Thursday Oct. 5
The Nines has become a discotheque in all the best ways, drama and glamour not excepted. Drag Ellum is free. And stylistically promising:
Dallas VideoFest new siphon DocFest begins at Studio Movie Grill with a parade of sorts. Alan Govenar’s Extraordinary Ordinary People introduces audiences to winners of the National Endowment for the Arts’ annually awarded National Heritage Fellowship, promising a tour through folk art in the United States since the early ’80s — and a reminder of what we all lose when the NEA loses funding.
Shafaq Ahmad directs the Islamic Art Revival series at Irving Arts Center and has a show there now called Lifting of Veils to Lights of Mystery. The gallery stays open until 8 p.m. A collaboration she did last year with the Ismaili Muslim Youth Choir of Dallas lends a peek into her sensibilities:
The sixth annual Puss ‘n’ Pooch Jazz Night invites dogs to a benefit for the Dallas Companion Animal Project. There’ll be jazz by the Alex Rivera Quintet, drink specials aplenty, and some surprises specifically for dogs. This is assumedly not including the surprise of Ten Bells’ resident kitty, who’s usually waiting on the patio.
Horror season has arrived. So have the tony and doomed party guests of Luis Buñuel’s The Exterminating Angel (1973) to the Texas Theatre, for one night only.
Rick Springfield and Richard Marx are acoustic at the Majestic.
Friday Oct. 6
Houston rapper Fat Tony is as punk as they come. He’s at Andy’s in Denton.
In Fort Worth, The Modern‘s open late and they’re showing a documentary about Manolo Blahnik in which Rihanna appears.
Cake made additional records after 2001’s Comfort Eagle. Does it matter? An hour-long version of “Short Skirt/Long Jacket” would suffice, live. It is a full-length musical accordion-folded to fit into the glove box of our heroine’s Chrysler LeBaron. Anyway. South Side Ballroom is a solid option because the manic, sweet descendent of Peter Gabriel Perfume Genius (Mike Hadreas) opens.
Saturday Oct. 7
No one can depict a meeting, a school hallway, or the invisible forces at war during a common pause in conversation like Frederick Wiseman. To overlook his films is to miss a finally accurate articulation of what it is to be a person from moment to moment in a fallible machine, whether that machine is the Paris Opera Ballet or a university. And it’s a sensory education in those tiny experiences buzzing around whole institutional monoliths to create the dissonance you feel when a worn-out convention or arbitrary rule shows its seams. Standing in line at the DMV will never be the same after acquainting yourself with Wiseman’s work — you’ll begin to imagine what he might notice, to listen for the song of subtext in the most bureaucratic exchanges. DocFest is screening his documentary Ex Libris: New York Public Library at 11 a.m. It’s three hours and seventeen minutes long. I’ve been counting the days to see it first then.
Denton felt a seismic shift on Thursday morning and fracking was not involved. Song titles and artists began appearing on KUZU’s stream. This blew the minds of the station’s fans, who’ve been refreshing Shazam since the community radio station launched during the last days of July. (Here is an essay I wrote on those days, and how freeform radio conjures a realm where personal and shared space flicker into something else.) The bill drawn from corners of North Texas for this KUZU Golden Triangle benefit at BackYard on Bell is the best yet from the station’s IRL gatherings. Members of the hearth-y, aptly named Dust Congress traveled many miles to headline, serious experimental rock band Pinkish Black comes from Fort Worth, and Rat Rios from Dallas, who fans of Dirty Projectors will adore. “Doom disco” act Felt & Fur is the home team.
Crystal Castles incorporate even thin trap beats into an aggressive revert on their latest, with a queasiness that calls to their early days opening for Nine Inch Nails (not their music with the great Alice Glass back then, but NIN’s.) Amnesty gets lush when Edith Frances’ upper register winds around the dull-bladed synths and crunchy finishes. Case in point follows. The duo is at House of Blues; the set is, historically, a feast for the senses.
Sunday Oct. 8
Think of a friend, one of your favorites. If an event could express their sensibilities, talents and values, what would it look like? Who’d be there? Which colors do you see? I’ll play. There’d be a daylong celebration with a makeshift skate park outside. Kids would be invited. It’d be at a venue where they usually aren’t. Those kids would make prints together and the designs would be roughly-drawn suggestions of psychadelic skulls and vaguely anatomical bits. His best friends New Fumes (Daniel Huffman), Def Rain (Ashley Cromeens), and Aaron Gonzalez would play, plus more. This all would be free. Oh, and there would be a reasonably-priced skateboard for sale featuring his designs, and a ‘zine featuring his art. The colors would be orange, yellow, pinkish purple, and black. My friend isn’t here anymore in the physical. But if he was, he’d rather you take the flier.