Vinnie Paul Abbott, a native of Arlington and the former drummer for metal-rock band Pantera, died in Las Vegas on June 23; he was 54.
First reported by Billboard, his death was announced on Pantera's Facebook page:
"Vincent Paul Abbott aka Vinnie Paul has passed away. Paul is best known for his work as the drummer in the bands Pantera and Hellyeah. No further details are available at this time. The family requests you please respect their privacy during this time."
Paul's early death follows the tragic death of his brother, guitarist "Dimebag" Darrell Abbott, who was shot while performing onstage in a rock club in 2004; he was 38.
The Abbotts grew up in a musical family; their father was country songwriter Jerry Abbott.
The brothers founded Pantera in 1981. Their 1992 album Vulgar Display of Power boasted anthems such as "Walk" and "Mouth For War," helping propel their 1994 album Far Beyond Driven to debut at No. 1 on the charts.
Vinnie Paul had been living in Las Vegas, and for the past 10 years, he played with heavy metal band Hellyeah, fronted by Mudvayne singer Chad Gray. Their fifth album, Undeniable, was released in 2016, and they'd recently begun recording a sixth album.
A private funeral will take place on June 30, but there is a public memorial on Sunday July 1. Abbott's family and record label will host "Vinnie Paul: A Public Celebration of Life," at the Bomb Factory in Deep Ellum.
This will be a free event with no tickets sold, although wristbands will be required. The memorial takes place at 3:33 pm, while the line for wristbands begins at noon.
Nathan Fielder and Elizabeth Holmes in You Can See Everything.
Elizabeth Holmes faced one of the most public downfalls in recent history after she was accused of defrauding investors in her health technology company, Theranos. Her subsequent indictment and conviction drew the interest of many, including, it seems, comedian/actor/filmmaker Nathan Fielder. Fielder somehow convinced Holmes and her husband, Billy Evans, to make a documentary about her final days of freedom, called You Can See Everything.
It’s not immediately clear why Fielder — who only has one previous feature-length documentary to his credit — is interested in profiling Holmes, but the approach that he and co-director Lance Oppenheim (Primetime) take is one that puts Fielder in the spotlight as much as her or Evans. Fielder looms over the couple — sometimes literally, sometimes from afar — as they care for their children, make meals, try to re-establish business relationships, and prepare for Holmes’ prison sentence, which is due to start about a month after the film begins in 2023.
Fielder quizzes Holmes and Evans about predictable subjects — such as how Theranos worked, her relationship with COO Sunny Balwani, and her conviction — and ones that are slightly off-kilter, including the miniseries The Dropout, which dramatized Holmes’ rise and fall. He is met with seeming openness by both of them — the title of the movie is uttered by Holmes at one point — but there are times where their idea of transparency doesn’t jibe with Fielder’s expectations.
Through it all, the quirky reputation that Fielder has from TV shows like Nathan for You, The Curse, and The Rehearsal colors his participation, as well. He appears sincere, if surprisingly intense, in his questioning, but there are more than a few moments where it’s fair to wonder if the whole thing is an act of performance art. That suspicion grows in the second half of the nearly three-hour film as Fielder and Oppenheim go down roads that stretch the definition of what a documentary is or can be.
The film is utterly fascinating as the filmmakers go on what seems to be a full-on exploration of the meaning of truth. Holmes and Evans, either intentionally or unintentionally, carry on conversations with Fielder with wide-open, unblinking eyes, something that conveys honesty and creepiness in equal measures. Fielder meets them with squinting expressions, looking like he’s trying to determine how candid they’re actually being.
One of the biggest things the film reveals (or does it?) is that — if she’s not a sociopath — Holmes might be someone who’s either oblivious or naive. As cryptic or strange as she can be in words and actions, Evans is even more so, and as the film progresses it’s him whose motives and ideas are called into question. Control over the narrative of the film wobbles back-and-forth between Fielder, Holmes, and Evans, and even at the end it’s unclear whose perspective has truly won out.
There is no way to accurately get across what it’s like to watch You Can See Everything for the first time. The motives of everyone involved are up in the air, resulting in a roller coaster ride that’s full of astonishment, laughs, and a number of surprises. It’s an audacious film that can’t be categorized, one that will challenge the thinking of voters when it comes time for awards season.
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You Can See Everything opens in theaters on October 16.
