February 15, 2011 • Issue 3 • Vol. 8
NORMAN’S OWN ZANZIBAR! RECORDS STARTED AS ONE MAN’S IDEA AND HAS CONTINUED TO GROW INTO THE MULTIMEDIA PRODUCTION COMPANY THAT IT IS NOW.
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February 15, 2011 • Issue 3 • Volume 8
6 Letters Aren’t you jokers just full of ideas! Everybody brought up some good points in this issue, so pat yourselves on the back. Or give yourself a hug if that’s your thing.
8 From the Couch According to certain sources, your choices in sock wear say a bit about you as a human being. Whatever socks you choose, just remember, I’m probably still better than you. Ha.
10 Film & DVD
23 Dreaming in Reality
Ben Lindesmith, the man behind Zanzibar! Records, has turned the idea of a record label into something that continues to grow and evolve. We sit down to chat with the mastermind of it all.
The Razzies might not be an institution like the Academy Awards, but they might be a lot more fun. Is it because everyone likes to make fun of stuff that sucks? Yes.
Conor Oberst returns to the music world for perhaps the last time with Bright Eyes. We’re passing judgment on this project’s swan song.
12 Romance Major Payne in the delightful film, Major Payne, learned a valuable lesson in sensitivity from the girl that was Hilary on The Fresh Prince of Bel-Air. Now it’s time for you to learn yours.
18 On the Scene February 15, 2011
• Issue 3 • Vol. 8
On the Cover ZANZIBAR! RECORDS NORMAN’S OWN HAS MAN’S IDEA AND STARTED AS ONE GROW INTO THE CONTINUED TO ION COMPANY MULTIMEDIA PRODUCT THAT IT IS NOW.
A patchwork of albums produced by Zanzibar! Records. Impressed yet?
27 End Notes We’re back with another crossword that doesn’t have the answers right next to it. Deal with that! Bam! You just got took to school, son.
The last cover is making me think of what I’ve accomplished, and also what I have yet to attain. The love of a fine woman. — CW
Issue 2 February 1, 2011 •
Are you quoting Pirates of the Caribbean? Why? Was there a snow day marathon? — John Montgomery, Boyd Street editor
I’m glad that idea for dinner at Crossroads got put out there in the last feature. Personally, I don’t think there’s a better way to end a night of pleasant company and conversation than an order of cheese fries. You know I’m right. – Michael Let’s not get carried away here. The cheese fries are indeed a treasure, but is it really the best policy to end a date with a large order of potatoes covered in delicious chedder cheese? Well, if you’e going back to your dorm room by yourself, then yes, it’s a spectacular idea. Hey, I’m just trying to look out for you here. I would say that I’m going to grab some of those fries now, but it’s just not the same when it’s not three in the morning, you know?
• Vol. 8
is in the
? WE’VE TINE’S DAY PLANS TONS DECENT VALEN STUMPED FOR T JUST WIN YOU IDEAS THAT MIGH GOT A BEVVY OF S. OF BROWNIE POINT
If my eyes don’t deceive me, I believe there was a photobomb in the last issue. I’ve always kind of wondered why we don’t see more of those in the magazine. Specifically with the OTS pictures. Surely you get more than a few of them when you’re going through the pics and whatnot. More photobombs! – Dylan Indeed there was. And yes, we’ve witnessed some good ones in our day taking pictures of your drunk a**es. We’ll discuss this at a future staff meeting. After all, I would be lying if I said the thought for an all-photobomb OTS has never crossed my mind. – JM
I Need Boxing Gloves and Tissues
You said in your last letter from the editor that the night couldn’t possibly get better after rubbing elbows with a celebrity. I see where you’re coming from there, but then there was the boxing match in the cab and the mysterious crying to sleep. How is that not the best way the night could’ve ended? – Holly You’re bringing up some great points. A little more time has obviously passed, so I’ve had some time to reflect back on that night. And you’re exactly right. A good story is a good story, especially when there’s fighting. Also, there’s no shame in a good cry, but that doesn’t mean it’s not funny.
Have a question? An answer? Nothing else to do? Write us at firstname.lastname@example.org.
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From the Couch
Socks Say It All
Editor-In-Chief • John Denny Montgomery III General Manager • Emily Montgomery
ou can tell a lot about a man by his socks. For instance, a guy whose socks are turned wrong side out so the seam won’t rub against his skin? Textbook OCD. The guy in black dress socks pulled up high on the calves with stark white Nikes? He’s probably a geriatric on a Royal Caribbean cruise for his 50th wedding anniversary. All-night buffet and shuffle board on lido deck anyone? How about the dude who proudly sports socks and flops? Sure, he’s told you he has overactive sweat glands, but everyone really knows he’s just the biggest douche on your dorm floor. So, what kind of socks do I wear? (I know you’re on the edge of your seat.) I wear awesome, bright white ankle socks, which means I’m intelligent, devilishly handsome and pretty much the guy every other guy strives to be. That’s pretty much my life. As far as socks the “other guys” out there wear -- that’s another story for another time. Just don’t let me catch you wearing water socks. Enjoy the issue.
John Denny Montgomery III, Editor-in-Chief and Publisher
Here’s a Tip
>> Staff’s Pic
Mast Talk w/ Lauren Abram 8
n college, job opportunities are slim. You can fold clothes, stock shelves or suck up your pride and wait tables. That last option really isn’t bad: take orders, bring plates, remove them, repeat. It’s a simple process, or, it should be. Enter those few that are clueless about dining etiquette. For the passive-aggressive: Don’t be afraid to send back incorrect orders. However, you should be worried if you’re yelling at everyone around you. For the late-comers: restaurants have business hours for a reason. Think twice before coming in right before close. Chances are the staff is tired and the food is subpar. And, lastly: always tip your server! Your tips are what pay the bills, not the two to three dollars an hour they’re clocked in for.
Editorial Music Editor • Matthew Parker Film Editor • Brett Fieldcamp Games Editor • Alex Bacon Sports Editor • Al Eschbach Copy Copy Chief • Anna Mantooth Photography Mark Doescher Chadsey Brown Lisa Hall Design Presentation Editor • Emily Montgomery Contributors Lauren Abram Elizabeth Atherton Alex Bacon Jamie Birdwell Brett Fieldcamp Sarah Hill Matthew Parker Jennifer Stuart Advertising Advertising Manager • John Denny Montgomery III Ad Design • Emily Montgomery Advertising Representatives John Denny Montgomery III Emily Montgomery Matt Montgomery Night Watchman Mitch Lied Publisher John Denny Montgomery III
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>> Well this just looks awesome doesn’t it?
In the Box Theatrical Releases >> He looks pretty upset. It might be because he’s standing in a fire wearing an outfit that doesn’t look flame-retardant at all. This is one wacky game show.
Worst of the Worst
Opens February 18
Before you eat cookie dough and see what the stars are wearing on the red carpet at the Oscars, honor the movies you love to make fun of, circa 2010.
veryone knows that the Academy Awards are a big deal in the film community. To many recognitionhungry filmmakers, they may even be the biggest deal. But, contrary to a lot of popular belief, Hollywood isn’t all pats on the back and self-congratulations. While there’s an entire culture surrounding awards and accolades showered onto the best-made and most-loved films each year, there’s a flipside that no filmmaker wants to find themselves involved with: The Golden Raspberry. Founded in 1981, the Golden Raspberry Awards, or Razzies, are the anti-Oscars. “Awarded” to the worst films and actors of the year in a ceremony the day before the Academy Awards are presented, no one wants to be on the receiving end of a Razzie. It would be pointless to actually break down each category as, just like every year, it seems, all of the ill will is directed at the same few pictures in every category. This year, those movies are easy targets: Sex and the City 2, Vampires Suck, The Twilight Saga: Eclipse and the universally-thrashed The Last Airbender. There are some others included to round out each category, but these four are obviously the worst of the worst for the Razzie voters. So let’s consider these movies individually. The Twilight Saga: Eclipse is surely not a great film by anyone’s standards, but to include it among the year’s absolute worst films may be going a bit overboard. Yes, all three leads have staggered through the entire series to date with a wooden delivery and languid pace usually reserved for a different kind of undead, but is that enough to be the worst? The Twilight series has never set well with critics, but even most of the harshest critics called Eclipse the best so far, even if it’s only by a little. This may just be a
case of franchise fatigue. Sex and the City 2 is different. It may not have been made with any intention of winning awards, but it just doesn’t seem to have been made with any intention at all other than raking in the big sequel bucks. Obviously, it’s not the first movie ever made just for money, but it seems to even fly in the face of its own audience. The creators decided to give their fans the first feature film as a wink and a nod and a thank you. That movie wrapped up the characters and said goodbye, but only for them to return to theaters just two years later for some kind of ludicrous, Arabian vacation that even the longtime fans didn’t respond to. And two and a half hours? Come on. Vampires Suck is part of the endless stream of intentionally offensive, parody-of-everything-in-sight kind of films that actually wants to be hated. It’s nothing but Razzie bait, really, and should therefore be ignored. So that leaves M. Night Shayamalan’s much-lamented theatrical disaster, The Last Airbender. It seems like no other film in the past year was so viciously ripped. Shayamalan is no stranger to bad reviews, some of his films have been (maybe unfairly) called some of the worst ever, but many of his loyalists even agreed that this one just didn’t work. Too much story in too little time, wooden acting and horribly bad dialogue are just some of the complaints regularly hurled at the film. It has already topped nearly every Worst Films of 2010 list, so it would be no surprise to see it take Worst Picture here. Check out which film gets voted the worst of the year on February 26th, the day before the Oscars.
Opens February 18
Opens February 25
>> I Am Number Four I Am Number Four is the tale of a runaway alien teen named John. He flees his home planet, with an evil enemy in pursuit, to Earth, where nine superpowered aliens hide. When three of them are hunted down and killed, John, the fourth on the murderous alien’s list, goes on the offensive. findnumberfour.com >> Unknown Liam Neeson plays a man who wakes from a coma after a car accident to find that his entire life has been erased. His wife, his job and even his name now all belong to another man. As he questions his sanity, he begins to uncover a vast conspiracy. unknownmovie.warnerbros. com >> Hall Pass Two married men (Owen Wilson and Jason Sudeikis) are allowed one week, by their wives, to explore any extramarital affairs they want. Unfortunately, they aren’t quite as smooth as they think. Plus, their wives decide to explore some other options of their own. hallpassmovie.warnerbros. com
>> He’s probably going to wake up and kick your a**. Twice.
Stuck in My Head
Oh, Desperate Jonny
Telekinesis keeps it interesting, Jonny is a safe collaboration and Say Hi goes a little darker with the use of guitars, rather than the usual synths. Telekinesis 12 Desperate Straight Lines
>> Lookin’ a little moody there, Mr. Oberst.
Is This Goodbye?
Conor Oberst and his popular band, Bright Eyes, release their tenth and, possibly, final album.
comeback album” may be a little drastic in describing the new Bright Eyes album, The People’s Key, since it’s only been four years since their last, Cassadaga. But, this one definitely feels like a comeback. This album functions as a rejuvenation for the group with its new sound and feel. Although many were led to believe Conor Oberst, lead singer for Bright Eyes, was finished with all of the various side projects he had been experimenting with, this group is back in a big way. It’s been said many times that Oberst is simply one of the most prolific songwriters of this generation, and it’s true. With the release of this, Bright Eyes’ tenth album, Oberst and his band have unraveled yet another dimension of his songwriting. Having always dabbled in a bit of country, 2005’s I’m Wide Awake It’s Morning showed a more decisive turn towards an Americana sound. This sound was further developed with his solo project, Conor Oberst and the Mystic Valley Band and his Monsters of Folk project with M. Ward. While the sound really worked well for Oberst, he decided he’d had enough of folk. This new album has almost none of his recent Americana sound, but rather a more straightforward rock feel. The title of this newest album, The People’s Key, is an expression for the easiest key to play music in, and seems to fit the album well. While earlier Bright Eyes albums sounded very intricately orchestrated, this one is simply more fun, lighthearted and destined to be a major breakthrough for Oberst into a more mainstream audience. While still featuring Oberst’s double-tracked vocals
reminiscent of the late Elliott Smith, The People’s Key sounds like a combination of different sounds Oberst has tried in the past. It is more electronic sounding, like 2005’s Digital Ash in a Digital Urn, but has a more organic feel to it. Sometimes layers of synth will go over other instrumentation to give a youthful sound, like in the lyrically bitter but musically upbeat song, “Beginner’s Mind.” Oberst has been known for his lyrical depression and angst, but, for the most part, he sounds like he’s finally overcome whatever issues he was facing. Most of the songs are upbeat. Some, like “Shell Games” and “Jejune Stars,” even feel joyful, an adjective rarely associated with Bright Eyes. However, not everything is new. A recurring element in Bright Eyes albums is to open them with dialogue, which is usually spoken by someone other than Oberst. This album opens with a man talking about strange philosophical theories on how the world fits together and the beginning of time. The voice comes back throughout the album, giving it interludes to break away from the music. While it’s an interesting idea and it usually works, the dialogue on The People’s Key clashes with the feel of the album. Oberst has stated that The People’s Key is going to be the final Bright Eyes album, but that’s no longer a sure thing. Although The People’s Key would be a fitting album for the final one to have the Bright Eyes name on it, it would be disappointing to see the end of Bright Eyes because it is the project that seems to give Oberst the most creativity and diversity. While uneven in just a few places, The People’s Key is another great album in the Bright Eyes catalog.
>> Telekineses is really just a moniker for songwriter Michael Benjamin Lerner. Only his second album, Telekinesis is a newcomer to the music scene. Relying heavily on simple pop structures for the majority of the songs, 12 Desperate Straight Lines sounds like a mix between early Beatles and Death Cab for Cutie. Lerner frequently combines sad lyrics with upbeat poppy songs, something not at all new, but it’s an interesting style. —released February 15, 2011
>> Being a collaborative effort between two members of two British indie pop bands, Teenage Fanclub and Gorky’s Zygotic Mynci, Jonny sounds like what you would expect. It’s very poppy, very melodi-
ous, and very British. That being said, Jonny isn’t a bad album; the songs, which average out to be around two minutes each with the exception of an eleven-minute track, are pretty catchy. There just isn’t really much new here, but that’s probably not what Jonny intended to do with their first album. —released February 8, 2011
Say Hi Um, Uh Oh
>> Say Hi, shortened from Say Hi To Your Mom, is yet another one-man “group,” consisting of Eric Elbogen, who does all of the songwriting and plays all of the instruments. While being known for his synth-heavy music in the past, the synths have been replaced with guitars, resulting in a slightly darker sound. Um, Uh Oh is a groovier album than 2009’s Oohs & Aahs, and more minimal. While sounding different than most of what Elbogen has done previously, it still isn’t groundbreaking in any way for him. —released January 25, 2011
>> A little training never hurt anyone.
Ask Elizabeth If you’d like to use Boyd Street’s resident romance columnist as a sounding board for your relationship conundrums, e-mail Elizabeth Atherton at email@example.com
Keep It Secret
lf you’re like us, you need to get hit over the head with a two-by-four to crack certain parts of the guy-girl code. Like knowing when not to say those shoes make you look fat.
en. You can’t live with ‘em, and you can’t live without ‘em. We’ve already established that men and women are from different planets, but we haven’t gotten into some key issues. The issue I’d like to focus on is sensitivity. There is a sensitivity scale, and somehow men and women always seem to be at opposite ends of it. Before I make my case, let’s resort to an example. What happens when a woman hears that another person has been saying things about her looks and personality? Uh ... World War III. If that same circumstance happened to a guy, the result would be different. If he hears someone has been talking bad about his looks or personality, it won’t faze him. This goes for men with all levels of confidence. Oh, sensitivity -- the “S” word. It’s the eleven-letter word that makes most men cringe. They usually won’t even use the word unless they’re talking about their girlfriends. It sounds bad, but they have ways to get around it. They might say you’re “overreacting,” “not taking a joke,” and if “upset” happens to be somewhere in there at all, it means you’re being sensitive. If a woman takes the man approach, she’s assumed to be one of two things: 1) a lesbian 2) something that rhymes with itch. Unless you are a hot girl who doesn’t care, then congratulations, you’ve made it on every guy’s dream list. However, odds are you’re a little on the selfish side. Given, for women and a select group of men who happen to be more of the in-touch-with-emotions type, here’s some news: we’re a large part of society. Thanks to some political movements a few decades back, guys are going to have to face this eventually. I think what people really need is a level of awareness. I’m going to launch a campaign and spread the knowledge. Women, for the most part are sensitive. Really sensitive. If a guy says something and he thinks it could possibly be taken two different ways, he should just assume that it will be taken the way other than what
he intended. Truth be told, men are sensitive too, just don’t tell them that. Women know men are sensitive, but it takes us pulling on strings that don’t need to be pulled. It means walking into the red zone and sticking a fork in it. The really juicy fights happen when a guy unintentionally says something that upsets a girl, and in childish retaliation, she goes into the red zone, grabs material and makes a comment. It’s easy to hurt someone when you know what buttons to push. Both parties shouldn’t go there. Ever. Because, girl, once you go into the red zone and use that material, you’re done for. Girls need to understand that although their boyfriend might have said something that hurt their feelings, they probably didn’t mean for it to come out that way. Let make this easier. Let’s put this into sports terminology. When a man makes the immature statement that women’s sports suck, the woman gets offended. The man, through his comment, is stating that women aren’t as fast, can’t jump as high and aren’t as strong. No kidding. The games are played by women and the guys just don’t think it’s as fun to watch (unless the girls are in lingerie ... jerks). Women’s basketball and men’s basketball are two completely different games. They shouldn’t be compared. The games are played on two different levels. Can you say that high school football sucks when you’re in high school? No. It’s on a level all its own. With that sports logic, let’s look at sensitivity. Men and women are in two different leagues. We’re barely playing the same game. However, in order for a relationship to work, you both have to try and play nice together, aware of what level each of you are on. So, I don’t know if I lost you with the sports thing, maybe so. All-in-all the message here is that women and men are on different sensitivity levels. For relationships to work, you need to figure out the level each person is on and adapt accordingly. It’s not rocket science, but it’s pretty close. It’s love.
Dear Elizabeth, I just started dating a new guy and I’m getting the feeling that he may be a little embarrassed to be seen with me in public. Though we spend time together, it’s always in the comfort of one of our apartments. We have yet to step foot in a public place as a couple. Should I be worried he’s trying to hide the fact that I’m his girlfriend?
Dear Kristin, I’d say if after a couple of months the two have yet to be seen together in public, I’d start getting a little worried your guy may not want everyone to know you’re together. Just remember, you’re worthy of a guy who is proud to show you off, not hide you away.
Mine! Sorry, Called It Dear Elizabeth, I’ve got a huge crush on someone and, just the other day, I found out my best friend has a crush on the same guy! I don’t want to ruin our friendship over a guy, so how do I tell her I like him too? - Brittany Dear Brittany, That’s a tricky one. If you’re really into this guy and you want to see if there’s anything there, you’ll have to tell your friend. I think you’d regret ruining a friendship over a relationship that may not last. It might be better if both of you find different guys to like.
Speaking of Sports
Back In My Day ... N
Al looks back on a time when recruiting was filled with suspense and intrigue. Like spy stuff!
o, it just isn’t the same. Football signing day this year came with little fanfare. With few surprises. And in reality, with not a lot of interest like in past years. Gone are the days when hot shot prospects wouldn’t make their decisions until the last minute. Heck, a lot of them didn’t announce where they would go until the first day athletes could sign letters of intent. Now most of the top players select where they’re going before their senior year. Lost is the suspense we used to have. Lost is the excitement of some of the great recruiting stories. Three of the ones I remember the most involved some pretty talented running backs. Everyone wanted Earl Campbell. He was a legend in Tyler, Texas. He was big, strong and fast. Those who had watched him in action said someday he would make a great NFL running back. Barry Switzer made a habit of getting the big-time backs from the state of Texas. This was one that got away in the winter of 1974. Campbell had narrowed his choices down to Texas and OU. On the morning of the signing date he said he was going to Texas. He said he had a vision from God when he went to bed the night before to become a Longhorn. When Switzer heard the reason, he laughed and said, “Hell, if I knew that was going to happen I would have been under his bed when he went to sleep singing ‘Boomer Sooner.’” The next year there was another great player in Texas. He was from the small town of Hooks. His name was Billy Sims. Those in the know thought Sims would be going to Texas or Baylor. Imagine the Longhorn
wishbone offense at that time with Campbell at fullback and Sims as one of the halfbacks. Of course that never happened. The Sooners got the last visit from Sims, which proved key in getting him to sign. When signing day arrived, Sims didn’t sign. The coaches from Baylor and Texas were furious. Oklahoma played the old “hide out” trick. “Only Coach Switzer and I knew where I was. I just had to get away from everyone. I think when I left Norman I knew I was going to be a Sooner,” said Sims. Switzer tells his side of the story. “I had convinced Billy to wait until after the signing date. That way he would have all of the attention to himself. Of course the other schools would have a tough time giving a final sales pitch to him if they couldn’t find him.” There was yet another great recruiting battle between the Longhorns and Sooners, involving Marcus Dupree. Everybody knew about this incredible talent from Philadelphia, MS. Those who watched him in action were convinced he would be one of the great ones. All during the recruiting process many thought Texas would be his choice. Others thought he would stick close to home and go to Southern Mississippi. Never happened. Signing day passed. Finally Dupree called a press conference days later to announce his decision. Oklahoma assistant Lucious Selmon was in Philadelphia awaiting word on what school he would pick. I was in the Sooner football offices that morning. Recruiting coordinator Scott Hill was locked in his office. He was nervously awaiting a call from Selmon. Moments later Hill walked out of his office. Without saying a word, he lit up a cigar. That told the entire story.
General Monday Tuesday Wednesday ABNER’S Pint Night 5 p.m. AUTOGRAPHS HH M-F 3-7 1/2 Price Dom. Drafts $6 Martinis $2.50 Cantinas (6 pt.) $5 Gallo Wine by the Glass BISON WITCHES HH 2-7 $1 Domestic Draws & 1/2 Price Apps. $2.50 Beers of Mexico $2.50 Red Stripe $2 Red Bull & Vodka 10 - Close, $1.50 Blue Moon Bottles BLU [HH 3 p.m.-6 p.m. and 10 p.m.-2 a.m. Daily: $2 Brewhouse Pints, $2 Well Drinks All Day] BREWHOUSE $2.20 Pints, $1 Special Pilsner, $3.50 Shots, $2.50 Wells BROTHERS [$3.50 XX Draft Pints, $3 Shocktop Pints, Selected $2.50 Vodka Tonics, $3 Wells, $2.50 Longnecks] [Mon.: $1.25 Bud Light Pints] [Tues.: $1.25 Pints] COACH’S HH 3-6 p.m. M-F: $2.50 Coach’s Ale; $1.50 Dom. Drafts All Day Every Day; $7 Jugs EVE [HH 5-8 p.m. $2 Domestics, $4 Jack & Coke, $4 Skyy Infusions, $3 Soco & Lime shots] College Night: 2 for 1 Doms. w/ ID FREEBIRDS $1.00 12 oz. Drafts and $4.50 Pitchers $1.99 Pints and $4.50 Pitchers $1.99 Pints and $4.50 Pitchers $1.99 Pints and $4.50 Pitchers FUZZY’S [HH All Day, Everyday: $2 18 oz. Domestic Schooners; Monthly Special: $7 Mini Pacifico Buckets] in the raw [HH 5-7 p.m. M-F: $3 16 oz. Domestics, $3 HH Rolls; Daily Specials 11 a.m. - Close: $4 Skyy Cocktails, $3 Mexican Imports] INTERURBAN $4.50 L.I.T., $4.50 Raspberry Dreamsicles w/ Coole Swan [Mon.:$1.29 Domestics] $1.50 Boulevard JOE’S Check bar for daily specials LA LUNA [HH 3-6 p.m. M-S: $2 Tecate/Corona, $3.50 10 oz. Margaritas, $1 BL Draws, $10 Corona Buckets (5), Late Night HH 10 p.m.-close Thurs.-Sat. $1 Tecate Light $2 Tecate/Mod. Especial/Corona, $2.75 Well Dri THE LIBRARY [HH 3-6 p.m. and 10 p.m.-2 a.m. Daily: Brewhouse Pints for $2; $3 Pint Specials; $3 Well Drinks All Day] LOUIE’S $3 Well Drinks $1.50 Domestics $1.99 Blue Moon $2.75 Red Stripe LOUIE’S WEST [$3 St. Pauli Girl Dark, $2 Caramel Apple Shot, $5 Skyy Grape You-Call-It] THE MONT See specials at www.themont.com NEW YORK PIZZA [HH Mon.-Wed. 4-9 p.m., Thurs.-Sat. 4-Midnight $8 Blvd. Wheat Pitchers, $6 Domestic Pitchers, $7 Domestic Buckets, $3 Well Drinks $2 Lion’s Head, $2.50 Tecate & Corona] OTHELLO’S See specials at www.othellosnorman.com SEVEN47 HH: $4 Red Bull and Vodkas & $2 Dom. Bottles HH All Night, $4 RBVs & $2 Dom. Bottles $5 PBR Pitchers $1 Longnecks SUGERS $3.50 Pitchers 10-Midnight $3.50 Pitchers from 8 p.m. to 12 a.m. TEXADELPHIA [$20 Towers 3-6, $2 Doms. 3-6 M-F ] HH All Day/Night, $2 Domestics $6 Coors Light Pitchers Wheat Wednesdays ($1 off wheat beer)
Thursday $2 16 oz. Miller High Life 9 p.m.-close $1.50 12 oz. Dom. Drafts Moon Bottles Keg Party, $3 Holla 10 - Close
$6.25 Shock Top Pitchers & $4.50 Pitchers Ladies Night $1.99 Pints and $4.50 Pitchers
Friday $2 16 oz. Miller High Life 9 p.m.-close $4.50 L.I.T.â€™s $2 Wells
Saturday $2 16 oz. Miller High Life 9 p.m.-close $2 Sooner Schooner Dom. Drafts Ladies Night: $1 You-Call-Its
Sunday Bloody Mary Bar 11 a.m.-2 p.m. $11.99 100 oz. Dom. Beer Towers $1.25 Bud Light Pints
[Thurs.:Draft Beer:$2 Cover for Girls & $8 Cover for Guys w/OU ID 10pm-1][Fri.: $5.50 Bud Select Pitchers] $5.50 Bud Select Pitchers $1.99 Pints and $4.50 Pitchers
$1.99 Pints and $4.50 Pitchers
$1.99 Pints & $4.50 Pitchers
[Biergarten Fridays from 5-Close, Live Music & Specials on Patio] $1.50 Mexican Beers & $3.50 House Margaritas Corona, $2.75 Well Drinks, $2 Shots, $5.95 Nachos] $1.99 Boulevard Wheat $1.99 Blvd. Wheat; $5.99 Pizzas
2 for 1 Domestic Longnecks [$1 Coors/Miller Lt. & $20 Towers 6-10, $3 Blue Moon Big Sexies All Day] [$3.50 U-Call-It Big Sexy All Day]
$3.50 Mimosas & Bloody Mary Bar
$20 Towers All Day
CRIBS The Three Blondes:
Aundie Pemberton and Katie Chatham have been best friends since middle school, while Tiffany Dickerson grew up only an hour away!
These three friends have found just the right mixture of country, contemporary and everything in between.
ompared to their small hometowns, Norman, with all its charm, may seem like a big city. But, these country girls are quick to tell you that they can hang with the best of them. “We always have a great time,” said roommate Tiffany Dickerson. “We love going to Logan’s (On the Corner) especially.” Partying together is not the only pastime for these roommates, though. Sociology senior Katie Chatham, early childhood senior Dickerson and nursing sophomore Aundie Pemberton have only lived together for one year, but they all grew up in the same area, so the similarities between the three girls are uncanny. Having two-step dance parties and art time, filming random YouTube videos and calling each other off-the-wall nicknames are ways the girls express their knack for letting their wacky sides loose for laughs. “We’re all really funny in our own way,”
said Chatham. “Aundie’s definitely the biggest comedian, though.” When they’re not goofing off, the girls are in pursuit of their other passion: music. Chatham often plays the piano with Pemberton on the guitar and Dickerson accompanying with the tambourine. Besides providing their own entertainment, another shared pastime is watching movies and television. HGTV and the Discovery Channel are two of their favorite channels. The girls only plan to live together until the end of the semester, but their bond proves that while the friendship will be a little less zany after the move, it will be long-lasting.
Do you have what it takes to be in College Cribs? If you have a camera and e-mail access, the answer is yes. If you occupy any sort of dwelling and want it featured in Boyd Street, send photos of your college crib to firstname.lastname@example.org. Make sure to include your name and a contact phone number. Also make sure you’re an OU student.
New & Improved: The roommates spend a lot of time in the kitchen, mainly for a good cup o’ joe. “We’re recent coffee fanatics!” said Dickerson.
Home is Where the Art is:
A good majority of their decorations were actually painted by the girls themselves!
Photos by Mark Doescher • Story by Lauren Abram 16
CRIBS Mirror Mirror on the Wall: Chatham did most of the decorating and admits that shes adores monograms.
Safe Haven: One of reasons Dickerson is considered the mother hen of the roomies is her knack for housecleaning.
State of Grace: Chatham poses with Gracie, the dog she recently received as a gift from her dad.
Of Many Tastes: “I like art, flowers, birds and photos,” said Pemberton. Some of her prized possessions include several imported records and her grandmother’s antiques.
Dream a Little Dream:
Each of the girls’ rooms has a distinct style, but they all tie in with the musically-inspired vintage theme of the house.
Wild Child: Eccentric is one way to describe Pember-
ton’s collection, even when it comes to her dog, Cleveland; he was found abandoned in a bar parking lot!
>> On the Scene
>> The Abner
>> Bison Witches 18
Photos by Chadsey Brown
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>> Louie’s Too
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>> Brewhouse 20
>> in the raw
>> The Abner
>> in the raw
>> Bison Witches
>> The Abner >> O’Connell’s
from the ground up by BrettFieldcamp
s long as there has been such a thing as “pop music” it has seemed that single towns or regions have always been temporarily designated as the cultural center of each new musical storm. The early ‘60s brought the British Invasion, and The Beatles alone turned Liverpool into a kind of holy land. The ‘80s saw a huge interest focused on the metal sounds coming out of Los Angeles and the Sunset Strip, and of course, the early ‘90s had the ears of the nation tuned into Seattle for the grunge sound. Since Seattle’s reign as the hip music mecca came to an end, however, there has been a kind of void. No specific, singular area has risen to take the mantle of the musical buzztown. With the exception of small creative bursts in Orange County in the late ‘90s and more recently, the short indie trends out of Portland, the world hasn’t seen a creative supernova localized in a single place in a very long time. For anyone living in Norman, it would be hard not to think of the city as a perfect candidate for that kind of cultural buzzworthiness. Our local music scene is bursting at the seams with unique, creative talent and recent developments like the Norman Music Festival are drawing more and more attention to the town every year. But can a little college town in Oklahoma that tasted notoriety once in the mid-‘90s (The Flaming Lips and Chainsaw Kittens enjoyed some moderate radio and video play) really become a cultural force for the nation? Ben Lindesmith not only says yes, but says most definitely, and he has a plan to get it there. That plan has taken the form of Zanzibar! Records, a still young, but quickly growing, record label and music and arts collective that Lindesmith officially founded in October of last year. Gathering loads of friends and other local musicians, the 29-year-old Norman native is setting out to create a single, driving force that he hopes will lead this city’s artists into the larger, national consciousness. BS • 23
Boyd Street: So the name Zanzibar! was originally attached to the recording studio that you built and ran for a number of years. How did that start, and when did it turn into a full label? Ben Lindesmith: The studio started roughly around 2000. The studio is still open to bands on the label, but I’m closing the doors for pretty much anybody else. Actually, we’re booked more than ever because we’ve got so many acts making records right now. Even doing stuff [at new addition Breathing Rhythm Studios], we’re still doing so much over there. We started the label in October, so very new. BS: When did you start forming the idea of creating a label? What prompted you to want to try your hand at running something so extensive? BL: The dream of Zanzibar! basically started about three or four years ago. I started talking to some of our core people that I’ve just kind of been around forever. Chase Spivey, who is our VP of Production. Chris McDaniel, one of our illustrators. John Thomas, who does all of our merch. These are all people who are really core. I’ve been good friends with them for 15 years. I’ve already got a core of bands where we’ve all played together and I’ve recorded all of them and they all have some experience recording on their own. You know, Ghost of Monkshood, for example, did all of their albums
because you get certain people in and then they know a whole bunch of other people. We just say that we need a graphic designer or a video editor and then suddenly, we have them there. BS: How many people do you currently have making up the Zanzibar! staff? BL: Right now we have 50 people. BS: And that was all made up of just your friends? BL: Originally, but it’s blowing up so much now, for instance, that we have our new band, Caravact, who has come on board and has helped us out in a lot of different ways. They say, “Well, what about this person for that?” So then I just get a hold of that person. So we’ve got maybe 15 people now that I didn’t know before all of this. That seems to be the progression. BS: Was there some kind of underlining idea that you brought to the bands and artists as some kind of selling point for them to join you? BL: We really just started talking more and more about how there’s no future here. That’s part of the aesthetic that I like and dislike about Norman. There’s no future for artists. You just do it. You just get to an age where you decide, “Well, I’m going to quit all of this nonsense and get a day job and get financial stability” or you just do it because you can’t stop. I’m one of the latter. There’s a certain level of hopelessness here, specifically for musicians but for artists as well. I don’t like that. I think that’s why we have a viable music scene. The people that stand out here really have no concern other than that they want to make the best possible thing they can. They’re not really pandering to their audience or to a potential audience as much, and the older crowd certainly
NORMAN is going to compete with SEATTLE. Partially because of the Flaming Lips, and partially because of the
NORMAN MUSIC FESTIVAL. on their own until the last one. BS: So is the method just as simple as turning to all of your own friends and acquaintances and offering them a spot on a label? BL: It somewhat has been. I’ve done the studio for so long and I’ve done video production for long enough. I’ve lived in Norman my whole life and I’ve been a musician for 15 or 16 years, so I’ve played here for more than half of my life. Forming the label was easy. It was like, “Oh, we’ll just get Ghost of Monkshood, and we’ll get Magnificent Bird, and we’ll get Syloken and Psychotic Reaction.” These are all bands I had already recorded. I just said, “Hey, you guys want to be on a label?” [Their response:] “Uh, YEAH.” Then it’s just natural, really,
Zanzibar! currently has several artists signed to their record label, many of whom are pictured to the right. BS • 24
isn’t. Some younger kids come in and that’s a big concern for them, but you get to a point where you just don’t care anymore. BS: So your hope is to actually take Zanzibar! Records and the entire Norman scene onto a larger national stage? BL: I feel like, and I think a lot of people around here feel this way, that Norman is going to be a very viable music scene. It has been in the past, to a lesser extent. We have everything going for us that any other music explosion in a region ever had. I think that we’re actually on the up-curve of seeing that happen right now, with the Art Walk and Norman Music Festival and there are some other labels that have started like Guestroom and Nice People. We’ve got more talent here than anywhere else I’ve gone and certainly concentrated talent. There is a certain aspect that we’re big enough to have a lot of groups but we’re small enough that everybody knows everybody else. That forces people to be far more creative if everyone you know is trying different things and different styles. BS: So you’re hoping that Zanzibar! can do for Norman what Sub Pop Records did for Seattle in the late ‘80s? BL: Exactly. Sub Pop is one of the models I really admire. They were the guys in the Seattle scene that said, “Hey, we don’t want our bands to have to have day jobs, because that’s a waste of their time and their creativity. We want them to be out on the road. We want them to be selling records. We want them to be making a life out of this. Which they do anyway, you know, but we can get better products if that’s all they do.” BS: And you think that Norman has the potential to eventually compete with Seattle as real musical hub? BL: Norman is going to compete with Seattle. Partially because of the Flaming Lips and partially because of NMF. It’s almost inevitable. I go to Blu all the time and I know a lot of people there, but I still hear conversations just by happenstance with people talking about what they’re doing with their label or their band that I’ve never met before. That’s kind of exciting. That’s going on everywhere. Everybody seems to play something. It’s a music town. North Oklahoma City has some pretty cool things going on, too, but just the way that Norman has a percentage of people that are concentrated musicians and artists is pretty outstanding. I can’t really think of another place in the country that has that many people being creative percentage-wise. BS: For as many people and popular acts as you have participating, this label is still surprisingly young. Has it been difficult to suddenly find yourself juggling so much so quickly? BL: The first three months of the label were just total chaos, and this month, too, has been pretty chaotic. We’re getting organized, though. Things are becoming more fluid. BS: How many artists do you have signed so far? BL: Right now, fifteen. Zebre (of which Lindesmith himself is lead singer), Magnificent Bird, Syloken, Caravact, Psychotic Reaction, FRMR (pronounced Farmer), and Cooking with John and Dave whom we just signed. That’s [Norman wunderkind and former Boyd Street subject] John Calvin and David Leach. Also, Will Gardner, John Brakefield, Thom Proctor, Doug Rader and technically Ghost of Monkshood and Circe. Neither of them is really going to be playing anymore. Monkshood really turned into FRMR, so the core of the group is still there. With Circe, [lead singer/songwriter] Annatova Neches is moving to Oregon in a couple of weeks. Kind of a bummer. They just did their last show, so we’re not doing any promotion for them in the future, but they’re still part of the label. Also, We just released Beau Mansfield’s first album. BS: Yeah, that’s pretty big around here. He’s always been something of a godfather for the current scene. He called that album the realization of a lifelong dream. BL: He’s just a genius at what he does. His album is really amazing to me, actually. Very unique. He came to me about recording, and, of course I was just like, “Yeah.” We’re also bringing on Casey Nassberg, our only out-of-state artist. She used to be with The Mimsies here.
BS: So 15 bands in four months? That’s not too bad. And you’re still looking to expand? BL: Yeah. We’re probably going to expand to like 25 bands by the end of 2011. We’ve put a call out now for new bands. We want to hear submissions. We have a Zanzibar! page on Facebook and I put out a post asking, “Who would you guys want to sign?” and then suddenly there’s a list of 25 bands locally and we have a lot of stuff to check out. BS: How have you been able to organize everything and coordinate such a growing staff so soon after starting? BL: The business model of Zanzibar! is that it works like a co-op. We sign bands based on whether or not we like them, obviously, but we also ask them, you know, we’re going to give you all of these services. We’re going to give you promotion. We’re going to give you advertising. We’re going to record your record. We’re going to make your music videos. We’re going to do all the artwork. Of course, they can opt out of any of these things if they want to, but this whole caveat of services is available if we sign them. We just ask them to pitch in something. What can they offer? Graphic design? A bada** PA? Something like that. In that business model, instead of other labels that tend to put out three or four records a year, we’re looking at a record a month, plus some singles, plus a video for somebody, plus some TV shows. It’s wild. BS: TV shows? BL: Yeah. We’re eventually going to expand in the near future to have a subsidiary or a sister company we’re calling Zanzibar! Media. We’ve already got videographers and editors. Everybody is helping write scripts mostly for webisodes and sketches right now. I’m a really big fan of [online art/video site] VBS. I love what they do, though they did it the other way around. They started with the magazine and the site with all their videos and then they started a record label. BS: You mentioned earlier as well that you’ve personally been doing video production for a while. BL: My full-time job is as a video editor. I’ve been shooting and cutting music videos for ten years. I work for Main Street Photo/Video, which [Zebre/Syloken bassist] John Thomas owns. It’s a great facility. We do the best printing. Actually, we have a lot of other film integration. I’m producing the soundtrack to [local feature-length indie film] Rolling Stoned, so most of the bands that are on there are going to be already represented by Zanzibar!. BS: So you are already working to extend Zanzibar! into areas beyond just music? BL: Oh yeah. We have a label meeting once a month where we’re doing kind of abstract art projects. The future goal of Zanzibar! is that I would like to have an art campus. A place where you don’t take classes. I think everyone I’ve ever known that has gone to film school or has a film, art or music degree, they learned almost nothing going to school for those things. What always seems to work better is being self-taught, like almost all the people I know who are good at what they do. But that’s so unfortunate, because they could learn so much more quickly if they were an understudy for someone that knew what they were doing. Basically, we’re already developing it to where we have an understudy program. You might be a graphic designer, but if you have an interest in recording, come to the recording sessions for one of our bands and learn how to do that with someone. BS: So for now, where can people go to check out the whole operation as it grows? Are you doing anything to connect with audiences around here? BL: We started monthly showcases in January in Norman, at The Deli. That should be really fun. We want that to be a pretty major event every month. For the so-inclined, you can check out a sprawling retrospective box set of nearly all of Zanzibar!’s past projects and releases, to be in local stores this month. Reportedly containing 19 discs of music and plenty of videos, the set is expected to run somewhere in the neighborhood of $90. In the meantime, keep an eye out for the monthly showcases at The Deli and keep an ear out for the strange sounds of Norman, as they might be hitting national airwaves sometime soon. BS • 25
End Notes Next Issue on the street March 1
THIS WEEK’S PUZZLER: 1
DOWN 1. Revolution 15 16 17 2. Highest mountain in Crete 18 19 20 21 3. Convert into leather 4. Green beryl 22 23 24 25 5. Topic 26 27 28 29 30 6. Pile 7. Toward the stern 31 32 33 8. Emphatic form of it 9. Haul 34 35 36 10. Lively 37 38 11. Pitcher 19. Find the sum of 39 40 41 42 21. Near to 43 44 45 46 47 48 49 22. It was 23. State in the central United 50 51 52 States 24. Regretted 53 54 55 25. Entirely 27. Female sheep ACROSS 32. Tool for making 28. Brass wind instrument 1. Religious practice holes in leather 29. Image 5. Native of Thailand 33. Brownish purple 30. Coin 9. Coloring material 34. Sorrowful 32. Help 12. Yellow cheese 35. Bind 33. Mother and father coated with red wax 36. Republic in W 35. Bell used to sound an 13. Heave equatorial Africa alarm 14. Uncooked 37. Deity 36. Swindle 15. Turbine blade 38. Oppressor 37. Depart 16. Consumes 39. Ruin 38. Slightly intoxicated 17. Part of verb to be 42. Exclamation of 39. Search thoroughly 18. Incline fright 40. Seaward 20. Enthusiastic 43. Exploit 41. Vice president 22. Vehement speech 44. Cesspool 42. Primordial giant in Norse 25. High-pitched 46. Russian no myth 26. Past tense of will 50. Born 45. North American nation 27. Mischievous person 51. Egyptian goddess of 47. Yelp 28. Involuntary fertility 48. Supplement muscular 52. Grasp 49. Spread out for drying contraction 53. Faucet 31. Impressed 54. Not any
The Numbers Don’t Lie* The current issue, broken down for the stat books
>> No. of staffers that will drop everything and roll the dice on an we’re lazy ambitious dream project: 5 >> No. of staffers who derail these imaginary projects with booze: 3 >> No. of staffers that have pretty sweet stage moves: 1 >> No. of Razzies that have actually been accepted in person: >> No. of days in a row the snowpocalypse forced you to have still going drinks before noon: 1 >> No. of staffers that thought the “S” word was something else: 2 >> No. of times JDM has brought up socks & flops in the Ed letter: 7 >> No. of staffers that think Conor Oberst should just perk up: >> No. of folks, who despite their best efforts, still found a way to bwahaha have an epic Valentine’s failure:
* Or do they?
Last issue’s puzzle, solved: D R A G A U R A L E T S E I M P O B E A U I N N S S U E P S T A I L I E I D O T E N
F L A A R N E T J P O U B R I D F U Y O
L A M A C Y W E S N T H D I E L A C A B B D B A S A L S C A D E A R E L I K E C
E V E R
M A K O
S T E W
F E T A
A T O M
R A N I
A I N D L E O K E
*Solution published March 1
February 20 22
•Anthony Nagid Jazz Quartet @ Othello’s 7 p.m. •Wrestling vs. OSU 2 p.m. •Baseball vs. William & Mary 11:30 a.m. *Mike Hosty •Travis Linville @ Deli Solo @ Deli 7-9 p.m.
•Anthony Nagid Jazz Quartet @ Othello’s 7 p.m. •Thunder vs. LA Lakers 1:30 p.m. •WBB vs. Baylor 4 p.m. •Baseball vs. Oakland 1 p.m. *Mike Hosty Solo @ Deli
•Beauty and the Beast @ OKC Civic Center thru 2/20 •Thunder vs. Sacramento Kings 7 p.m.
•Maggie McClure & Shane Henry @ Deli •Softball vs. St. Gregory’s 4 p.m. •MBB vs. Nebraska 8 p.m.
•Turnpike Troubadours @ Deli •The Pidgin Band w/ John Calvin and the Cavalry @ Brewhouse 10 p.m. •Kyle Reid & Laura Weiderhoeft @ Othello’s 7 p.m.
•Tickets on sale for Miranda Lambert @ LNC •Soye @ Brewhouse 10 p.m. •Blue Moon @ Othello’s 8 p.m. •Hockey vs. UCO @ 7 p.m. •Baseball vs. William & Mary 3 p.m.
•Baseball vs. Arkansas Pine Bluff 3 p.m. •Thunder vs. LA Clippers 7 p.m.
•Tenderheart @ Othello’s 7 p.m. •Resident Funk @ Deli
•3/2: WBB vs. OSU 7 p.m. •3/2: Thunder vs. Indiana Pacers 7 p.m. •3/5: MBB vs. OSU 3 p.m. •3/6: Thunder vs. Phoenix Suns 6 p.m. •3/12: Rascal Flatts @ Ford *The shows our music Center editor says you can’t miss.
•311 w/ Pretty Black Chains @ Diamond Ballroom •Student Film @ Opolis •Susan Herndon @ Othello’s 7 p.m. •Kylie Morgan @ Brewhouse 10 p.m. •Baseball vs. Oakland 3 p.m.
•Hosty Duo @ Deli •Loose Change w/ the Chain Gang @ Brewhouse 10 p.m. •Adam Ledbetter Jazz Night @ Othello’s 8 p.m. •Baseball vs. William & Mary 12 & 3 p.m. •WBB vs. Texas 5 p.m.
26 •Galapagos @ Deli •James Taylor @ Brady Theater (Tulsa) •Camille Harp @ Othello’s 7 p.m. •MBB vs. Kansas 3 p.m. •Baseball vs. Oakland 12 p.m.
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