Journey's popularity has ebbed and flowed over the years, reaching a peak in the late '70s and early '80s thanks to hits like "Lights," "Any Way You Want It," "Who's Crying Now" and "Don't Stop Believin'."
The band's current line-up, including new lead singer/Steve Perry sound-alike Arnel Pineda, has been in place since 2007 after the interest in the band peaked following the use of "Don't Stop Believin'" in the finale of The Sopranos. They've released two well-received albums since then, the latest being 2011's Eclipse.
The Steve Miller Band, who just headlined their own show at Verizon Theatre in Grand Prairie in September, are even more rooted in the '70s despite having released two new albums in the past three years. In fact, 2013 marks the 40th anniversary of arguably their most famous song, "The Joker."
Tower of Power doesn't have quite the same name recognition as the other two bands, but the R&B band is famous for its horn section and has been a mainstay since the late '60s.
Tickets for most dates on the tour, which will also make stops in Houston and San Antonio, go on sale starting Friday, November 22.
Journey, with new lead singer Arnel Pineda, is headed back to Dallas for the first time since 2012.
Photo courtesy of Journey
Journey, with new lead singer Arnel Pineda, is headed back to Dallas for the first time since 2012.
The coronavirus pandemic had a profound impact on the entire world, one that has been shown in various ways by movies and TV shows. However, even though a number of productions have attempted to show what life was like during the early days of the pandemic, few have tried to truly reckon with the way lockdowns and restrictions changed people.
Filmmaker provocateur Ari Aster does just that in Eddington, set in a fictional small town in New Mexico in early 2020 that proves to be a microcosm of the debates taking place worldwide at that time. Sheriff Joe Cross (Joaquin Phoenix) is not a fan of mask mandates or other restrictions imposed by the government, while mayor Ted Garcia (Pedro Pascal) tries to lead by example in an effort to keep his community safe.
The men butt heads not just on how to deal with the pandemic, but also over a personal history involving Joe’s wife, Louise (Emma Stone). When news of the murder of George Floyd in Minnesota makes its way to town, it starts a slow simmer among the town’s youth population, putting even more stress on Joe and his small department. Conspiracy theories, white guilt, partisan politics, cults, and more combine to make the community into a powder keg that threatens to explode at the slightest provocation.
Aster (Midsommar, Beau is Afraid) takes aim at all sides in a film that’s part satire and part thriller. No matter how each viewer reacted to the pandemic, the film offers at least a character or two that will come close to representing their viewpoint. Although opinions may differ, it seems clear that Aster is not portraying one side as “right” or more righteous than the other. What he is doing is demonstrating just how much was happening in a short period of time, and how those things could negatively affect anyone.
On the flip side, the film also challenges viewers with viewpoints that may not match their own, which can make for an uncomfortable experience at times. The reactions various characters have to certain events range from rational to wholly unexpected, and Aster seems to delight in keeping the audience on their toes the entire time. This is especially true when violence rears its ugly head, resulting in some intense and upsetting scenes.
Not everything in the film lands, though. A subplot involving Louise and Vernon (Austin Butler), a cult leader who preys on her fears, feels tacked on, with no relation to the film as a whole. In fact, the character of Louise is a misfire in general, one whose purpose makes little sense. Aster also lets (asks?) some actors speak in almost inaudible tones at various points in the film, a frustrating experience in a film as dialogue-heavy as this one.
Phoenix loves to dig into off-kilter characters, and this one ranks high on that scale. Even if you don’t enjoy what his character does, it’s hard to fault the performance that brings him to life. Most of Pascal’s scenes are with Phoenix, and while he matches Phoenix’s energy, the lower key nature of his character leaves him overshadowed. The nature of the film means few others make an impact, although Deidre O’Connell as Joe’s passive-aggressive mother-in-law and William Belleau as Officer Jiminiz Butterfly stand out in their scenes.
Few of us would volunteer to go back to the baffling days of early 2020, but Eddington does a great job of examining what was happening at the time and how events united some and divided others. It’s not a feel-good film, but it is one that will make viewers re-examine their reactions at the time and how those influenced the current reality.
