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May 3, 2011 • Issue 8 • Vol. 8



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May 3, 2011 • Issue 8 • Volume 8



6 Letters If you want to send us any humorous or horrific finals stories that would be fun. Gotta find ways to entertain us over the summer, after all. You’re the best.

8 From the Couch Look, it’s tough having gobs of money. But, it’s even tougher when that overfilled wallet is causing butt pain. JDM uses his bimonthly soapbox to tell us all about it.

10 Film & DVD Part two of Brett’s chit-chatting with Jay Sheldon is in there. He makes some nice points which would be great for us if we weren’t so tired, drunk and generally lazy.

Living Norman Legend In the almost ten years that Boyd Street has been publishing, we have never done an interview with well-known Norman musician Mike Hosty. The wait is now officially over ...

11 Music

Taking a break from the collective, Panda Bear just dropped a new record. Pshh, I knew about Panda Bear when he was Panda Cub.

12 Romance There’s a song about breaking up being hard. And one about relationships being hard. Pretty much everything is hard. It’s time that you hear some good, down-home, common sense!

18 On the Scene May 3, 2011 • Issue

On the Cover

8 • Vol. 8

The man. The myth. The legend. Photo by Chadsey Brown






16 Cribs 27 End Notes Can you believe it? You’ve finished another semester of school and end notes! Like your family, we didn’t think you’d make it this far either.


Q: A:

April 19, 2011 • Issue

A new class of draftees have realized their NFL dreams. What will they do with all that money? Oh wait. — Chris

7 • Vol. 8



We’re Talkin’ About Practice

I’m glad to see the draft over and football behind us. Since, you know, there won’t be a season and all that jazz. How do you feel about Cam now? I never thought I would miss random articles about rookie camps and training camps. This fall is gonna suck. – Ricky Yes, we’re entering uncharted NFL territory. For most of us anyway, since I don’t remember the last strike/lockout and a lot of you weren’t born yet. Cam should be a fun player to follow once they get everything sorted out. Obviously, he actually needs all the camps, coaching and playbooks he can get. I also can’t wait for him and Big Ben to go on a minor crime spree. Should be great. And don’t worry about the fall. We’ll still have the Sooners to realize or crush our dreams, unless you’re not into that. In that case, get off my lawn! – JM


Where is Sal Pal?

So who do you think we see more of on ESPN for the next several months, John Clayton, Pedro Gomez, or the legal analyst that isn’t Roger Cossack? I would go with the legal guy, but Mr. Gomez has all this Barry Bonds trial experience! I’m just trying to get mentally prepared. – Cory Pedro is a smart dark horse pick here. My heart tells me to go with Mort though. Maybe John Clayton, but without the training camp bus tour this summer, Mort is going to have to earn his paycheck somehow. Mark it down.


H- E- Double Hockey Stick

– JM

Congratulations on giving up cussing for Lent. I hope you made it all they way through. As someone who also enjoys reverting back to my pre-Lent ways, I understand your




struggle. You should totally be fine. At least until football season. – RC I appreciate your confidence in my verbal abilities. You may be right. I can make it through the summer, I think. It probably depends on how much lake drinking happens. Then all bets are off! And yes, once football season rolls around I’m probably screwed. – JM

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From the Couch

All For the Money

Editor-In-Chief • John Denny Montgomery III General Manager • Emily Montgomery


get so sick and tired of carrying a wallet. I’m just going to throw that out there. I don’t know how other males feel about their wallets but mine is a pain in the butt, literally. When wallets are as packed full of Benjamins as mine is, there can be a substantial lift on one side when sitting down. It’s annoying. (Not the money, but the lift.) Sometimes it would be nice if those European carry-alls French men use were fashionable in the U.S., but I don’t see that happening. Though it would be so much nicer to have a man bag like Joey Tribbiani to carry my stuff in -- including my wallet. But no. As it is now, I have to take my wallet out of my back pocket when I drive. But I don’t always remember to get it out of my console when I get out of my truck, which only adds to my annoyance. It looks like until the man bag becomes a fasionable option, I’ll have to just deal. Enjoy the issue.

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 Kate Beard Jamie Birdwell Brett Fieldcamp Matthew Parker Jennifer Stuart Chauffeurs Mitch Lied & Ryan Kubala

John Denny Montgomery III, Editor-in-Chief and Publisher

Dirty Little Secret


Mast Talk w/ Lauren Abram 8

veryone has at least one. You know what I’m talking about. That one time, or thing, or person that only your nearest and dearest is privileged enough to know about. Or perhaps it’s your most intimate quirk that you swear you’ll take to the grave. Either way, that giant stuffed animal that gets thrown under your pillow when company’s over or the strange likeness you have for Rebecca Black’s “Friday” are the things that make you, well, YOU! So perk up, cool off those red cheeks, and be proud of whatever weird, freaky, or downright embarrassing oddity you may have. After all, normalcy is for boring people.

>> Staff’s Pic

Advertising Advertising Manager • John Denny Montgomery III Ad Design • Emily Montgomery Advertising Representatives John Denny Montgomery III Emily Montgomery Publisher John Denny Montgomery III

Boyd Street Magazine P.O. Box 5382 Norman, Oklahoma 73070 Copyright © Boyd Street Magazine 301 1/2 E. Main St., Suite 105 Norman, Oklahoma 73069 Phone: (405) 579-1712 E-mail:

So, you’re saying you have more muscles Any articles, artwork or graphics created by Boyd in your pointer finger than they have in Street Magazine or its contributors are sole property of their biceps? Boyd Street Magazine and cannot be reproduced for any reason without permission. Any opinions expressed in Boyd Street are not necessarily that of Boyd Street management.


By BrettFieldcamp

>> Yeah. He must work out.

In the Box Theatrical Releases >> Thor In the magical world of the gods, Thor, the god of thunder and lightning, is set up by his evil brother Loki, the god of mischief, and is cast out of the heavens. Waking on Earth, Thor must find his hammer, his source of power, and save humankind.

>> Looking comfortable, and quite at home, working a piece of equipment that looks like it should shoot lasers is one of the many reasons he’s more respected in the film community than we are.

Jay Sheldon: Take Two

Opens May 6

As promised, here is part two of our interview with Oklahoma filmmaker Jay Sheldon.


ast issue, we introduced you to local filmmaking talent Jay Sheldon, whose shorts have played across the country and have won numerous awards. Now, part two of our talk with Sheldon. Boyd Street: What advice would you give to other people looking to start out in moviemaking? Sheldon: I would tell people to start making movies because it’s what they love to do and not because they want fame and fortune. There are so many people making movies now; it’s harder to get noticed. It’s not as difficult or expensive to get one made as it was 20 years ago. I would also say to reach any level of success, you have to be willing and ready to make mistakes and fail over and over again. There is always more to learn. Every project won’t be great, especially in the beginning. BS: Do you think it’s always best to start with a lot of short films? Sheldon: In my opinion, the best way to start is to make a short film ... then make another one ... and another one. I’ve met people the complete opposite that say to start out with a feature because there’s no money in short films. I think the point of making short films is to learn about movies without spending a great deal of money or time on any one project. Your first movie probably won’t be good. You can’t just go to film school or watch a tutorial online and immediately start making great movies. Short films allow you to learn the process.  You find out what works and what doesn’t.  Most importantly, you find out how to tell a story. BS: So do you think film school is really a necessary part of learning to make movies? continued on page 13


Sheldon Stills Below are a couple of stills from some of director Jay Sheldon’s films.

Opens May 6

>> Zach Flowers stars as the title character in Sheldon’s award-winning short, My Little Mascot.

Opens May 13

>> There is some extreme priesting going on here. >> Lucas Ross, who you may know as one of OK43’s “Two Movie Guys” co-stars in My Little Mascot.

>> Something Borrowed From the director of the modern teen classic The Girl Next Door is this rom-com about a successful woman that has been hopelessly in love with her best friend’s fiancé for years. So hopelessly, in fact, that she doesn’t recognize the affections of her best guy friend. somethingborrowedmovie. >> Priest Based on a graphic novel, this is the story of a desolate future world where savage vampires control the wasteland and the only law is upheld by a religious order. When the niece of one of the “priests” is taken by the vampires, he forsakes the church to save her.


by MattParker

Stuck in My Head

w/Matt Parker

Family Heartbreak

TV on the Radio gives us lots of dance beats, Glasvegas delivers only a so-so album and Atmosphere goes too melodramatic. TV on the Radio Nine Types of Light

>> Tie-dye shirt, check. Greasy musician hair, check. This guy is the REAL deal, chief.

The Top Animal

Indie music poster boy Panda Bear seems to have hit a home run yet again with his most recent album, Tomboy.


ith the release of Merriweather Post Pavilion, which many considered one of the best albums of 2009, the group Animal Collective became one of the biggest names in indie music. Not since The Cure has a single band had such an influence on this genre than Animal Collective. Judging by the amount of new bands copying their enigmatic, yet refreshingly original sound, it’s easy to understand the amount of hype that precedes each of their releases. While the group rose to prominence several years ago, their beginning dates back to 2000, with their experimental days. Noah Lennox, known as Panda Bear and one of the main songwriters and singers, has been in the group since the start. Panda Bear has always been the more melodic member of the group, contributing lush, full melodies that are a huge part of the band’s sound, contrasting with Avey Tare, the more abrasive vocalist. The group has never been concrete in its lineup, as several members do not appear on every album, and some do not tour with the group. With the exception of one member, everyone in the band has released solo material. Easily, the most enthralling, and the most well-known work, is that of Panda Bear. Panda Bear recorded his first solo album in 1998, even before the first Animal Collective album, Spirit They’ve Gone, Spirit They’ve Vanished, came out. With the success of Animal Collective, Panda Bear didn’t record his follow-up album, Young Prayers, until 2004. With the release of 2007’s Person Pitch, Panda Bear

had started to make a considerable name for himself. He was all over top ten lists and his fans eagerly awaited his next album. This April, Panda Bear released Tomboy, easily one of the most anticipated releases of the year. While Person Pitch is full of long, explorative songs, some exceeding ten minutes, Tomboy is much more streamlined, in terms of song length, and the music itself. Panda Bear seems to be trying to perfect a sound that is experimental and foreign, mixed with catchy melodies. Each release (both Panda Bear and Animal Collective), seems to get better at straddling this dichotomy. Part of what makes Panda Bear’s music so interesting is that it’s so catchy that it feels like you’ve heard it all before, yet you know you haven’t. “You Can Count on Me,” one of the catchiest songs, opens the album. There are also some pretty “out there” songs on the album, as one could expect. On the song “Drone,” Panda Bear makes an instrument out of his own voice, abandoning words in place of sounds to create an interesting feel. On “Afterburner,” one of the more experimental tracks, Panda Bear uses some unique percussion instruments to carry the song and give it an almost MiddleEastern feel. Tomboy only loses steam at one or two places, but it’s nothing to really detract from it. This most recent album by Panda Bear is simply another great album by one of today’s top indie musicians. With the goal Panda Bear has nearly perfected, fans of the group’s earlier material, as well as its later music, should equally like Tomboy.

>> While generally a more thought-provoking and serious group, TV on the Radio switches gears on their fifth album. Following the direction hinted at on the last album, Dear Science, Nine Types of Light is a generally upbeat album, both lyrically and musically. Lyricist and singer Tunde Adebimpe deals primarily with love and relationships, almost always in a positive way. Like Dear Science, the album is very dance-heavy, complete with brass instruments mixed together with synths and handclaps. Overall, it’s as much of a fun album as it is a great one. —released April 11, 2011 Glasvegas Euphoric Heartbreak

>> Releasing their debut in 2008, this Scottish band had not a unique sound, but a fun one. Combining big, polished

melodies with the rawness of a Scottish bar band, the album had a little flair to it. With the group’s follow-up, they kept these sounds as part of their equation, but dropped the Scottish bar band part. Euphoric Heartbreak results in an exercise in unashamed melodrama. Glasvegas was either forced by their new major label to make an album that appeals to the masses, or they were simply trying to make more money. Either way, no one should really be happy with Euphoric Heartbreak. —released April 5, 2011 Atmosphere The Family Sign

>> Atmosphere, the duo of rapper Slug and producer Ant, recently released their seventh album since 1997. While the duo’s last effort, When Life Gives You Lemons, You Paint That Sh*t Gold was a step forward in the group’s originality and sound, The Family Sign is several steps backward. The album is plagued by too many midtempo, piano-led ballads with melodramatic stories about people’s misfortunes. Atmosphere now sounds more like Gym Class Heroes than pioneers of the indie rap world. —released April 12, 2011



by ElizabethAtherton

>> Everyone has to work at their relationships, especially dogs that come from different socio-economic brackets.

Gotta Do the Time

All relationships take compromise and hard work, but things will work out much better if you’re also true to yourself.


here are many things in life that are hard: sidewalks, rocks, baseball bats. But when it comes to a relationship, the work should basically do itself. I’ve been inspired by a friend of mine who just can’t figure it out. She stays up at night analyzing dates and people she knows and trying to understand it herself. It all sounds a bit exhausting if you ask me. And I’m telling you, it doesn’t have to be this way. Recently my friend had a fiasco when she was dating three people at the same time. Yeah. No kidding. She really liked one of the guys in particular, and he happened to be the most messed up of them all. He would get drunk and call my friend to meet him somewhere. To me, this sounds like the grade-A booty call. I know of one actual date where they stayed in together and ate pizza at her place. Her first mistake is that she doesn’t have a television. She and the boy were forced into talking to each other, which is how it should be. But if you don’t have a television to fall back on in times of awkward dullness, it might add some pressure. She said the date was disastrous. How did this almost-couple deal with this bad date? They never acknowledged it and continued bumping uglies late-night. Then inevitably I’d get a phone call from my friend with every detail of their weekend rendezvous and I’d help her sort through the past scenarios with a fine-tooth comb. Finally it hit me. It shouldn’t be this hard, gosh dangit. The analyzing and the worrying and constant fear of not being right for the person you want to be right for is all wrong.


Listen folks, if that’s how you choose to play your cards, you’re going to end up terribly disappointed. When you meet someone you’re interested in, you must be yourself. And if you don’t know who you are … then you have to first discover that, and be comfortable before you dedicate yourself to another person. This is like the rule of all rules. If I had a book, I’d title it something like Be True, Love You (if it’s not already taken). Also, don’t steal that idea … I’m licensing it tomorrow (if it’s not already taken). Really, when you meet someone you have to be yourself, and if they like you, they like you. If they don’t, surely someone else will come along. Another thing too, I’m not saying you should let the whole you out like a once-caged wildebeest. You can’t be vulgar or crude. When you meet someone your best foot should be forward, but there’s something to say here about honesty. It goes a long way when it comes to a relationship with another person, even if it’s just a friendship. So overall, this is what I’m saying: don’t make something out of nothing. Don’t make a relationship, or wanted relationship, hard. Because when it happens, and it will happen … you meet that one person who is right for you. It will be right; it won’t be forced, or pretentious. And if you take faith in that, the whole honesty aspect, you are a lot closer to meeting Mr. Right than you would be without holding to that belief. I’m no doctor, but you can trust me on this one.

Music (Continued) Film (Continued) Sheldon: For me, going to film school was one of the best decisions I ever made. I don’t say that because I think going to class taught me everything I know. The only way to learn how to make movies is to make them. You may know the name of every piece of film equipment and every filmmaking technique ever used.  You may have seen every movie ever made ... or maybe you can name the winner of every best picture Oscar since the beginning.  It won’t make you a better filmmaker. You have to make films to really improve as a filmmaker.  What film school did for me was provide me with a lot of opportunities. I was able to use some of the best camera and lighting equipment available when working on class projects. I met other like-minded people and made connections that can help me far into the future. I learned about jobs that were available and about movies being made in the state. I don’t think that film school is necessary to gain success, but there were a lot of positive things that came out of it for me. Although, I don’t know that I would suggest that someone pay $100,000 for an education at one of the “top” film schools in the country. BS: What part of the full process, from brainstorming and writing to editing, do you find most enjoyable? Sheldon: Honestly, the whole process makes me crazy. Every part of the process starts out positive. It’s exciting to start a new script. It’s exciting to start the first day of production.  It’s exciting to see the first rough cut. It’s the details that make me crazy.  I’m such a perfectionist; I obsess. By the end of editing, I’ve

seen the movie so many times that I’m just ready for it to be done. I might be totally satisfied with the project, but I’ll just want to finish it and never touch it again. The one part that is truly enjoyable is screening a movie for a live audience. Receiving a positive audience reaction is the best feeling. It makes the whole process worth it. For right now, I’m not making money doing this, so knowing somebody appreciates something I’ve made inspires me to continue creating. BS: Do you find inspiration for your films and ideas in places outside of film, like music or books? If so, what inspires you in those other mediums? Sheldon: I’m most inspired by listening to music. I listen to the type of music that I could see being in the soundtrack of a movie I make. I love Radiohead, Sigur Ros, Death Cab for Cutie, Danielle Ate the Sandwich, etc.; music that really creates a certain mood. When I get lost in music that I love, that’s when I get a lot of new ideas. I’ll say “I want to make a movie that makes people feel the way that this music makes me feel.” BS: What films of your own would you say you are most proud of? Sheldon: I’m definitely my own worst critic and I haven’t made anything that I’m completely happy with. I’ll say that the project I’m probably most proud of is My Little Mascot [a romantic drama involving a giant dog costume]. Nothing went right while making it. At one point I didn’t know if we were going to be able to finish, but in the end I felt like I had made the movie I wanted to make. I was able to work

with some great actors and great musical artists. A lot of things really just worked out in the end. Mascot was the most successful film I made as far as film festival acceptances. It also had the most positive response of anything I had ever made before. I felt like it was a big step forward for me. BS: Your shorts have played in a lot of film festivals around the country. What are some of the most memorable or special to you? Sheldon: My first goal when I started making movies was to get into a film festival. One festival that really sticks out in my mind is the Fear No Film Festival in Utah. I wasn’t able to go to the festival so I really have no idea what the festival was like. What made it memorable was that I had someone find me on Facebook after seeing My Little Mascot. They sent me a message to let me know how much they liked the movie. That meant so much to me. The fact that someone I’ve never met liked the movie enough that they felt the need to talk to me about it was a great compliment. BS: Where can people check out some samples of your work? Sheldon: To learn more about what I’m working on or to see more work people can go to my Vimeo page (www.vimeo. com/jaysheldon) or to or to www. Right now there are only trailers online. I’m not sure If I will release full versions on the internet or not. If you contact me asking for a copy of a movie, I usually don’t have a problem giving out DVDs.

Norman Nightlife





ABNER’S Pint Night 5 p.m. AUTOGRAPHS HH M-F 3-7 $1.50 Dom. Draft Schooners BISON WITCHES HH 2-7 $1 Domestic Draws $2.50 Beers of Mexico $2.50 Red Stripe $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; $2 Mimosas and $3 Bellinis All Day] BREWHOUSE $2 Drafts & Well Drinks BROTHERS $1.25 Bud Light Pints $1.25 Pints $6.25 Shock Top Pitchers & $4.50 Pitchers COACH’S HH 3-6 p.m. M-F: $2.50 Coach’s Ale; $1.50 Dom. Drafts All Day Every Day; $7 Jugs 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] [HH 5-7 p.m. M-F: $3 16 oz. Domestics; Daily Specials: $1.50 Miller High Life, $2 Sake Bombs, $3 Tecate, Pacifico, Modelo Esp., $4 Skyy Infussions, $4 Patron Shots] in the raw JOE’S Check bar for daily specials LA LUNA [HH 3-6 p.m. M-S: $2 Tecate/Corona, $1 BL Draws, $10 Corona Buckets (5), Late Night HH 10 p.m.-close Thurs.-Sat. $2 Tecate/Mod. Especial/Corona] 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 $5 Drink of the Month, $2 Shot of the Month & $3 Beer of the Month. HH: Everyday 3-7 p.m. $1.50 Domestic Bottles MR. BILLS All May: Sm. Tequilla Sunrise $3, Lg. Tequilla Sunrise $4, Lion’s Head $2, Tiger’s Blood $5.75 + Adonis DNA $2, $1.75 Bud Select Bottles, Sauza Hornito Shots $3; Shots: Rumpleminz $2.50, Goldschlager $2.50, S THE MONT See specials at 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 SEVEN47 See our ad on the back cover 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)



$2 16 oz. Miller High Life 9 p.m.-close $2 16 oz. Miller High Life 9 p.m.-close $1.50 12 oz. Dom. Drafts Keg Party, $3 Holla 10 - Close $2 Well Drinks Daily

Beer Buffet with OU ID $1.99 Pints and $4.50 Pitchers

$1.99 Pints and $4.50 Pitchers



$2 16 oz. Miller High Life 9 p.m.-close $2 Sooner Schooner Dom. Drafts $2 Domestic Bottles

Bloody Mary Bar 11 a.m.-2 p.m. $11.99 100 oz. Dom. Beer Towers $1.25 Bud Light Pints

$1.99 Pints and $4.50 Pitchers

$1.99 Pints & $4.50 Pitchers

[Biergarten Fridays from 5-Close, Live Music & Specials on Patio] $1.99 Boulevard Wheat $1.99 Blvd. Wheat; $5.99 Pizzas

Goldschlager $2.50, SoCo & Lime $2.50, Lindsay Lohan $2.50

[$1 Coors/Miller Lt., $20 Towers & $3 Blue Moon Big Sexies 6-10] [$3.50 U-Call-It Big Sexy All Day]

•WBB NCAA Tournament 1st and 2nd Rounds @

$20 Towers All Day



One Big, Happy Family: When random and spunky meets chill and balanced, it creates an image kind of like this.

The Love Nest

Morning Glory: Unlike most college

kitchens, this one gets put to use fairly often and even contains an unusual family heirloom -- a Dallas Morning News grill.

These couples aren’t from the same place, but their eclectic activities help make this a home away from home.


nthropology sophomore Bree Gavlik and psychology sophomore Megan Starks couldn’t have asked for a better situation for their first time living on their own. After a chance meeting in the freshman dorms, the girls became fast friends. Their friendship has made these girls the perfect choice for living together. With a little bit of support from their respective partners, Reed Manchester, entrepreneurship major, and Phil Niehls, pre-med, the girls maintain a healthy balance of crazy fun and being responsible. “We both like to have fun,” said Starks, “but Gavlik doesn’t drink, so we’re not really big on going out for it.” Aside from being roommates, the girls don’t really get to see much of each other during the day. Gavlik spends the majority of her time cheering on the OU baseball team and driving around with Reed while Starks and Niehls pre-

fer to cook, watch television and genuinely enjoy the comforts of home. “I feel like we’ve got a great mix. We’re good roommates, but we each have our own friends and our own lives,” said Gavlik. Taking care of their newly adopted dog, Max, and playing any and every recollected childhood game (red light/green light, anyone?) are ways in which the foursome like to cherish their time together. “When we get time to, we really like to kick it,” laughs Gavlik. “We’ll definitely be here a while!”



Check Marks the Spot:

On weeknights it’s the homework spot, on the weekends it’s where couch surfers find the blankets!

Dirty Laundry: In an effort to get ready quickly and efficiently, the girls cleaned up by moving everything upstairs.

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 Make sure to include your name and a contact phone number. Also make sure you’re an OU student. Photos by Mark Doescher • Story by Lauren Abram



CRIBS Fly Like an Eagle:

Gavlik literally decorated her entire room around a pink whale she got from the real Hotel California.

Bit by the Love Bug:

Strike a Pose: Manchester, Gavlik and Max

When asked what his favorite thing about Starks was, Niehls said her down to earth and genuine attitude. (Awww!)

Potted Pastime:

One plant turned into ten for the girls, after they took up the hobby as freshmen.

fine-tune their modeling skills.

The Bird Cage:

Starks recently took on the theme of birds along with her knack for sentimental collectibles. “I filled my room with little pieces of home!�

More Monroe: Gavlik may

not have taken this one but, as a photographer, she definitely enjoys great portraits!



>> On the Scene

>> Seven47

>> The Abner

>> Joe’s

>> Bison Witches

>> Brewhouse

>> Brothers

>> in the raw

>> Mont 18

>> Louie’s

>> Eve

Photos by Chadsey Brown





*All 4 roommates must sign a 12 month lease. Valid through may 31, 2011.




>> Mr. Bill’s

>> Joe’s

>> Eve

>> Bison Witches

>> Library

>> The Abner

>> Mont

>> Louie’s

>> O’Connell’s 20

>> Brothers


>> Louie’s Too

>> Fuzzy’s

>> O’Connell’s

>> Mr. Bill’s

>> Othello’s

>> Logan’s


>> Brewhouse >> Fuzzy’s

>> Joe’s

>> Seven47

>> Logan’s

>> in the raw


by Alex Bacon


Every Sunday till the end of time, right? The stable of bands at The Deli has changed over the years, but Sundays have remained the constant. You can leave Norman behind you, but if you make it back, you know Hosty’s playing on Sunday night. Over the years, plenty of us have made our way through the door of Norman’s only five-star dive, for the intoxicating mix of dancing, singing and (duh) drunkeness that Hosty, in solo or duo form, provides. It’s pretty much standard Norman procedure to, at some point or another, spend a fair amount of Sunday nights at The Deli. Drunk. We put on our smoking jackets and sat down with the president of the Val Castor fan club for snifters of brandy and intellectual discourse. Parts of that last statement might not be true. Unfortunately, the tales of his attempt at an honorary masters degree and his neighbor, the rooster with no internal clock will have to wait (cliffhangers!), but here’s what we could squeeze in. Grab a red cup and follow along. Boyd Street: You’ve been doing the Deli thing for what, like ten years or so now? How long have you been playing Sundays? Mike Hosty: Well, I started playing Sundays with Ike Lamb and The Law. He played Sundays there when I first started, and then it was the All-Star Blues Band. You’d just go jam in there. That would be 19-and91. Ike Lamb played in that, and he held that position until, I believe 1997. I played rhythm guitar in there intermittently, and then the bass player quit and I played bass for him. He’s a Norman legend, Ike Lamb. He still plays now.

BS: Where does he play now? (I was a bit embarrassed that I was unaware of this Norman legend to be quite honest.) MH: He kind of stopped for a while. He played for Watermelon Slim. He was in his touring band, and now he’s got his own thing again. BS: So, you started playing The Deli in ‘91 on the Sundays? MH: Well, you just showed up, and you’d jam. So, I’d show up and, you know, wait in line to jam. Usually it would be the end of the night and you’d get up there and play. You’d be so hammered. BS: So, he (Lamb) got up there and would play and then he’d have a string of people come play? MH: Yeah, you could come up and play with him. Then that kind of stopped and he’d do his own thing. It was always Ike Lamb. He had his three-piece and he’d do his thing every Sunday. There weren’t very many people in there. It was kind of dead. BS: Was that your first stage experience, or the first time you’d played in front of a bar crowd? MH: No, I’d been playing at Toto’s La Vita Club. It was where Joe’s Taverna is now. I had a little three-piece band and we played really fast versions of James Brown songs. We were awful. We were terrible. And we played a place called Kelly’s, which was on Main Street, directly across from the Diner. Played there, and The Deli. Oh, and Liberty Drug. I wanted to play Liberty Drug. That was the place. BS: So, Liberty Drug (where Pepe’s is now) was Liberty D’s, right? I guess that’s where the ‘D’ came from? MH: Yeah. It was the same kind of place as VZD’s in Oklahoma City.

BS • 23

You can usually find Mike Hosty playing solo or with Michael “Tic Tac” Byars as the Hosty Duo. Hosty has been entertaining crowds for over 20 years.

They had the wall of old artifacts and things on the shelves. It was cool. They were kind of like, I would say, sister bars in a way because a lot of bands would play Liberty one night and VZ’s the next. Touring bands would stop by and have two stops to go to. Usually they would be midweek, so you would see a lot of cool shows and stuff like that. Big Sandy and His Fly-Rite Boys is a cool band, like a western swing band. They’d play on a Wednesday with nobody there, but they had a stop-over so they could play. They used to have great, great shows at Liberty Drug. Charlie Musselwhite played there. Mason Ruffner … I mean, there’s a laundry list of bands that I can’t even remember. Chris Duarte, a lot of guitar guys played there. A lot of blues guys like Clifton Chenier and the Bayou Swamp Band. A Nigerian All-Star band played there. BS: What exactly is a Nigerian All-Star band? MH: It was like west African, kind of, music. You think Paul Simon’s Graceland. Like that, and they’re all from Nigeria. A lot of zydeco, Cajun music, blues and rock. At that time, there was a parallel. There was a blues side, and there was this indie rock side. It was the Fortune Tellers and The Flaming Lips. It was kind of one or the other in a way. BS: You were into indie stuff or you were into blues basically? MH: Yeah, but I was more into the blues thing. The Fortune Tellers, loved those guys. They had a side project called the Reverb Brothers. It was kind of a rite of passage to be in the Reverb Brothers, because you BS • 24

would then be fired. You’d play with them, and it was Basile, it was his band. Basile Kolliopoulos and his brother Miho were the Fortune Tellers. Basile would hire you and say (in a heavy Greek accent), “You are a Reverb brother, you do not pay to get in!” Then you’d drink and be like, hey I’m a Reverb Brother, that’s a cool name. BS: So they were pretty hardcore it seems. MH: Oh yeah, they would go, “That guy talks to you, you will f***ing beat him up!” But he was great. He (Basile) knew more about blues music than most people that live here, and turned me on to a guy, in 1993, called Junior Kimbrough, which if you like the Black Keys, is the guy they based their early career off of. BS: Was he one of those Delta blues folks? MH: He was a hill country blues guy, which is south of Memphis, north of the Delta ... Tunica. If you go there, it’s kind of like Oklahoma in a way, just a lot of farm land. It’s all based on fife and drum music. You know, snare, bass drum and fife. Otha Turner would be the guy to listen to. They play these cane flutes and if you listen to it, it sounds really bizarre. It’s like a mixture of fife and drum from the war, African music and Indian flute music. So, this Greek, he knew all about this and turned me on to it. And then, you know, I was fired. BS: So, you got fired from the Reverb Brothers. MH: Yeah, but I was still in this little fold and Miho broke his hand so I got to be a Fortune Teller for a couple nights.

BS: Well, you had been fired … MH: It’s like I was elevated, which was the greatest, because I knew all the songs. Loved it. That was the early ‘90s. BS: So that was your start, basically, to the Norman shows back then? MH: Yeah, just kind of easing my way in. In the mean time I’d play with other bands, mostly cover bands. BS: That where the .38 Special comes from? MH: Oh yeah, but there was a list of things you could play. Like today, you think of a disco band and you hear these same songs. If you learn them, you could plug in with everybody else. You kind of learned all these songs on the stage. It’s kind of a different way of playing than now, which was great. I don’t think people that play now really learn that way anymore, you know, on their toes. BS: It does seem like now, it’s pretty, bam, bam, bam. Like they know what they’re doing going into it, and that’s just kind of the way it is. MH: Another thing is, the fraternity parties. They’d have these huge parties. The music scene seemed a bit more vibrant because they would pay these bands and enable them to survive by paying them crazy amounts. They’d build these huge ponds in their front yard, and you know it all went to hell. They’d make sandbags, and in a space as big as this is (the Library, the bar one), put a tarp in the middle and fill it with water and people would swim out there. I think about it now, and that was kind of cool. BS: It does sound like an experience. MH: Then you play in the band, and everybody would show up to these things, whether you were in the fraternity or not. Or the house would have a party mid-week. You were always playing one of these things. OU, OSU, and TU in Tulsa. BS: So there would be a Greek circuit to play? MH: Yeah, and it’s kind of an end of an era for that, because B.B. King used to play these in the ‘60s, every soul band, Stax bands played these. Levon Helm from The Band played these in his time before The Band. It would perpetuate bands like this. There would be a whole circuit to play. You think about the Texas music scene, like red dirt. That’s how a lot of those bands got started. BS: Yeah, I remember when I first started college they had Cross Canadian and Stoney LaRue and guys like that playing like every party, and as soon as dry campus came … MH: They were gone. That was the end of it right there. BS: It was a good way to set up a fan base. So, once that particular scene fizzled out, what did you do? MH: Stubbeman Village had a venue, Rome 90, it’s an old theatre upstairs. The Black Crowes played over there. Nirvana was supposed to play there, but they cancelled. Their van broke down or something I think was the story. Morphine played there on New Year’s Eve. BS: Sounds like there was a much richer tradition back in the day. MH: But it was due to those kids in that fraternity scene, because in that way they had their scene and there was an alternative scene who didn’t want to go over there and made their own indie rock and alternative stuff in their houses. It fostered that because they had something to fight against. So you’d have these two scenes. You’d have this college, kind of pop scene and you’d … have this tension. BS: Between the two sides. MH: Yeah, you had this blues side, and this more alternative side, and then alternative college, and like art-rock alternative. So you get these really weird things going on. BS: So you had all these people butting heads over, like style of guitar. MH: But there was a lot more tension. Now it’s just a different dynamic because things have changed and that isn’t going on anymore. BS: Yeah, it seems like they didn’t care as much about kids doing their thing back then. MH: The people back then, are the people that are making the rules now. They’ve done it. But at the same time, it’s a different audience. BS: Speaking of the audience, do you feel like there has been a change in the Norman audience? I feel like the crowd there five or six years ago isn’t really there as much. It seems like the kids, specifically the Greek crowd, has worked their way back in over the last couple years.

MH: It kind of goes through phases of people. Like for me, it’s more the people who come in because every group has the different thing that they do, or a different song that they gravitate toward. Or I’ll think of something, and just go with it. One day, I was so incredibly tired. I’d just driven back from Colorado to play on a Sunday, and I get there and I tell the crowd. And, you know, no one believes me, but I start talking about a wolf-dog I saw, and I started saying “Wolf-dog!” Now, there’s people that come out and they remember that. BS: And they want the wolf-dog? MH: Yeah, I go “Wolf-dog,” and they howl, and it’s funny. But it’s not me, it’s the crowd … you know, what makes any artist, or band, is really the crowd that comes to see them. It’s not the artist themselves, or whatever. That’s the thing about a college town. People come and go and graduate. There’s songs I played a couple years ago that I don’t play as much because they don’t get requested. Then a couple years later, people will be like, “What’s that one song?” and they ask for that specific song over and over again. It’s really the groups of people that come out. Really, the crowd that comes, to me, are people who work in restaurants, service industry, Norman locals and a bunch of college students. But it always changes. It’s like a terminal. BS: Everyone has their favorites and stuff. MH: You go through a phase. It’s like, the greatest thing you’ve ever seen, to “Eh, it’s pretty good,” then to “Man, I really gotta get out of here.” Then it’s “I’ve left,” and moved away. Then the next year, “man I really wish I was back at that show, I wish I was there Sunday night.” Then they’ll come back. And that’s the greatest thing for me. I had a couple fly out from Connecticut to come to The Deli on a Sunday night. Some guy drove from Houston the other night. They go up there specifically because it’s Sunday night … BS: Of course, they know you’re going to be there. MH: For me, that’s the greatest thing ever, because you’re associated with a good time they had. They go through that phase, you know, and you look at them and they’re going, “I can’t believe I’m here on Sunday night, again, and it’s been three months, I need to get out of here.” But it’s the same thing, once you get that job, or that house, the mortgage, or the family, you think back like, “man, I used to go out every Sunday and get trashed and howl like a wolf-dog.” BS: And rock the pole. MH: And listen to this guy talk and tell some jokes. Like terrible ones. Which are my favorite. BS: Like the “tough crowd” line seems like it’s all part of the package. MH: You know, I love Henny Youngman. I had a tape and I memorized all his one-liners, and I play my guitar like he played the violin [on joke delivery]. I watched all those celebrity roasts when I was a kid, and they really stuck with me, those comedians and their delivery. And the more I played blues stuff, it’s really the tradition of the blues guys to play and tell jokes. All of them did it. BS: They’d keep a dialogue with the crowd. MH: They’d have a formulated joke, and it’d be kind of like a vaudeville thing, because you had to keep the audience engaged. That’s why in the early ‘90s a lot of the bands I never really gravitated towards because I liked the fact of making people laugh. Like you’re there to have a good time, not watch some guy talk about his terrible life. BS: Yeah, no one wants to listen to that. MH: The greatest thing is, even if it’s not funny, the “tough crowd” is called a save. BS: Like the line? MH: I had this Milton Berle book and he had all these saves in there. Or you tell a line from a previous joke. It’s a save. The thing is, even if it‘s not funny, everyone laughs because it’s like you bombed. BS: Kind of like the train wreck thing, but for comedy. MH: Well, you’re in a bar, everyone wants to have fun. That’s the greatest thing. People laugh, have fun, and dance. For me that’s what it’s all about.

BS • 25

End Notes Next Issue on the street May 17









16 18





24 27




35 37





42 44






ACROSS 1. Sword handle 5. Storage shelter 9. Corded cloth 12. Extent of space 13. Long, cylindrical piece of wood 14. Monkey 15. No longer living 16. Staffs 17. Slow run 18. Highest point 20. Gather 22. China tea 25. Wield 26. Metal spikes 27. Nae 28. Wager 31. Of thou 32. Roll of bank notes




DOWN 1. Did possess 17 2. Wrath 3. Meadow 20 21 4. Larva of frogs 25 5. Mine prop 6. Crook 28 29 30 7. Antiquity 8. Remove the salt from 33 9. Prince of India 36 10. Epic poetry 11. Clothes-pins 38 19. Abstract being 21. Possessive form of me 22. Upon 46 47 48 49 23. Island of Hawaii 52 24. Told an untruth 25. Seed vessel 55 27. Vietnam 28. Adriatic wind 33. Fly 29. The Orient 34. Musical instrument 30. Woody plant 35. Leg 32. Armed conflict 36. Money bag 33. Crowning molding of a 37. Belonging to us pedestal 38. Revolve 35. Catamite 39. Hand-operated mill 36. Monetary unit of Burma 42. Thick slice 37. Otherwise 43. An urban area 38. Open space in a forest 44. Bristle 39. Witty remark 46. Ardent 40. Official language of 50. Revised form of Pakistan Esperanto 41. Ebony 51. Mild oath 42. Thrust with a knife 52. Rescue 45. Self-esteem 53. Play on words 47. 6th letter of the Hebrew 54. Roundish projection alphabet 55. Level 48. I have 49. Lair 14




The Numbers Don’t Lie* The current issue, broken down for the stat books

>> No. of staffers that have ended up in the Cleveland County cage hush for reasons that may or may not stem from a bag of wine : 6 >> Texas has __ point beer: 11 a.m. >> Time of day Hosty’s neighbor’s pet rooster begins to crow: 4 >> No. of staffers that are gonna throw on “summertime clothes”: >> No. of staffers who started an epic movie about Big Ed’s cheddar 1 poppers and the consequences of driving over the tracks: 2 >> No. of staffers defeated by the Big Ed’s Challenge: 2 >> No. of staffers that just want to eat hamburgers now: 0 >> No. of times it’s appropriate to eat pizza without TV access: >> Now that you know you won’t be graduating (again), number of oops you clowns that we’ll see at the bar (again) next semester:

* Or do they?

Last issue’s puzzle, solved: M I N X A R E A W E E N T E I G H B O L U O W E S N A E P P L A I L O W E R A B E Y










*Solution published May 17

May 08 22

•Redhawks vs. Nashville Sounds 7:05 p.m.

•Redhawks vs. Salt Lake City Bees 4:05 p.m. •Groovefest ft. Montu @ Andrews Park •Baseball vs. New Mexico 1 p.m. *Mike Hosty Solo @ Deli

•Redhawks vs. Tacoma Raniers 7:05 p.m.



•Redhawks vs. Salt Lake City Bees 7:05 p.m.

•Tobacco w/ Beans & Shapers @ Opolis •Redhawks vs. Nashville Sounds 7:05 p.m.




•Wilco @ Cain’s Ballroom (Tulsa) •Softball vs. Iowa State 12 p.m. •Baseball vs. Kansas 1 p.m. *Mike Hosty Solo @ Deli

15 29



•Redhawks vs. Tacoma Raniers 7:05 p.m.

Coming Soon






*Man Man @ UCO •Softball vs. N. Texas 6 p.m. •Generationals w/ Oh no! Performance Lab 8 p.m. •Kate Dinsmore @ Othello’s Oh my! @ Opolis •Jacuzzi Lifeguards @ •Camille Harp @ Brewhouse Brewhouse 7 p.m. 7 p.m. 10 p.m. •Son del Barrio @ Brew•Shane Henry @ Othello’s •Ali Harter @ Othello’s house 10 p.m. 8 p.m. 8 p.m. •Redhawks vs. •Softball vs. Iowa State Nashville Sounds •Baseball vs. Kansas 6:30 2 p.m. 7:05 p.m. p.m. •Baseball vs. Kansas 2 p.m. •John Calvin & Phalonious Funk @ Brewhouse 10 p.m. •Valerie Mize @ Othello’s 8 p.m. •Brittany Davis @ Othello’s 7 p.m. •Redhawks vs. Tacoma Raniers 7:05 p.m.

•May 19-21: Baseball vs. Baylor •May 20: Josh Groban @ BOK Center (Tulsa) •Foo Fighters @ BOK Center •May 25 & 27: Big 12 (Tulsa) Baseball Championships @ •Redhawks vs. Bricktown Ballpark Salt Lake City •May 27-29: Rocklahoma @ *The shows our music editor says you can’t miss. Bees 11:05 a.m. Pryor Campgrounds

•Brandon Jenkins CD Release Event @ Joy’s Palace •Regg w/ The Del Toros @ Brewhouse 10 p.m. •John Calvin @ Othello’s 9 p.m. •Baseball vs. New Mexico 6:30 p.m. •Redhawks vs. Tacoma Raniers 7:05 p.m.


*Boom Bang @ Opolis •The Stumblers @ Brewhouse 10 p.m. •Lauren Deger @ Othello’s 8 p.m. •Baseball vs. New Mexico 3 & 6 p.m. •Redhawks vs. Salt Lake City Bees 7:05 p.m.



class of 2011!

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Issue 8 Binder  


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