertner enriched Houston’s music world. I’m grateful our paths crossed.”

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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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