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Volume 69, Issue 18, Thursday, September 18, 2003

Arts & Entertainment


Dashboard's new sound a misstep
Even on a school night, Dashboard Confessional managed to draw 1,000 or so of its mostly high-school-age fans to its first Houston concert in more than a year. Each one was eager to see the band try to answer the question that's been hanging over the group since it found sudden success in the mainstream.

Marfreless a perect romantic hideaway
They don't advertise and there's no sign outside, so Marfreless is a little hard to find, even if you're looking for it. There's a parking lot in front of the white building, and if you keep an eye out, you'll spot a small blue door beneath a staircase. If you can find it, you've stumbled across one of Houston's best and longest-kept secrets. 

'Rotation' embraces change
Change. It's something we fear, but it's also an inescapable part of life. 2Pac said it's "just the way it is -- things'll never be the same."

Theaters fill with mediocre movies
Last weekend's film releases made it safe to head back to the theaters with Once Upon a Time in Mexico snatching the top spot from the unworthy David Spade comedy Dickie Roberts: Former Child Star. This weekend, however, offers a slew of mediocre-looking projects, including Haley Joel Osment's crackly-voiced return to the screen, a Quaid-Stone-Dorff- horror movie, a dark vampire epic starring Kate Beckinsale (Beckin-who?), a Cuba Gooding Jr. choral movie co-starring Mrs. Jay-Z, and a promising indie film by Francis Ford Coppola's daughter (yes, the one that ruined Godfather 3).

Weakerthans renew faith in pop-punk
Nowadays, many people who hear the word pop-punk may want to go ahead and kill themselves before the first track on the CD begins. But there was a time when bands that fell into this genre had a way of making original and clever music. With their first album, Fallow, The Weakerthans were getting there, and with their second release, Left and Leaving, they pretty much nailed it. They followed it up with The Watermark EP, which, like Left and Leaving, hinted towards a broader musical horizon.

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