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    '80s concert news

    Boy George and Culture Club bring good karma to Dallas with summer show

    Steven Devadanam
    Apr 18, 2023 | 3:38 pm

    Any self-respecting '80s New Wave/New Romantic/pop fan would no doubt possess a mixtape — or at least a Spotify playlist — featuring Boy George and Culture Club, Berlin, and Howard Jones. Now, Dallas fans of all three can ditch the Maxell cassettes and experience the real thing, as all three acts head to town on a new tour.

    Flamboyant '80s pop/fashion/culture icon Boy George and his act Culture Club will hit Dos Equis Pavilion on August 10 as part of "The Letting It Go Show," a 25-city summer U.S. tour featuring the three Big '80s acts. The tour also will hit Cynthia Woods Mitchell Pavilion in The Woodlands on August 11 and Austin's Germania Insurance Amphitheater on August 12.

    Tickets for the Live Nation-produced show will be available starting with a Citi presale beginning on Wednesday, April 19. Expect more presales throughout the week ahead of the general onsale, which starts at 10 am Friday, April 21 at livenation.com.

    As for the show, fans can expect Culture Club's singalong faves such as "Karma Chameleon," "Church of the Poisoned Mind," and the reggae-inspired song that started it all, "Do You Really Want To Hurt Me.” Boasting seven straight Top 10 hits in the U.S. and UK, Culture Club became a pop powerhouse through the early and mid-'80s, before pausing and eventually disbanding.

    A lightning rod for identity politics and a style maverick who often donned androgynous and even head-scratching looks, Boy George (née George Alan O'Dowd) made a grandiose return in 1992 with his haunting, ethereal cover of Dave Berry's "The Crying Game," which became the title song for the Oscar-nominated film of the same name. His resurgence led to his autobiography, Take It Like a Man, which was published in 1995. Devotees rejoiced when the Culture Club trio reunited in 1998, issuing the two-disc set VH1 Storytellers/Greatest Hits. (The current Culture Club lineup features George with bandmates Roy Hay and Mikey Craig.)

    A favorite of '80s dance clubs long before they hit the mainstream, electronic dance/New Wave act Berlin shocked and rocked with its single "Sex (I'm A...)," which sparked bans and outrage with its (then) outrageous lyrics and lead singer Teri Nunn's sultry, breathy stylings. Chart toppers "No More Words" and the clubby "The Metro" followed, but the band struck solid gold with its lush ballad "Take My Breath Away," the unforgettable love scene track in Tom Cruise's Top Gun. Herself also an '80s icon, Nunn is seemingly ageless and was recently ranked No. 11 on VH1.com’s “100 Greatest Women in Rock.”

    Boy George Culture Club 2023

    Photo courtesy of Culture Club

    Boy George and Culture Club headline "The Letting It Go Show" tour.

    With more than 10 million albums sold worldwide, Howard Jones has transitioned from '80s and '90s pop act to current relevance thanks to his poppy, hummable hits being used in screen hits like Stranger Things, Breaking Bad, The Watchmen, and more. Bursting on the scene as a hot new British act with "New Song," Jones (or HoJo as fans know him) followed with anthemic hits like "Everlasting Love," "What is Love," and "Life in One Day." Cherished for those smash singles and the slow singalong "No One is to Blame," he returned in the '90s with feel-good single "Lift Me Up."

    Here is the full schedule of "The Letting It Go" tour dates:

    Thu Jul 13 – West Palm Beach, FL – iTHINK Financial Amphitheatre

    Sat Jul 15 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre

    Sun Jul 16 – Jacksonville, FL – Daily's Place Amphitheatre

    Tue Jul 18 – Atlanta, GA – Cadence Bank Amphitheatre at Chastain Park

    Wed Jul 19 – Charlotte, NC – PNC Music Pavilion

    Thu Jul 20 – Nashville, TN – Ascend Amphitheater

    Sat Jul 22 – Bethel, NY – Bethel Woods Center for the Arts

    Sun Jul 23 – Wantagh, NY – Northwell Health at Jones Beach Theater

    Tue Jul 25 – Mansfield, MA – Xfinity Center

    Wed Jul 26 – Holmdel, NJ – PNC Bank Arts Center

    Fri Jul 28 – Bristow, VA – Jiffy Lube Live

    Sat Jul 29 – Darien Center, NY – Darien Lake Amphitheater

    Sun Jul 30 – Philadelphia, PA – TD Pavilion at the Mann

    Tue Aug 01 – Toronto, ON – Budweiser Stage

    Thu Aug 03 – Tinley Park, IL – Hollywood Casino Amphitheatre

    Fri Aug 04 – Clarkston, MI – Pine Knob Music Theatre

    Sat Aug 05 – Cincinnati, OH – Riverbend Music Center

    Tue Aug 08 – Kansas City, MO – Starlight Theatre

    Thu Aug 10 – Dallas, TX – Dos Equis Pavilion

    Fri Aug 11 – The Woodlands, TX – Cynthia Woods Mitchell Pavilion

    Sat Aug 12 – Austin, TX – Germania Insurance Amphitheater

    Mon Aug 14 – Rogers, AR – Walmart AMP

    Fri Aug 18 – Phoenix, AZ – Talking Stick Resort Amphitheatre

    Sat Aug 19 – San Diego, CA – North Island Credit Union Amphitheatre

    Sun Aug 20 – Concord, CA – Concord Pavilion

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    Movie Review

    Glen Powell bumps off rich family in How to Make a Killing

    Alex Bentley
    Feb 19, 2026 | 12:45 pm
    Glen Powell in How to Make a Killing
    Photo courtesy of A24
    Glen Powell in How to Make a Killing.

    Becoming a star in Hollywood and maintaining that stardom are two very difficult things to achieve, but Glen Powell has been adept at doing so over the past few years. A key supporting role in Top Gun: Maverick led to lead parts in films like Hit Man, Anyone But You, Twisters, and The Running Man. Powell is looking to keep his star power shining in the new dark comedy/thriller, How to Make a Killing.

    He plays Beckett, an outcast member of the ultra-wealthy Redfellow clan. Struggling to get by in a menial job in New York City while still living in New Jersey, Beckett’s only smidgen of hope is that he remains an heir to the vast Redfellow fortune. The only trick? Every other remaining family member must die before he’ll see a dime of that money. When even that menial job goes away, Beckett indulges the fantasy of bumping off his familial competition.

    Among those standing in his way are cousins Taylor (Raff Law), a finance bro, Noah (Zach Woods), a pretentious artist, and Steven (Topher Grace), a celebrity pastor; Uncle Warren (Bill Camp) and Aunt Cassandra (Bianca Amato); and grandfather Whitelaw (Ed Harris). Complicating matters, however, are an old childhood friend, Julia (Margaret Qualley), who starts asking more of Beckett than he can give; and new flame Ruth (Jessica Henwick), who happens to be dating Noah when he meets her.

    Written and directed by John Patton Ford (Emily the Criminal), the film is a tale of two halves. Narrated by Beckett in the form of telling his story to a prison chaplain, the story plays with audience expectations on multiple occasions. As Beckett ramps up to detailing exactly how he got started down the road toward being a serial killer, the film has a fun-if-macabre vibe.

    Under normal circumstances Beckett would be someone to despise, but since he’s an underprivileged person who’s taking aim at people who (mostly) don’t seem to appreciate their good luck, it feels okay to cheer for him. This follows a recent trend in “eat the rich” films, one that’s been influenced by a turn against real-life billionaires. Ford plays heavily into the theme and it works for a good portion of the film.

    However, things get a little murky in the second half of the movie. A few of the planned killings get less attention than others, making their - pardon the pun - execution less interesting/fun than the others. Also, Ford does a poor job of indicating just how much weight should be put on Beckett’s relationship with Julia, someone with whom he only has occasional interactions for the bulk of the film.

    It’s difficult to know the exact right way to showcase Powell, but this film doesn’t seem to be the best fit. Whether it’s the odd hairstyle/wig he’s given, or the varying degrees of confidence his character shows, his performance is up and down. Qualley’s acting style is over-the-top, and she needed to dial it down in this particular role. Henwick and Camp are the grounding forces in the film, keeping the story somewhat tethered to reality while almost everyone else makes a meal of their scenes.

    How to Make a Killing is serviceable entertainment that gives viewers a decent number of laughs and thrills. But Ford can’t find a way to make the story work all the way through, and a so-so performance by Powell keeps the film from rising above its mediocre station.

    ---

    How to Make a Killing opens in theaters on February 20.

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