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Houston Voice, No. 844, December 27, 1996
File 013
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Houston Voice, No. 844, December 27, 1996 - File 013. 1996-12-27. University of Houston Libraries. University of Houston Digital Library. Web. December 2, 2020. https://digital.lib.uh.edu/collection/montrose/item/915/show/894.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

(1996-12-27). Houston Voice, No. 844, December 27, 1996 - File 013. Montrose Voice. University of Houston Libraries. Retrieved from https://digital.lib.uh.edu/collection/montrose/item/915/show/894

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

Houston Voice, No. 844, December 27, 1996 - File 013, 1996-12-27, Montrose Voice, University of Houston Libraries, accessed December 2, 2020, https://digital.lib.uh.edu/collection/montrose/item/915/show/894.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Title Houston Voice, No. 844, December 27, 1996
Publisher Window Media
Date December 27, 1996
Language English
Subject
  • LGBTQ community
  • LGBTQ people
  • Gay liberation movement
Place
  • Houston, Texas
Genre
  • newspapers
Type
  • Text
Identifier OCLC: 31485329
Collection
  • University of Houston Libraries Special Collections
  • LGBT Research Collection
  • Montrose Voice
Rights In Copyright
Note This item was digitized from materials loaned by the Gulf Coast Archive and Museum (GCAM).
Item Description
Title File 013
Transcript ARTS & ENTERTAINMENT ?V"J f\ (bETWKN D0W«T0W« & Mtdic»l Cf»TE«) Car WAsh $001 Main; *>2J-9198 FULL SERVICE d>C.99 CAR WASH •*? Jw/coupon Includes: • Sale, Gentle Soft Cloth Wash • Windows Cleaned Inside & Out • Interior Vacuum & Wipe Down • Air & Hand Dry • Established 1949 Featuring Mon-Sat 8am-6pm ExpVOSS Sunday 8am-5pm Detailing Vans and Suburbans Extra Expires 1/3/97 T ExpRESs Lube -Wil Majn; 529 51J6 $3 r\r\ Com plate 14 Point > *i Oil Change Service Off Plus Free Car Wash No appointment necessary. Present coupon at time of service. Not vaid with any other offers. , Other P relet sion a I Seivices ■ Fuel injection cleaning * Radiator power flush • Tire rotation Ask about Quaker State 250,000 mies '■• Imited warranty offer. State Inspection □ Other major brands of oil available. Hon-Thu 8-5:30 • Fri-Sat 8-8 Expiree 1/3/97 PastTime 617 Fairview * 528-8102 * Fairview at Stanford Man>( thanfcs to all m-f friends for their love and support. Please stop in HOUSTON. TEXAS and meet -John ?arKer and his staff. lazy,/ 6tU<S^? snot PM SAtURdAy, DECEMbER 28 MC: PeacIies Guests: France Lane SpEciAl Guest 312 Tuam * Houston (713) 528-9343 Frankie Lane Peaches Nikki Coffins Champagne Party Failors m FRIDAY NIGHT 8-BALL League Mcmders ONly wjtIh our DJ Bill GonzaIez > Don't Cry For Me Madonna By DAVID RICHARDSON When I first heard that Madonna was going to be portraying Evita Peron on the wide screen, 1 had a momentary concern that if this trend keeps up, other pop stars may attempt to portray famous women in a musical format. Shudders ran through me as I envisioned LaToya Jackson playing Winnie Mandela; Debbie Gibson as Lady Bird Johnson; or even Courtney Love from Hole as a wacky singing and dancing Mother Theresa. Okay, okay, back to Evita. For those unfamiliar with the story, allow me to give you a brief synopsis. The movie opens with an audience in a movie theater being notified of the death of their political and spiritual leader, Evita Peron. Amidst all the ensuing despair and grief, we see a stolid figure in the form of Che (played brilliantly by Antonio Banderas) who acts as a narrator and Greek chorus to the story. He compares the madness of the public to a circus. Then we move into flashback territory (and I must inject that the transitions between scenes seem awkward, choppy, and at times a bit out of focus, a problem eliminated onstage by intermissions, but one that should have been addressed by director. Alan Parker- Fame, The Commitments.) Hence, we have Evita as a dark haired child defiantly breaking her way into a chapel to see her father put to rest, and being lhat she was illegitimate, she was somewhat less than welcomed by family members. Moving along, the movie takes us to later years where Evita becomes an ambitious young woman longing to flee her home with her musician lover and head to the big city of Buenas Aires. She convinces the singer Magaldi to take her and he does, then dumps her, leading to one of the movies best ballads, 'Another Suitcase, Another Hall." Eventually, she becomes a model and goes through a series of men she uses to moves up. Finally, at a charity benefit she meets Colonel Juan Peron who is obviously on his way up like herself. They join forces and she kicks Peron's mistress out in a hilariously bitchy reprise of 'Another Suitcase.' Peron's views endup getting him Madon. arrested but Evita comes to his aid, doing radio announcements in his favor directed at the working class, or the "descamisados" as she refers to Ihem. After Peron is released from jail, he is elected president and on the balcony of the Rosa Cosada, Evita sings, to the people, the classic song "Don't Cry For Me Argentina" when suddenly, instead of just focusing on her singing the song, the film makers fell it necessary to treat us to an MTV style montage of the first half of the film, as if we couldn't remember. This, I found to be extremely irritating. Thereafter, we see Evita putting together lhe Eva Peron foundation, helping the poor, and embarking on lhe famous Rainbow Tour, to promote her counlry, and perhaps herself as well. Returning from the tour where she was not always kindly received. She appears tired and is, in fact, dying. In one of the more touching moments of the movie, a haggard looking Evita sings a new song called "You Must Love Me" which has top 40 written all over it. Then, of course, she dies and a nation grieves. (Although, it must be pointed out that not everyone was a fan, and she had many a critic, a fact clearly shown in the movie.) So. the big question on everyone's lips must be, "How was >he is no Palti LuPone, in Broadway for many years. Nor does she have to he since she brings a fresh interpretation lo the production lhat I didn't really expect. Some of the parallels between her life and Evita's are obvious, but in this case, life- imitaling art is not such a bad thing. The rest of the cast is also superb with fine performances from Mr. Banderas, and Broadway star Jonathan Price. The score by Tim Rice and Andrew Lloyd Webber is delightful. The only problem audiences may have with this film is that it is basically a rock-opera (no spoken words, as everything is done in song). These have noi traditionally been popular in recent years. Time will tell the tale of whether or not the film and genre will prevail. While Madonna sings "You Must Love Me" in the back ground, I think to myself...nol always, but this time, yes. This film rates ***. Madonna?" Well. who did the role i Holliday continued... (Continued from page I) and connect with a spiritual base," laments Holliday. Holliday has an interesting theory as to why she has connected so well with the gay and lesbian community. "What made me connect with gays and lesbians was my character in Dreamgirls," she opined. "Effie sings from experience and a great deal of pain. She is basically singing a song of rejection and gays and lesbians fight for acceptance. They can relate to that." Holliday says many of her fans connected to her because of the songs she sang and being overweight. "Many people were upset with me because I lost weight," says Holliday who believes her weight was a positive to some people because they could relate to someone who, like them, did not fit into a societal stereotype. Holliday has assembled a 16-track collec- 12 HOUSTON VOICE/DECEMBER 27, 1996 tion on her latest CD, "The Best of Jennifer Holliday", on Geffen records. "When Geffen Records told me they wanted to release a compilation of my work, I was very happy," recalled Holliday. "Then, when the company asked me to be involved in choosing Ihe material for the album, I was truly honored. I'm so glad we were able to present both the chart records and some of my personal favorites." Holliday will perform many of those hits and personal favorites during her New Year's Eve performance at the Alley Theaier Ihe show begins at 9 p.m. and is followed by a buffet reception after the performance. If you have never seen Jennifer Holliday perform, you should. She is a testament to powerful superlative skills and soulful artistry. For ticket information, contact the Alley Theater at 228-8421.
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