The dirty Lowdown finds Ethan Hawke as a hardscrabble “truthstorian” facing
By Kristian Lin
Serving Nostalgia
M&O Station Grill’s renovations haven’t affected the top quality of the food, the burgers especially.
By Emmy Smith
Wearing It Well
On their second LP, Cool Jacket understand that adult desperation can hit hard — and so
By Patrick Higgins
Editor: Anthony Mariani
Publisher: Lee Newquist
General Manager: Bob Neihoff
Art Director: Ryan Burger
Marketing Director: Jennifer Bovee
Regional Director: Michael Newquist
Sr. Account Executive: Stacey Hammons
Account Manager: Julie Strehl
Account Executives: Tony Diaz, Wendy Maier, Sarah Neihoff, Wyatt Newquist
Proofreader: Emmy Smith
Brand Ambassador: Clint “Ironman” Newquist
CONTRIBUTORS
E.R. Bills, Jennifer Bovee, Jason Brimmer, Jess Delarosa, Buck D. Elliott, Danny Gallagher, Juan R. Govea, Mark Henricks, Patrick Higgins, Kristian Lin, Cody Neatherly, Rush Olson, Wyatt Newquist, Emmy Smith, Steve Steward, Teri Webster, Ken Wheatcroft-Pardue, Elaine Wilder, Cole Williams
EDITORIAL BOARD
Laurie James, Anthony Mariani, Emmy Smith, Steve Steward
COPYRIGHT
The entire contents of Fort Worth Weekly are Copyright 2025 by Ft. Worth Weekly, LP. No portion may be reproduced in whole or in part by any means, including electronic retrieval systems, without the express written permission of the publisher. Please
Beginning October 1
The Fort Worth Municipal Court, in collaboration with the law firm Linebarger Goggan Blair & Sampson, LLP, will launch text message alerts for individuals with past-due unpaid court balances that have been referred to collections.
Wednesday, Oc tober 1
7:02
You will receive messages from Linebarger Goggan Blair & Sampson LLP. Now
With Superluminal, their first album in 20-plus years, the legendary local alt-rockers go back to the future.
BY STEVE STEWARD
Do you know how wormholes work?
My understanding — based mostly on physicist Michio Kaku’s Hyperspace, a theoretical-physics-for-normies book published in 1994 — is that if you want to travel from one point on a plane to a second, more distant point on a plane, you fold the plane in half so that the two points are adjacent, then, taking a pencil, you poke a hole through the two points, thereby creating a “wormhole” from one part of universe to the other. You just enter one side and exit the other in a moment, circumventing all the eons and light-years that exist in between. Wormholes make space-time irrelevant, replacing it with instant continuity from past to present to future, a bridge between here and there, and then and back-then.
Flickerstick’s Superluminal feels like a wormhole to me. It starts with the four-song EP put out in 2023 by the legendary local alt-rockers. Contract Killers contained studio versions of newer songs (circa the mid-2000s) that had previously been released in 2007 as live-album tracks on Live from Atlanta: Two Nights at Tree Sounds Studios. Superluminal is the band’s first full-length of new material in over 20 years, and its sonics and essential Flickerstickishness sound so much like a natural progression from Flickerstick’s 2004 predecessor, Tarantula, that it’s almost as if the new record is an artifact from another world, one where instead of ending Flickerstick in 2009, the bandmembers hashed it all out and carried on to make their best record yet.
All that is impossible, though, because without the decades between 2004 and now, Superluminal could not exist. Superluminal exists because the band broke up and in such a way that even a 2022 reunion concert — let alone a new album — sounded about as likely as getting struck by lightning while winning a record-breaking lottery jackpot. Yet the new album is indeed real (zap!), and while I doubt anyone in Flickerstick will emerge Powerball-jackpot-rich in its wake, I think they all feel like the opportunity to make Superluminal is an unexpected windfall.
It wouldn’t be the band’s first. Years before its current lineup of lead singer/rhythm guitarist Brandin Lea, lead guitarist Rex Ewing, drummer Todd Harwell, bassist Fatima Thomas, and guitarist Beau Wagener, the band rose to fame on the first and only season of a VH1 reality show. Bands on the Run ran in the spring of 2000, and Flickerstick emerged the winner based on the theatrical sweep of their FX-laden, stratospheric alt-rock, their kinetic live shows, and their booze-powered offstage antics. Their victory included such luxuries as $50,000 in cash, another $100,000 in gear, a music video, and a showcase with music executives, a.k.a. a gathering before the Gatekeepers to the Land of Rock ’n’ Roll Dreams. All of that led to their eventual signing with Epic/Sony, who committed to re-releasing the band’s debut LP, Welcoming Home the Astronauts. Flickerstick, already seasoned road warriors, now had an as-seen-on-TV reputation to behold, and the band spent the year between the VH1 show and their album release touring relentlessly, trying to show audiences they rocked as hard as they drank.
The crowds ate it up. The combination of hard work, good luck, and heavy partying put the band on the right trajectory for turnof-the-century stardom. Their label appeared to be enthusiastic about supporting them, and Welcoming Home the Astronauts had a release date — September 11, 2001.
Brandin Lea: “People who listened to us 20 years ago bring their adult kids to the shows now.”
Beau Wagener and Fatima Thomas
There are a million things that regularly deflate promising young rock bands, but I don’t think a culture-altering national tragedy is probably even in the Top 20. But like everything else in American life in the fall of 2001, the bottom dropped out of the music industry, which suddenly didn’t want to spend money on new bands (except The Strokes and bands that looked and sounded like The Strokes), even if they had a significant built-in audience due to lots of road trips around the country, including one broadcast on a major cable network. Flickerstick persisted for another eight years, eventually buying their record back and releasing a few more albums independent of the majors.
Even after that disappointment, the tours kept coming, and so did the crowds. But even in those pre-9/11 days, Flickerstick had started to splinter. On the VH1 show, there were the off-stage brawls and drunken jackassery caught on camera that the audience loved. Off-camera, the band suffered through mental meltdowns and the heavy physical toll of hard partying. Bands on the Run came to an end, but the alcoholism the experience it fostered didn’t. The years piled up. The band’s wires were fraying and breaking.
They fired original drummer Dominic Weir in 2002 over personality conflicts. He was replaced by Harwell, who had most recently been in Denton rock band Doosu. Guitarist Cory Kreig, who founded the band with Lea in high school in the early 1990s, left in April 2005 following a lengthy tour, burned out by the grind of it all. Tim
Locke, frontman for indie-rockers Calhoun and an accomplished solo artist, took over his position. The lineup changes were fine, and the band continued to tour and record. But by the time when bassist Fletcher Lea, who had founded Flickerstick with brother Brandin and Kreig, left to join the National Guard in 2008, the band drifted to a halt. Their last show was in 2009.
Life happened. Both Kreig and Fletcher have families. Harwell has a business. Lea got into live event production. Though they might have texted one another on occasion, they never got together. Eleven years went by, and the 20th anniversary of Welcoming Home the Astronaut’s debut rolled around. In anticipation, the band released When We Were Young: Singles, B-Sides
& Rarities, 1997–2004. A month later, Fletcher, Kreig, Harwell, and Brandin met for the first time in 15 years for a Fort Worth Magazine interview and photoshoot. The fanbase they’d cultivated through the 1990s and late 2000s reacted enthusiastically, and to a lot of surprise and delight, in January 2022, Flickerstick announced a pair of reunion shows in June of that year.
At a meeting with Flickerstick at a bar in Deep Ellum, I asked Harwell if it was strange to pick up writing in a band that had been apart for 15 years or so.
“All the curiosity about that, all the, I don’t know, not nervousness or anything … but all that [strangeness] happened in the build-up to the reunion show,” he said.
Wagener and Thomas were part of the band to help finish the shows, and after they ended, Harwell recalled everyone saying, “ ‘This is fun. Y’all want to keep playing?’ ”
Over the next two years, the bandmembers met every week to practice their set, as they suddenly found themselves booked for one-off shows and short trips around the country, including a Texas run and a New Year’ Eve concert at Billy Bob’s Texas with The Toadies. By the beginning of 2024, Brandin and company had a few new songs. A few months into that year, they had a few more. By the time they entered the home studio of Dallas-based engineer Mike Smith, it was like Flickerstick — now crewed by Brandin, Ewing, Harwell, Thomas, and Wagener — was a fully confident, fully formed band.
Yet Superluminal’s wormhole to 15 years ago opens in part because Kreig, who now sort of continued on page 7
The exhibition is co-organized by the Art Institute of Chicago and Fondazione Torlonia, in collaboration with the Kimbell Art Museum, the Montreal Museum of Fine Arts, and the Museum Box.
Drummer Todd Harwell described the musical influences of Flickerstick’s modern lineup as a “crossover … of shoegaze and heavy rock, cinematic music.”
functions as the band’s de facto manager, neither worked on nor recorded on the new album but still gets a writing credit, as the album’s first single, “Your Heart Is a Fortress,” came out of an old demo he’d forgotten about. He sent it to Harwell.
“It was something he wrote, like, 25 years ago,” Harwell recalled, “and I was like, ‘Man, I love that song!”
“Your Heart Is a Fortress” bears all of the band’s hallmarks: The optimistic swell of a keyboard crashing into the dark texture of a huge guitar chord; the bombastic, arena-sized arrival of drums; the way Brandin’s voice steps out over it all like he’s about to jump off a cloud into outer space. Hearing this on the way to the Dallas bar, I could practically smell The Aardvark’s bathroom. The huge guitars and drums made me miss the way local rock bands sounded 25 years ago — jangly, augmented chords washed in a meticulously assembled battery of FX pedals that would best approximate the experience of interstellar travel, plus huge distortion, feedback as a medium that can be directed and carved like tactile TV static or a swarm of enraptured wasps. This, along with huge singalong hooks, is what a Flickerstick album sounds like to me.
Thinking about his songwriting way back when against the new album, Brandin acknowledges the distance between the albums’ lyrical content. “With Astronauts, half of it is an optimistic record because I was young. I wrote it when I was 20, 21 years old, so I still had some thoughts that life was going to be all right, and there’s things were going to be — could be good, you know? And then Tarantula was about
experiencing what it’s like to be famous, really, if only for a while, like partying too much, paranoia, and all that shit. But, you know, then, cut 20 years late, it’s like … that isn’t the same world I live in now. Like, am I going to start writing about Metamucil and the AARP? So, this album’s lyrical content is very different from the other ones, but the music, I could see, sounds similar” to vintage Flickerstick material.
Superluminal’s songs made me think of old DFW bands like Doosu, Hi-Fi Drowning, and Mazinga Phaser, from an era — the mid-to-late’90s — when local bands were heavy and spacey. Harwell described the musical influences of Flickerstick’s modern lineup as a “crossover … of shoegaze and heavy rock, cinematic music.”
In practice, that crossover translates into arrangements like the dreamy, chiming guitarscape on “Champagne Lips” and the shimmering, Curelike melancholia of “Diver.”
Brandin said that the practices leading up to the reunion and the two years afterward reinvigorated his songwriting. He had had two bands in the wake of Flickerstick’s dissolution — The February Chorus and Jetta in the Ghost Tree — and he’s regularly played solo since then. But he said he isn’t the kind of songwriter who just fills up notebook after notebook.
“I’m not that way,” he said, but performing old songs sort of primed his muse, as has the idea that everyone’s time on earth is finite. “The fact that we got to play under this name and with this old-song stuff, too. Like, I hate to say I used to take it for granted, but when you’re younger, you know, when I was in my 20s and 30s, I thought, this is just what life is, you know? And then you realize, like, how really hard it is, which we all know: to get five guys together, especially them when they’re older. … Even though it might not always be fun — it’s like even the rehearsals, like just us playing these songs, even if it’s the same ones from years ago or new ones — it just makes my internal tuning fork go off, you know? Because one of us could die at any moment. We’re at that age now. That’s honestly why I think I got that text, like, ‘Hey, do you want to finish these songs?’ Yeah, dude. Well, that was like when somebody kept asking us, ‘Why are you gonna do the reunion?’ And I was like, ‘Well, I think we need to do it while all five of us are still alive.’ ”
The passage of time is a recurring theme in Superluminal. One song, “Motorcade” is focused on death. Another one, “Sundown,” takes its inspiration from the Lea brothers’ aging father.
“My dad got real sick and went into the hospital a couple years ago,” Brandin said, “and I wrote that song the night I heard that he went in. He got diagnosed with Sundowner Syndrome.
… He would call me in the middle of the night once a week. like he was on speed. That’s what it’s like. When his Sundowners thing would kick in, he would call and have the most bizarre conversations that made no sense. So, anyway, he listens to some of the song, and he’s just like, “Yeah, man that beat? I like that one!’ I’m like, ‘It’s called ‘Sundowner,’ Dad. Like, you have that! The whole song’s about madness.’ … I still don’t even know if he made a connection, but he liked it.”
“Motorcade,” Brandin said, is about “that cemetery, Greenwood. … When I wrote that, my dad had just gone in the hospital, and I didn’t know how serious it was, and his health has been kind of bad. He’s 77, so I didn’t know if he was going to make it, but he ended up being OK.”
Superluminal hits streaming services on Friday, with a vinyl edition to be released in the coming months. The band will headline the Granada Theater in Dallas on Saturday, Nov. 29, with direct support from Dallas’ Rosegarden Funeral Party, and after that, Flickerstick would like to play the cities where their biggest fanbases are: Atlanta, Baltimore, Orlando, and Portland.
“We’d love to reconnect with those areas,” Brandin said. “I mean, a whole generation has grown up since then. … People who listened to us 20 years ago bring their adult kids to the shows now,” his voice climbing in amazement.
Maybe for those adult kids watching a Flickerstick show with their parents, the wormhole separating the band as they existed in the late 2000s and the iteration that exists now might not be noticeable. But for those of us who were there back then, Flickerstick’s new album opens a window between those eras, giving you a contiguous view of past and future. l
Come break the rules and say “yes!” to new art experiences at the Carter’s Second Thursdays!
Every Second Thursday is different than the last. You’ll never think of museums in the same way again.
Major Diss
If you think the TEA’s takeover of Fort Worth ISD will help students and parents, you are sorely mistaken. STORY AND PHOTO BY KEN
You may think the TEA’s takeover of the Fort Worth school district is not your fight. To you, FWISD is just another urban school district that can’t or won’t educate its mostly poor and minority students. In these pages, I’ve strongly criticized the district when I thought it deserved it. As a former FWISD teacher for 18 years, I, along with my colleagues, always found much to complain about, but none of us wished for this. The TEA’s takeover has nothing to do with improving the lives of our
METROPOLIS
young people and making their education better. It has to do with power and politics.
This takeover fits the precise definition of government overreach by our Republicandominated state government. The radical action of taking over a school district and disenfranchising its voters should happen only in extreme circumstances, when a district is not improving and is so dysfunctional, it won’t. And none of the above is true of Fort Worth ISD. The sole reason the TEA gave for the takeover is the five consecutive F grades by the Leadership Academy at Forest Oak Sixth Grade. While technically, the state has the right to take over FWISD, it shouldn’t. In Texas’ ninth-largest school district, with 68,000 students and more than 120 schools, one school’s failure should never lead to this nuclear option.
For the past few years, Fort Worth ISD has bent over backward to work with the state. In 2020, it allowed the Texas Wesleyan University Leadership Academy Network to take over Forest Oak because of a state law that encourages privatization of failing campuses to avoid takeover. After two years of that, there was no improvement, so to avoid state sanctions, FWISD closed the school back in 2023.
continued on page 9
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Could what happen to these portables back in 2022 be a harbinger of what’s in store for all of Fort Worth ISD after the TEA takeover?
Besides bending over backward for the state, including approving this past September a Biblebased curriculum, Fort Worth ISD has shown quite a bit of improvement over the past few years despite our state government’s unconstitutional refusal to fund it adequately while it still deals with the aftermath of COVID learning loss. In 2023, the district was given a D, but in 2024 and continuing in 2025, it received C ratings. In 2025, A-rated schools increased by 70%, and F-rated schools dropped from 31 to 11. Sure, FWISD still needs to improve, but it has shown that it is up to that task.
The TEA and the state of Texas are not neutral parties. Our Republican-dominated state government has worked for years to undermine public schools and teachers. During COVID, they complained about a totally fictitious Critical Race Theory being foisted on students. They encouraged moral panics about all things trans and books
Defunding and delegitimizing public education
have been long-term projects of the radical, anti-government Republican head honchos in this state.
most difficult times ever — had to bear the brunt of parents angry over made-up BS. Then the governor held an increase in teacher pay hostage for him to get his voucher scheme passed, which will end up defunding public education.
And the TEA is no technocratic savior of our public schools. Its record in takeovers is nothing to brag about. For example, Edgewood ISD and Beaumont ended up with more failing schools after the state took them over. The TEA has lately trumpeted Houston ISD’s improvement in scores
inflated those scores to make itself look better.
Our state education Commissar Mike Morath — who warned teachers not to sully the name of Christian Nationalist Saint Charlie Kirk or else — is all in on taking over school districts, but, according to a ProPublica study, he looks the other way when it comes to charter schools: “On at least 17 occasions, Morath has waived expansion requirements for charter networks that had too many failing campuses to qualify.”
So, the fact that Morath encourages charters
public education have been long-term projects of the radical, anti-government Republican head honchos in this state. They want to defund public schools to sell them to their cronies.
This uncalled for and radical takeover is not designed to help Fort Worth ISD schools. It will lead, as it has in Houston, to an exodus of students and teachers, and I can safely predict area charter schools, whose failures are being ignored by TEA, will see their enrollments boom.
We must fight back. Fort Worth is being disrespected by a corrupt Republican state government. Even in this radically gerrymandered state, where the GOP works overtime to take away our vote, we who can need to vote these bought-andpaid-for haters out. We need a state government that cares about public education, teachers, administrators, students, and average Texans, not just its mega-rich donors. l
This column reflects the opinions and fact-gathering of the author(s) and only the author(s) and not the Fort Worth Weekly. To submit a column, please email
FRIDAY, NOV 7TH JESSE JENNINGS
FRIDAY, NOV 14TH LANE BRICKER
FRIDAY, NOV 21ST MEREDITH CRAWFORD
SCREEN
We’ve Got ‘The Lowdown’
Ethan Hawke owns the autumn by headlining this FX series.
BY KRISTIAN LIN
We had a Pedro Pascal summer, and now it’s given way to an Ethan Hawke fall. (Everything he’s not in this season, fellow Texan actor Mckenna Grace is.) In just the previous two months, the Oscar-nominated movie star reprised his role as a serial child murderer in Black Phone 2 and gave perhaps the performance of his career in Blue Moon, and now he is the star of The Lowdown, a shaggy and likable series running on FX and streaming on Hulu that brings film noir stylings to the streets of Tulsa.
What I’ve come to realize from the Hawke-athon is that while the 55-year-old Austin native has played his share of heroes and villains, he’s better at playing guys who are weak or profoundly torn in
some way, where he can make his eyes go all wide with fear and make you wonder whether he’s going to break for good or for evil. Think of how vividly he played the minister with existential doubts in First Reformed, the alcoholic gunslinger of The Magnificent Seven, the hapless kid brother in Before the Devil Knows You’re Dead, and even the bullied rookie cop in Training Day. He’s best when he has some desperation about him, and that quality is displayed to good effect in The Lowdown as a rare book dealer and “truthstorian” who is utterly terrified as he confronts a powerful Oklahoma family.
The show begins with the apparent suicide of Dale Washberg (Tim Blake Nelson), the closeted-gay rainbow sheep of his family, about a week after Lee published an unflattering profile of his family in a publication much like the Fort Worth Weekly. Despite this, Lee and some others don’t think Dale’s death from a close-range gunshot to the head is a suicide, because Dale used his veto power to block his family from doing so much business. Now that he’s gone, his brother Donald (Kyle MacLachlan) is free to run for governor of the Sooner State. As Lee finds incriminating notes from Dale in the pages of the dead man’s first-edition Jim Thompson pulp novels, the truthstorian is targeted by white supremacists, a mobbed-up construction company, and Donald’s personal fixer (Keith David), who’s less than enthused about the new friends his boss is making.
This series is created by Sterlin Harjo, the Seminole writer best known for co-creating and running Reservation Dogs, a previous FX/Hulu series also set in Oklahoma about a group of Native American teens. Harjo’s sense of humor seeps through the detective plot here, as Lee is kidnapped by gun-toting thugs in front of his bookstore, and everybody blames Lee for his own abduction. His bodyguard (Cody Lightning), who was employed to keep him safe, is incredulous: “Why the fuck did you get kidnapped, pedo? You’re a grown-ass man!”
The bodyguard also can’t understand why Lee objects to being called “pedo.”
Harjo means to make a commentary on white do-gooders like Lee, who knows that the Washbergs have ties to infamous Oklahoma crimes like the Osage murders and the Tulsa race massacre. However, it’s hard to disentangle the damage resulting from Lee’s good intentions from the damage resulting from his being a dumbass. Lee doesn’t know how to play it cool, so he royally pisses off Donald by confronting him about his business dealings in the men’s room at Dale’s funeral. Later Lee learns that Dale left an alternate will that bequeathed important Washberg land to an elderly Native friend (played by the late Graham Greene), and when Lee asks Dale’s alcoholic widow (Jeanne Tripplehorn) about the document, it leads directly to the old man’s murder.
The series has a gallery of tasty supporting characters: Lee’s teenage daughter (Ryan Kiera Armstrong), who does better detective work than him; the shady lawyer (Macon Blair) who is Lee’s landlord; the owner of a rival Black newspaper (Killer Mike) who occasionally employs Lee; and Lee’s former business partner (Peter Dinklage), who’s smarter than him but also profoundly self-destructive.
(Lee’s physical altercation with that ex-partner yields an important life lesson: Don’t fight a dwarf. Not only will you look like a bully, but the dwarf is probably the perfect height to punch you in the genitals.)
I write these words with seven of the series’ eight episodes having aired. By the time you read them, the finale will have dropped, resolving the cliffhanger with Lee in a Mexican standoff with the Native friend’s killer in a packed whites-only church. What’s clear is that Hawke holds together The Lowdown and its yarn about Lee’s shambolic quest for the truth, where he’s frequently armed with only his ability to tell stories, one of which name-checks Fort Worth and gets him out of a jam. As long as he’s our guide to the Okie corruption, we’ll follow him. l
Ethan Hawke plumbs the darkness in the Oklahoma sun in The Lowdown
LIVING LOCAL ART
The Time is Now for the World’s Largest Pickle Party
The planet’s biggest pickle community includes 500,000+ brine-obsessed fans, flavor freaks, and festival goers. This isn’t just a fandom: It’s a fullblown pickle movement! As part of the “In My Pickle Era” Tour, this massive briny bash is bringing over 75 vendors, outrageous entertainment, live music, carnival games, pickle competitions, and the wildest pickle party on the planet.
What’s In Store
Family Friendly: This is an all-ages show. A giant 30-foot pickle welcomes you to the party. There is free parking for The Big Dill World’s Largest Pickle Party, with parking attendants to help guide.
Join your fellow pickle-lovers this Saturday at The Big Dill at Globe Life Field (734 Stadium Dr, Arlington) and Texas Live! (1650 E Randol Mill Rd, Arlington).
Each attendee receives unlimited sampling from Cheetos and 12 pickle brands, including local pickle purveyors Best Maid, the “Official Pickle of Texas,” and many others. Try kosher dill, habanero dills, spicy Cajun, and other flavors in Pickle Row, and enjoy the show as pickle vendors battle for the Best in Show title.
Speaking of local favorites, Martin House Brewing Co. is bringing its famous Best Maid Pickle Beer to the festival. This is a must-try for any pickle-loving Texan aged 21 and above!
Activities & Festival Fun
Beyond the brine, there are lots of fun things to see and do. Because Texas, there will be mechanical bull riding, plus a 360-degree photo booth, axe throwing, caricature artists, carnival games, face painting, and pickle pitching. Local DJ Kelly Hooper will be performing during the VIP brunch. This notable Dallas DJ has been on the scene for over 15 years and was featured on the Real Housewives of Dallas. Also, DJ Pickle will be performing at The Pickle Rave in the evening.
Blessings, Brine & Viral Fun
Viral sensation The Pickle Priest (Dan Castricone) is making his Texas debut. Step into a one-of-a-kind, interactive experience where pickles are blessed in legendary fashion. As seen on TikTok & Instagram, this is a can’tmiss moment!
While this year’s event is already sold out, there is a waiting list you can join for next time.
For more promotional information on musical performances, activities, and ticket updates, visit BigDill.com.
The Big Dill
NIGHT & DAY
Fest So Hard
On the heels of Halloween weekend, we have even more festivals to explore in the coming days.
At 6pm on this, the final day of the Lone Star Film Festival, the Movie Tavern (2872 Crockett St, Fort Worth, 682-503-8101) will screen Sell Out, in which a neurotic novelist can’t tell if his biggest problem is the blank page, his Southern family, or his best friend’s off-the-rails political campaign. Writer/Directors Nick Holden and Josh Holden will be in attendance for a Q&A following the screening. Doors open at 5:30pm. Tickets are $10 LoneStarFilmFestival.com.
This weekend is the second annual Fort Worth Songwriter Festival and Market at Southside Preservation Hall (1519 Lipscomb, St, Fort Worth, 817-926-2800) noon-9pm Sat, Nov 8, and noon-8pm Sun, Nov 9. Along with live music throughout both days, both inside and outside in the courtyard, there will be a vendor market featuring local small businesses, plus food and drinks available for purchase.
Headliners include Bruce Robison and David Ramirez with Jack Barksdale, Robert Ellis, Jim Lauderdale, and many, many others. For the full lineup, visit FWSongwritersFestival.org. There is no cost to attend.
Meanwhile in the Stockyards, it’s time for the third annual Texas Country Music Weekend (131 E Exchange Av, Fort Worth, 817626-7921). From 1pm to 6pm on Friday, there will be performances by the Monty Dawson Band with Roo Arcus, Brad Bowman, Craig Bowen, Gavin Lee, Anthony Price, and Dean Paul Willeford. Then on Saturday from 11am to 4pm, it’s Grant Gilbert with Embree Crossing, Richie Bustillo Band, and more. On Sunday, there’s a Texas Christian Country Concert at noon with Curtis
Grimes, Alf Evans, Shaeffer Kay, Junior Gordon, Aaron Loy, and Nick Zamora. The festival finale is an awards show at Billy Bob’s Texas at 6pm Sun with performances by Kevin Fowler, Billie Jo Jones, Pug Johnson, and more. The showcases are free, but the awards are ticketed. For information, visit FortWorthStockyards.com.
Are you ready to rally? From 1200 to 1700 — that’s noon to 5pm for all you civilian types — musicians who are also military veterans will perform as part of raising awareness about veteran mental health at the inaugural Rally Point Music Festival (@RallyPointDFW) at Magnolia Motor Lounge (3803 Southwest Blvd, Fort Worth, 817-332-3344). Any proceeds will benefit the Airpower Foundation, a Fort
Worth-based nonprofit dedicated to supporting military families and local vets right here in North Texas. There is no cost to attend. Founder Sean Russell of Cut Throat Finches kicks off the jams at noon. For the full lineup, see the event page at bit.ly/RallyPointMusicFest2025.
It’s Panthy season, y’all! By the time you are holding this paper in your hot little hands, the ballot for the Fort Worth Weekly’s annual Music Awards will be live at FWWeekly. com. For the full rundown of all the nominees, check out Crosstown Sounds on pg. 20. As for the eventual Music Awards 2025 ceremony, stay tuned for details!
By Jennifer Bovee
EATS & drinks
Chew-Chew!
A
new look but the same killer burgers can be found at M&O Station Grill in the Foundry District.
When Fort Worth Weekly staff writer Peter Gorman (R.I.P.) first wrote about M&O Station Grill (then just Station Grill) over 16 years ago, he devoted three sentences to the burger he tried, which he described as “decent,” especially compared to the stuffed tomato salad, which he couldn’t get enough of.
That review, which couldn’t exactly be described as a rave, now hangs on the wall inside the casual Foundry District restaurant — right next to at least nine various Best Burger awards. We can’t be right all the time.
For 20-plus years, since well before the Foundry District had a name, M&O Station Grill has been serving burgers, salads, soups, and, for a couple of years now, cocktails, to both loyal patrons and burger aficionados who have no doubt caught their name in a list of best DFW burgers. The burgers have won multiple Best Ofs from this
newspaper as well as the knockoff version from that other magazine. But whenever I mention M&O to anyone under the age of 40, they stare at me blankly. It’s a restaurant that time — and the local food scene — apparently forgot.
My husband and I stopped in on a recent Saturday because we’d heard the place had been closed for renovations but was now back open. It can be scary as a regular to hear a restaurant is closing for renovations. You may wonder if the updates are hiding an underlying problem or are a last-ditch effort to bring in more customers before
closing for good. Or what if the updates take away some of the magic? Thankfully, this wasn’t the case. It turns out the changes were mostly invisible — a new HVAC system, electrical, and a kitchen upgrade. New wood flooring was also added throughout, which instantly brightened up the space as it reflected the oodles of natural light coming in through the floor-to-ceiling windows. When we first entered, the first thing I noticed was that the museum was gone. That’s right, the retro burgers and fries also used to come with a continued on page 19
The California Burger came with a side of verdant salsa verde that made an excellent condiment for leftover chili fries.
M&O pays homage to its namesake with a wall of photos dedicated to Fort Worth’s first and only subway line, the Leonard’s M&O Subway.
side of Fort Worth history. If you didn’t know, Fort Worth used to have a subway. M&O Station gets its name from the old Leonard’s M&O Subway (the M and O stand for Marvin and Obadiah Leonard) that ran from the famed Leonard’s department store downtown to parking lots on the other side of the river, near where the grill is now. For years, the Leonard’s museum, run by Leonard family matriarch Marty Leonard, taught visitors about the subway, which closed in 2002 after being acquired and run by the Tandy corporation for a number of years. Apparently, Marty donated most of the museum contents to the Museum of Science and History, and you can find it there. But post-renovation, a hallway leading from the ordering counter to the front seating area is lined with old photos of the subway and Leonard’s for those looking for that extra dose of nostalgia.
One thing that definitely hasn’t changed is the quality of the burgers. While M&O offers a surprising selection of salads, turkey and veggie burgers (and even gluten-free buns for people with dietary restrictions), Chef Daniel Badillo’s hand-crafted all-Angus beef burgers are what keep people coming back for more. The flavor combos of the burgers are not those of a typical diner — you can’t even order a regular old cheeseburger here except from the kids’ menu. But neither are they ultra-gourmet burgers like you’ll find just down the road at Rodeo Goat. The ingredients are simple, and the execution takes them over the top.
My husband ordered the Bleu Cow Burger, an 8-ounce patty stuffed with savory bleu cheese,
topped with crispy bacon and a tangy house sauce, while I opted for the California Burger, a 5-ounce patty smothered in white cheddar cheese, with chipotle mayo, fire-roasted jalapeños, caramelized onions, and sliced avocado. I guess the avocado is what gives it its moniker. My burger also came with a side of salsa verde, which I immediately slathered on to the burger. The bright green, cilantro-forward sauce also made a great condiment to dip fries into.
For an extra $3-$4, you can choose hand-cut fries, sweet potato fries, onion rings, or potato chips, but we instead split the Roger Dirty fries,
which are topped with housemade chili and cheddar cheese. The chili, also available on its own, was delicious and beefy, but the ratio of chili to fries was a little off, leaving us with too much leftover beef chili and craving more potatoes.
While the cocktail lounge behind the kitchen and front seating area was added a few years ago with the same retro vibe as the restaurant space, it’s also been refreshed as part of the recent renovation. A comfy living room vignette — a sofa and two lounge chairs — is tucked in to the corner, a perfect place to enjoy after-dinner drinks. My
husband ordered a perfectly prepared (that is, not too sweet) Old-Fashioned made with Woodford bourbon, while I tried unsuccessfully to order a mojito and then a Moscow mule. The bar didn’t have the mint in stock. I settled on a cucumber jalapeno margarita, which turned out to be the right choice all along. The spiciness from the pepper perfectly complemented the lime and cucumber, making for a bright and refreshing sipper.
Due to the nature of M&O’s location off Carroll Street between White Settlement and West 7th, the place probably doesn’t get a lot of people just passing by — you kind of have to know it’s there. But if you know, you know, and apparently enough people know that M&O has been going strong for going on 25 years now, harking back to a different era even as Fort Worth keeps changing all around it. l
M&O’s retro cocktail lounge offers a modest selection of beer, wine, and craft libations.
The housemade chili atop the Roger Dirty Fries was delicious, but we could have used more fries.
RIDGLEA THEATER
CrossTown Sounds
Panthy Time
The 2025
ballot for the Fort Worth Weekly Music
Awards is now live. Vote online by Sun, Nov 30.
BY FORT WORTH WEEKLY
RIDGLEA ROOM
RIDGLEA LOUNGE
Here at the Weekly, November means the beginning of Music Awards season! During the voting phase for Best Of 2025 in August, we asked you to nominate businesses and people in various categories, including local music, and you did not disappoint. When the special issue hit the stands in late September, we put the Readers’ Choice music results on ice. Along with your top choices, we added a few of our critic’s picks, and now it’s time to make your final votes. Without further ado, here are the #FWWMA25 nominees:
MUSIC AWARDS 2025 NOMINEES
Album
The nominees are 100 Monkeys and a Broken Clock by Itchy Ritchie & The Burnin’ Sensations, 300 by Christian Carlos Carvajal, Bait and Switch by The Spectacle, Gold & Rust by Cameron Smith & The Slings, Keep on Flowing by The Troumatics, Life in the Faust Lane by Joe Gorgeous, Power Lunch by Cool Jacket, Sippin’ Bourbon in Hell by Two Guys Walk Into a Bar, Superliminal by Flickerstick, and White Hot by LABELS,
Americana/Roots Band
The nominees are the Bronson Louis Band, Cut Throat Finches, Denver Williams & The Gas Money, Kendi Jean & The Velvet Smokeshow, and Two Guys Walk Into a Bar.
Avante Garde/Experimental Band
The nominees are A Fail Association, The Go-Go Rillas, The Liquid Sound Company, Rage Out Arkestra, and T.E.F. (Texas Expeditionary Force).
Bassist
The nominees are Amanda Brown (The Fender Benders), Chuck Brown (Ghost Roper), David Cross (The Flying Beets), Marcus Gonzales (Royal Sons), and Mike Pritchard (Two Guys Walk Into a Bar).
Blues Band
The nominees are Aurora Blue, EJ Mathews Band, The Fender Benders, James Hinkle Bluesband, and Playtown.
Country Artist
The nominees are Broke String Burnett, Counterfeit Cowboy, Cory Cross, Ghost Roper, Runaway Sky, and Summer Dean.
Cover/Tribute Band
The nominees are Barbara & The Dirty Shirleys, Bikini Whales (B-52s, Devo), Deja Vu, Guttersluts
Pizza (Nirvana), and Poo Live Crew.
DJ Artist
The nominees are Alkemyst, DJ Dogstyle, DJ Pibb, DJ TeK, and DJ Soft Cherry.
Drummer
The nominees are Breaun Bell (A Dangerous Affair), Eddie Dunlap (Rage Out Arkestra), Dan Elliot (The Troumatics), Felipe Rosales (Court Hoang & The Love Children), Javier Garza (Royal Sons), and Lionel Claxton (Barbara & The Dirty Shirleys).
Folk Act
The nominees are Theo Carancino, Simon Flory, Jacob Furr Band, Darrin Kobetich, and Tipps & Obermiller.
Guitarist
The nominees are Chad Beck (Royal Sons), Bird Brown (The Fender Benders), Heath Frazier (Betamax), Morris Holdahl (Cameron Smith & The Slings, Simon Flory), Bronson Louis, and Steffin Ratliff (Hotel Satellite, Sleepy Atlantis).
Hip-Hop Artist
The nominees are 88 Killa, Doc Strange, Fort Nox, ItsErnie, J/O/E, and SageMode Wrex.
Keyboardist
The nominees are Barbara Claxton (Barbara & The Dirty Shirleys), Maui Mang (Bikini Whales), Martin Morgan (Kollective Sound), Katie Robertson (Genini, Hot Knife), and Danny Ross (Playtown).
Latin Music Act
The nominees are Carolina Imperial, Latin Express, Mariachi Espuelas de Plata (North Side High School), Squeezebox Bandits, and Tejas Brothers.
Metal Band
The nominees are Born in Blood, Caddis, Gammacide, Iron Jaw, Ox Combine, Rotting Corpse, and The Spectacle.
New Band
The nominees are Dream Deleter, Ghost Roper, Horsepowers, Love Cuts, Runaway Sky, and Sheprador.
Pop Act
The nominees are Cavono, Darstar, Hayden Miller, Simone Nicole, and Phantomelo.
Producer
The nominees are Blake Barker, Clint Niosi, Rodney Parker, Jordan Richardson, Joe Tacke, Taylor Tatsch, and Nick Tittle.
Punk Band
The nominees are A Dangerous Affair, Ex-Regrets, Hen & The Cocks, LABELS, and Mean Motor Scooter.
R&B/Soul Group
The nominees are Bazurk da Bandit, Ladi Indika, Ben C Jones, Larry Lampkin, Legacy 4, and Retrophonics.
Regional Act
The nominees are Beyond Destiny, Brave Combo, Flickerstick, Michael King & The Icebreakers, The Vandoliers, and Wee-Beasties.
Rock Band
The nominees are Court Hoang & The Love Children, Hotel Satellite, Itchy Ritchie & The Burnin’ Sensations, The Me-Thinks, The Plum Boys, Royal Sons, Spring Palace, and The Troumatics.
Singer-Songwriter
The nominees are Mollie Danel, Ryker Hall, Jered Parker Harlan, Claire Hinkle, Taylor Craig Mills, and Cameron Smith.
Song
The nominees are “As If by Magic” by Itchy Richie & The Burnin’ Sensations, “Blood Mouth (Call It the Blues)” by Cameron Smith & The Slings, “Devil’s Game” by Two Guys Walk Into a Bar, “Sound the Alarm” by Court Hoang & The Love Children, “Sweet Things” by Runaway Sky, and “Who Is On the Outside” by The Troumatics.
Sound Engineer
The nominees are Cynthia Acebo, Clay Anderson, Blake Barker, Andre Edmondson, Brian Garcia, Joshua Jones, Mark Randall, Peter Weirenga, and Mel Willmann.
Video
The nominees are “Candy Coated” by A Dangerous Affair, “Let It Ride” by Denver Williams & The Gas Money, “The Loop” by The Plum Boys, “Matador” by Royal Sons, and “Queen’s Night Out” by Gregg A. Smith.
Female Vocalist
The nominees are Mollie Danel, Lisa Hardaway (Darstar), Claire Hinkle, Taylor LaCourse (Runaway Sky), Gabby Minton, Simone Nicole (Runaway Sky), Katie Robertson (Genini, Hot Knife), and Hilary Tipps (Tipps & Obermiller).
Male Vocalist
The nominees are Pete Gargiulo (Two Guys Walk Into a Bar), Taylor Jordan (A Dangerous Affair), Anthony LaRose (Qxotica), London Morris (Cavono), Blake Parish (Royal Sons), Nathan Waller (The Flying Beets).
Open-Mic Night
The nominees are The Cicada, Electric Starship Arcade, Gustos, The Mad Hatter, and Poop Deck.
Place to Hear Live Music
The nominees are The Cicada, Crystal Springs Hideaway, Maggie’s RR, Magnolia Motor Lounge, Our Taphouse, The Post, and Tulips FTW.
Go to FWWeekly.com/Music-Awards-Ballot-2025 and complete your ballot by midnight on Sun, Nov 30. Voting is limited to one ballot per person.
(Alice in Chains), Oatmeal
MUSIC
Power Lunch With their new album, slack-rockers Cool Jacket limn the bleak contours of middle age.
BY PATRICK HIGGINS
With any luck, there’s a moment in every kid’s life when listening to some song — perhaps for the first time, perhaps for the hundredth — that suddenly a line reaches through the speaker and cracks like thunder, jolting your bones with electricity, rewiring your brain and your whole understanding of what music is. A series of magical words shatters the fourth wall that heretofore has kept the concept of artistic expression through songwriting at arm’s length. Previous to this moment, music was distant and unobtrusive. Background. Like the wall color in your friend’s basement. Unknowable. Yet, for whatever reason, this line, these formerly innocuous words, unlock your comprehension. “Hey! This song is about something!” More importantly, you realize, “It’s about me!”
Identifying with a song is a rite of passage. For would-be music obsessives, once the veil is lifted, you spend the whole of your adolescence chasing that connection. These songs become the soundtrack of your life. Descendents’ “I’m the One” is your frustration with being friend-zoned. Neutral Milk Hotel’s “In the Aeroplane Over the Sea” is the sound of your grief. Weezer’s “Why Bother?” becomes your steely resolve against future heartbreak.
Yet it’s typically an experience associated with youth. As you age, the hits hit less deeply. You age out of the life experiences that typically inspire songs: teenage rebellion, pursuit of love, idealistic politics. As a result, you tend to live vicariously through the same music that moved you when you were young. Because nothing speaks to your life now, you focus on the things that spoke to you then.
However, one recent record has proven that, though rarer and rarer these days, it’s not impossible that a new album still rings as being “about something” and that “that something is me.”
Power Lunch is that record, and Cool Jacket’s second full-length has become every bit the soundtrack to my boring middle-aged life as Weezer’s Pinkerton was for that heartbroken 18-year-old version of me. Released back in August, Power Lunch is a 10-song collection of
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hook-centric ruminations on disaffection with adulthood. Or what singer/guitarist and principal songwriter Kevin England describes as “the bummers of life and being committed to working for a living.”
Over sticky, fuzzed-out riffs and Josh Lowe’s melodic basslines and grounded by drummer Derek Terry’s pulsing rhythms, England becomes an infinitely relatable voice for the all-too-familiar feelings of detachment, self-deprecation, boredom, and disappointment, delivered with a humor and an emotional intelligence which put his writing on the same level as Stephen Malkmus’ most clever lines.
“It used to be that there was lots to say,” England sings on “Fall-Risk,” “but now I’m runnin’ out of juice / And all the lines that I would write never got me any closer to the truth.”
England’s tunes aren’t political in the direct sense, but there is an element of some latent punk ethos hiding underneath the dismissive wit, the same that informed the likes of J. Mascis and Kurt
Vile. It’s Rage Against the Mundane, served with a wink and a coy shrug. On “Sad Songs,” England muses on the irresistible combo of alcohol and moody music. “Comfort Me” is a heartfelt reflection. The obvious “hit” of the record may be “Be the Ride,” with its anthemic chorus of “I’ve got receipts for taking risks / I’m still unconvinced,” but the earworm repetitions over the bouncy chug of “I’m a Man” and the infectious sing-along refrain of “I want to stick needles in my eyes” (“My Glasses”) are prototypical of the myriad undeniably catchy pop melodies residing amid the album’s dry, straight-forward aesthetic. Recorded last winter by Joel Raif (Cameron Smith, Eric Osbourne) at Modern Electric Sound Recorders, Power Lunch capitalizes on some increased fidelity but retains the comfy DIY aesthetic essential to Cool Jacket’s sound. Most artists to which the moniker has been applied bristle at the term “slack rock.” Perhaps there is an inherently derogatory element to that choice of words, but the erudite detachment associated with bands like Pavement and Dinosaur Jr. prove they are anything but slackers. Their songwriting establishes that they’re smarter than you, and you accept it as obvious. They just have a way of expressing exactly how you feel with such conviction, especially via seemingly throwaway lines. Cool Jacket do so, too. So, if you were worried that you left albums that spoke to you behind in a time when you played CDs from a Walkman into a cassette adaptor in your car stereo and want to feel something again, throw on Power Lunch and smash your head on that slack rock. l
Cool Jacket 7pm Sat, Nov 15, w/Joe Gorgeous and Love Cuts at The Down ’n Out, 150 W Rosedale St, FW. DownandOutBarFW@gmail.com
With Cool Jacket, Kevin England writes songs about “the bummers of life and being committed to working for a living.”
Juan R. Govea
CLASSIFIEDS
Texas Commission on Environmental Quality
Consolidated Notice of Receipt of Application and Intent to Obtain Permit and Notice of Application and Preliminary Decision
Air Quality Standard Permit for Concrete Batch Plants Proposed Registration No. 181664L001
Application. Potter Ready Mix, LLC, has applied to the Texas Commission on Environmental Quality (TCEQ) for an Air Quality Standard Permit, Registration No. 181664L001, which would authorize construction of a temporary concrete batch plant located at 2651 South Beltline Road, Grand Prairie, Dallas County, Texas 75060. This application is being processed in an expedited manner, as allowed by the commission’s rules in 30 Texas Administrative Code, Chapter 101, Subchapter J. AVISO DE IDIOMA ALTERNATIVO. El aviso de idioma alternativo en español está disponible en https://www.tceq.texas.gov/permitting/air/newsourcereview/airpermits-pendingpermit-apps. This link to an electronic map of the site or facility’s general location is provided as a public courtesy and not part of the application or notice. For exact location, refer to application. https://gisweb.tceq.texas.gov/LocationMapper/?marker=-96.99703202331352,32.78091643658646&lev el=18. The proposed facility will emit the following air contaminants: particulate matter including (but not limited to) aggregate, cement, road dust, and particulate matter with diameters of 10 microns or less and 2.5 microns or less.
This application was submitted to the TCEQ on September 26, 2025. The executive director has completed the administrative and technical reviews of the application and determined that the application meets all of the requirements of a standard permit authorized by 30 TAC § 116.611, which would establish the conditions under which the plant must operate. The executive director has made a preliminary decision to issue the registration because it meets all applicable rules. The application, executive director’s preliminary decision, and standard permit will be available for viewing and copying at the TCEQ central office, the TCEQ Dallas/Fort Worth regional office, and at Tony Shotwell Library located at 2750 Graham Street, Grand Prairie, Dallas County, Texas 75050, beginning the first day of publication of this notice. The facility’s compliance file, if any exists, is available for public review at the TCEQ Dallas/Fort Worth Regional Office, 2309 Gravel Drive, Fort Worth, Texas. Visit www.tceq.texas.gov/goto/cbp to review the standard permit. The application, including any updates, is available electronically at the following webpage: https://www.tceq.texas.gov/permitting/air/airpermit-applications-notices
Public Comment/Public Meeting. You may submit public comments or request a public meeting. See Contacts section. The TCEQ will consider all public comments in developing a final decision on the application. The deadline to submit public comments or meeting requests is 30 days after newspaper notice is published. Issues such as property values, noise, traffic safety, and zoning are outside of the TCEQ’s jurisdiction to consider in the permit process. The purpose of a public meeting is to provide the opportunity to submit comments or ask questions about the application. A public meeting about the application will be held if the executive director determines that there is a significant degree of public interest in the application or if requested by a local legislator. A public meeting is not a contested case hearing. If a public meeting is held, the deadline to submit public comments is extended to the end of the public meeting.
Contested Case Hearing. You may request a contested case hearing. A contested case hearing is a legal proceeding similar to a civil trial in state district court. Unless a written request for a contested case hearing is filed within 30 days from this notice, the executive director may approve the application.
A person who may be affected by emissions of air contaminants from the facility is entitled to request a hearing. To request a hearing, a person must actually reside in a permanent residence within 440 yards of the proposed plant. If requesting a contested case hearing, you must submit the following: (1) your name (or for a group or association, an official representative), mailing address, daytime phone number; (2) applicant’s name and registration number; (3) the statement “[I/we] request a contested case hearing;” (4) a specific description of how you would be adversely affected by the application and air emissions from the facility in a way not common to the general public; (5) the location and distance of your property relative to the facility; (6) a description of how you use the property which may be impacted by the facility; and (7) a list of all disputed issues of fact that you submit during the comment period. If the request is made by a group or association, one or more members who have standing to request a hearing must be identified by name and physical address. The interests which the group or association seeks to protect must be identified. You may submit your proposed adjustments to the application which would satisfy your concerns. See Contacts section.
TCEQ Action. After the deadline for public comments, the executive director will consider the comments and prepare a response to all relevant and material, or significant public comments. The executive director’s decision on the application, and any response to comments, will be mailed to all persons on the mailing list. If no timely contested case hearing requests are received, or if all hearing requests are withdrawn, the executive director may issue final approval of the application. If all timely hearing requests are not withdrawn, the executive director will not issue final approval of the permit and will forward the application and requests to the Commissioners for their consideration at a scheduled commission meeting. The Commission may only grant a request for a contested case hearing on issues the requestor submitted in their timely comments that were not subsequently withdrawn. If a hearing is granted, the subject of a hearing will be limited to disputed issues of fact or mixed questions of fact and law relating to relevant and material air quality concerns submitted during the comment period. Issues such as property values, noise, traffic safety, and zoning are outside of the Commission’s jurisdiction to address in this proceeding.
Mailing List. You may ask to be placed on a mailing list to receive additional information on this specific application. See Contacts section.
Information Available Online. For details about the status of the application, visit the Commissioners’ Integrated Database (CID) at www.tceq.texas.gov/goto/cid. Once you have access to the CID using the link, enter the registration number at the top of this notice.
AGENCY CONTACTS AND INFORMATION. All public comments and requests must be submitted either electronically at www14.tceq. texas.gov/epic/eComment/, or in writing to the Texas Commission on Environmental Quality, Office of the Chief Clerk, MC-105, P.O. Box 13087, Austin, Texas 78711-3087. Please be aware that any contact information you provide, including your name, phone number, email address and physical address will become part of the agency’s public record. For more information about the permitting process, please call the TCEQ Public Education Program, Toll Free, at 1-800-687-4040 or visit their website at www.tceq.texas.gov/goto/pep. Si desea información en Español, puede llamar al 1-800-687-4040. You can also view our website for public participation opportunities at www.tceq.texas.gov/goto/participation.
Further information may also be obtained from Potter Ready Mix, LLC, 2400 E Pioneer Dr, Irving, TX 75061-8900 or by calling Mrs. Melissa Fitts, Senior Vice President, Westward Environmental, Inc. at (830) 249-8284.
Notice Issuance Date: October 24, 2025
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POTTER’S HOUSE
Join the Potter’s House of Fort Worth (1270 Woodhaven Blvd, 817-446-1999) for Sunday Service at 8am and Wednesday Bible Study at 7pm. For more info, visit us online at www.TPHFW.org.
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PUBLIC NOTICE
Any Texans who may be concerned that an unlicensed massage business may be in operation near them, or believe nail salon employees may be human trafficking victims, may now report those concerns directly to the Texas Department of Licensing and Regulation (TDLR) by emailing ReportHT@TDLR.Texas.gov.
PUBLIC NOTICES / AUCTIONS
NOTICE OF PUBLIC SALE PURSUANT TO CHAPTER 59 OF THE TEXAS PROPERTY CODE: Curio Storage DeSoto, located at 601 S Interstate 35 E, DeSoto, TX 75115, (phone: 409-203-4147) will hold a public auction of property being sold to satisfy a landlord’s lien. The sale will take place at www.storageauctions.com beginning on 11/19/2025 at 12:00 AM and ending on 11/26/2025 at 12:00 PM. Property in each space will be sold by the space. Deposit for removal and cleanup may be temporarily required. No cash accepted. Seller reserves the right to not accept any bid and to withdraw property from sale. Property being sold includes appliances, furniture, toys, electronics, personal items, boxes, and other items. Name and unit number of tenants: Sherry Martinez, unit 0A11; Michael Martinez, unit 0A16; Phylensia Watson, unit 0B22; Nikki Lawrence, unit 0D21; Khalilah Mclemore, unit 0F15; Derrick Robinson, unit 0F22; Gary Williams, unit 0G10; Magan Munoz Abu Dari, unit 0G22; Marilyn L Cunningham, unit 0G27; Kevone Edmonds, unit 0G30; Porsha Bell, unit 0G38; Khalilah Mclemore, unit 0G59; Jerriony Porter, unit 0G64; Gloria Mcgraw, unit 0G79.
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