The Tulsa Voice | Vol. 5 No. 6 by The Tulsa Voice

MAR. 7 â&#x20AC;&#x201C; 20, 2018

VOL. 5 NO. 6

In the making at Auggy Reed Studios P23

Enshrined in the Bob Dylan Archives P26

OVER GOD WE FUSS P8

TULSA RACE MASSACRE CURRICULUM P10

SOCIAL ENTERPRISE RISING P31

paradise never sounded So Good.

Tickets On Sale Now

chicago Wed, mar 14 riverdance sun, mar 18 three dog night thu, apr 19 the doobie brothers sat, apr 21 foreigner thu, apr 26 eli young band sat, apr 28 huey lewis & the news thu, may 10 tom jones sat, may 19

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2 // CONTENTS

March 7 – 20, 2018 // THE TULSA VOICE

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THE TULSA VOICE // March 7 – 20, 2018

CONTENTS // 3

HOPS

CHINCHILLAS HOP WHEN THEY ARE HAPPY. 100% of proceeds raised at Conservation On Tap goes to Save the Wild Chinchillas, Inc. 21+ event.

APRIL 27 TULSA ZOO

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4 // CONTENTS

The Helmerich Trust

The H.A. and Mary K. Chapman Charitable Trust

March 7 â&#x20AC;&#x201C; 20, 2018 // THE TULSA VOICE

RITE OF PASSAGE P20

PUBLISHER Jim Langdon EDITOR Liz Blood ASSISTANT EDITOR Cassidy McCants DIGITAL EDITOR John Langdon ART DIRECTOR Madeline Crawford GRAPHIC DESIGNERS Georgia Brooks, Morgan Welch PHOTOGRAPHER Greg Bollinger

BY TTV STAFF

Some of Tulsa music’s finest share first concert memories

HOSTS WITH THE MOST P23

AD SALES MANAGER Josh Kampf

BY DAMION SHADE

EDITORIAL INTERN Trent Gibbons CONTRIBUTORS David Blatt, Jenny Eagleton, Kristi Eaton, Barry Friedman, Mitch Gilliam, Destiny Jade Green, Jeff Huston, Melissa Lukenbaugh, Timantha Norman, Joe O’Shansky, Mason Whitehorn Powell, Zack Reeves, Kris Rose, Damion Shade, John Tranchina, Brady Whisenhunt The Tulsa Voice’s distribution is audited annually by

Member of

Mike Gilliland and Conor Robb of Auggy Reed Studios empower musicians and make local albums happen

NEW DIRECTION HOME P26 BY MASON WHITEHORN POWELL

How The Bob Dylan Archive, Center, and Institute will forever change the way we see The Bard The Tulsa Voice is published bi-monthly by

1603 S. Boulder Ave. Tulsa, OK 74119 P: 918.585.9924 F: 918.585.9926 PUBLISHER Jim Langdon PRESIDENT Juley Roffers VP COMMUNICATIONS Susie Miller CONTROLLER Mary McKisick DISTRIBUTION COORDINATOR Amanda Hall RECEPTION Gloria Brooks

MAKE YOUR VOICE HEARD Send all letters, complaints, compliments & haikus to: voices@langdonpublishing.com FOLLOW US @THETULSAVOICE ON:

Drum set at Auggy Reed Studios | MELISSA LUKENBAUGH

NEWS & COMMENTARY

FOOD & DRINK

7 NOT OK B Y DAVID BLATT

12 NO TIME TO WASTE B Y MITCH GILLIAM

Cuts hit all aspects of public education

Moonksy’s is fast-paced and full of regulars

8 OVER GOD WE FUSS

14 JENI IS THELMA’S B Y MITCH GILLIAM

BY BARRY FRIEDMAN

Oklahoma’s never-ending preposterousness

10 RECLAIMING A HEINOUS NARRATIVE BY TIMANTHA NORMAN Oklahoma’s new race ‘riot’ curriculum represents false progress

40 MAKE AMERICA DARK AGAIN B Y BRADY WHISENHUNT

VOL. 5 NO. 6

Holy Void offers searing punk rock and blackened harmonies

41 WORKS OF SPIRIT B Y TRENT GIBBONS

In the making at Auggy Reed Studios P23

TCC’s Signature Symphony celebrates American composition

Enshrined in the Bob Dylan Archives P26

OVER GOD WE FUSS P8

TULSA RACE MASSACRE CURRICULUM P10

SOCIAL ENTERPRISE RISING P31

ON THE COVER Mike Gilliland at Auggy Reed Studios PHOTO BY MELISSA LUKENBAUGH THE TULSA VOICE // March 7 – 20, 2018

29 RIDDLE ME THIS B Y KRIS ROSE

16 HOW TO PICK BETTER WINE— BETTER B Y JENNY EAGLETON A buying guide for the liquor store and restaurant

44 AFFIRMATIONAL FETISHISM B Y JOE O’SHANSKY

Social enterprises are gaining traction in Tulsa

32 CONTACT SHEET B Y DESTINY JADE GREEN The Hill Wife

34 BOUT IT B Y JOHN TRANCHINA Local roller derby is as exciting to watch as it is to play

‘Death Wish’ is ill-timed

44 IT’S GOOD TO BE DONALD GLOVER B Y JOE O’SHANSKY

‘ Fisherman’s Blues’ is an immersive journey into Senegal

31 INNOVATIVE AND IMPACTFUL B Y KRISTI EATON

TV & FILM

Tulsa’s eleventh hour

30 CULTIVATING IMAGINATION B Y ZACK REEVES

New bar flaunts shabby digs in Kendall-Whittier

MUSIC MAR. 7 – 20, 2018

ARTS & CULTURE

‘Atlanta’ is a game changer

45 AUGMENTING BRUTALITY B Y JEFF HUSTON Stirring animation portrays young girl risking persecution by the Taliban

ETC. 6 EDITOR’SLETTER 36 THEHAPS 42 MUSICLISTINGS 45 FULLCIRCLE 47 THEFUZZ + CROSSWORD CONTENTS // 5

editor’sletter

y first concert was Jars of Clay, a Christian rock concert, at Southern Nazarene University in Bethany. I was nine or ten; my mom took me. Low lights crept across the dark stage when the band began the acoustic intro to “Flood,” singing “Rain, rain on my face / It hasn’t stopped raining for days / My world is a flood / slowly I become one with the mud.” Then the lights burst onto the band and crowd, and some lighting effect replicated a stormy sea across the room as the singers harmonized: “But if I can’t swim after forty days and my mind is crushed by the crashing waves ...” I felt like I was being tossed about in the middle of the ocean. The lyrics and loudness moved me. I was in awe.

Of course, it took a few years before I was made to feel really super dorky about this first concert experience. (I was homeschooled and this is Oklahoma; give me a break!) So I made a new memory with the much less dorky Blink 182 at the arena in Oklahoma City’s State Fair Park. My friends and I made shirts that said, “Blink me,” which I’m far more embarrassed about now. But the Jars of Clay concert remains a powerful memory. It was the first time I was in the presence of live music and it made me feel empowered and understood. Photographer Chris Williams mentions this same thing in our feature, “Rite of passage” (pg. 20): “As far as what people can convey through music, it’s one of

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the most powerful things. It hits your spirit different.” Williams is in good company in this piece— other Tulsa musicians and music industry folks explain how their first concerts marked them so that, in one way or another, they have never left music behind. Mike Gilliland and Conor Robb of Auggy Reed Studios also understand the transformative power of listening to (and recording) live music. For their DIY dinner-and-a-show events, local bands record an album live while local music-lovers watch. In “Hosts with the most” (pg. 23), Damion Shade takes us inside their studio and previews singer-songwriter Adrienne Gilley’s album, which will be recorded at Auggy Reed this weekend. Elsewhere, Brady Whisenhunt

introduces us to the “unholy” but well-meaning punk rock of Holy Void (pg. 40), and Mason Whitehorn Powell examines what it will mean to have local access to The Bob Dylan Archive (pg. 26). It’s as good a time as ever to be making and appreciating music in Tulsa. We face ourselves through song, and music has long been something that brings our community together. a

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March 7 – 20, 2018 // THE TULSA VOICE

okpolicy

NOT OK Cuts hit all aspects of public education by DAVID BLATT

THE TULSA VOICE // March 7 – 20, 2018

iami Public Schools in Ottawa County serves about 2,500 K–12 students in seven schools. This year, four school librarian positions were eliminated, leaving the district without a single librarian. In Newkirk, there is no librarian and no speech or drama class. In Edmond, elementary school students no longer learn Spanish. In Agra, the band program has been eliminated and there are 45 students in a choir class. There are no security officers employed in any of Oklahoma City’s elementary schools. These are just a few of dozens of stories I heard recently, when I asked members of a Facebook education group to share examples of how their schools or their children’s schools have been affected by budget cuts in recent years. We know that over the past decade, cuts in education funding have been severe. State general funding is nearly $180 million lower than ten years ago, while K–12 enrollment has grown by over 50,000 students. After 10 years without an increase in the salary schedule, Oklahoma teachers are now close to the lowest-paid in the nation, and teachers are leaving the state or quitting the profession in droves. The impact of budget cuts can be seen in just about every classroom in the state. One parent of a Tulsa middle school student wrote that her daughter’s school just hired a teacher to open a new section of English/geography after having 54 students in one class all first semester. “They are now down to 40 in each of the three sections, which is better but still sucks,” she wrote. My own son was one of 45 students in a high school drama class with an over-matched first-year teacher last year. Kindergarten classes have grown to over 25 children per classroom in many schools, while upper elementary school classes now commonly have over 30 children.

Overall, there are more than 700 fewer teachers in Oklahoma public schools in the 2017–18 school year than there were in 2013–14, while student enrollment has grown by about 15,000. As well as increasing class sizes, schools have eliminated classes and programs, especially in the arts, technology, and foreign languages, the subjects that enrich the learning experience and help prepare students for higher education and employment. This year, compared to four years ago, there are about 525 fewer world language classes being offered across the state. There are 300 fewer arts classes, 500 fewer classes in family and consumer sciences, and some 815 fewer music classes in elementary schools alone. “Each Oklahoma City public school at the elementary level was forced to choose to no longer have music or art,” one teacher wrote. “At my school none of the students receive any art instruction.” Schools are also struggling with less support staff and scarce supplies. An Oklahoma City teacher says that there are no longer maintenance workers; “principals have to fix things themselves.” A parent of a Bartlesville elementary school students says that their school “has to limit basic supplies like copy paper, paper towels, and trash bags. At the end of the school year, janitors are re-using trash bags, and the paper towel dispensers are empty. This is not OK.” It’s encouraging to see a continued effort among lawmakers to provide teachers a substantial raise. This is essential, but it won’t be enough. To address the crisis in our schools we will need more teachers, more staff, more resources, and a more genuine commitment to public education. a

David Blatt is Executive Director of Oklahoma Policy Institute (www.okpolicy.org). NEWS & COMMENTARY // 7

viewsfrom theplains The snark is the easy part.

PART ONE The measure, which was authored by Sen. Wayne Shaw, would require school superintendents and officials of state agencies to place a poster of “In God We Trust” in school classrooms and public buildings that are maintained or operated using state funds.1

Cue the bald eagle slowly yet proudly ascending skyward. In addition to the phrase, the poster would also include an accurate representation of the American flag and the Oklahoma state flag.

This beauty passed the Oklahoma Senate Committee on General Government (yes, we have such a thing) on February 20. From there, it goes to the full Senate for consideration and almost certain passage. It’s faith and patriotism by poster. There’s more. There’s less. The measure states that it would onl y be implemented if funds are available. It adds that the posters “shall be purchased solel y with funds made available through voluntary contributions to local schools or local school boards.”

What does that even mean? The posters would be required, but state funds couldn’t be used to pay for them, even if those funds are available—which they’re not. There aren’t funds for five-day school weeks in some places, but they’ll find the money to create placards pronouncing love for God for every classroom in every public school in the state? Seems workable. And what could be a better use of time for school administrators than to have to schnorr for contributions for such a mandated sop. Maybe they can promise branding in return: “This IN GOD WE TRUST poster provided by your pious friends at Devon Energy.” 8 // NEWS & COMMENTARY

OVER GOD WE FUSS

Oklahoma’s never-ending preposterousness by BARRY FRIEDMAN

Historically, America has lurched from sanity to hysteria and back again. “In God We Trust” was first passed by Congress in 1864, for use on the two-cent coin, as a way to bind America to a caring and loving God during the Civil War. This seemed like a good way to thank Him (or Her). Some 40-odd-years later, Teddy Roosevelt dismissed such drivel. By the turn of the century, however, the war’s memory had faded; President Teddy Roosevelt considered the mingling of God and Mammon to be vulgar, and he ordered the phrase removed from newl y designed gold coins in 1907.2

Approximately 50 years after, there was backlash against the backlash. A public outcry forced Congress to backtrack. By the mid-1950s, the concern with piety in Washington had apparentl y deepened; in 1955 Congress ordered the same phrase to appear on all paper currency.

Then there was backlash against the backlash against the

backlash, but that opposition petered out, because as Supreme Court Justice William J. Brennan Jr. wrote in 1983—at least in the case of “In God We Trust” on the paper money and coins—the slogan had “lost any true religious significance.” Garrett Epps, University of Baltimore professor of law, writer, and Supreme Court correspondent for The Atlantic, says “In God We Trust” was only made the nation’s official motto in 1956 by President Eisenhower and only because Ike wanted to make a distinction between God-fearing Americans and the soulless Soviets—not, Epps believes, one of the president’s better decisions Key word: motto. In determining constitutionality, Epps says courts will consider whether the legislation has 1) secular purpose, 2) primary effect that neither advances nor inhibits religion, and 3) no excessive entanglement between church and state. “Of course the measure has no secular purpose and advances religion,” he says. “What are kids going to see when they look up every day? Judges will issue writs, he says, describing such measures

as “incredibly stupid” and may, in fact, want to know from those who champion such legislation, “How much of the taxpayers’ god-damned money do you plan to spend on defending this law?” Nevertheless, there are (and were) those in Oklahoma and elsewhere, those who traffic in the cheap and the hackneyed who think the phrase “In God We Trust” is endowed with some magical, historical power, which, if only summoned, worshipped, and allowed to be displayed proudly in our shared public space, will cure the ills of a hurting land and return us to a time when—wait for it—we were great. PART TWO Each day that the Oklahoma House and Senate are in session, the Chaplain of the Day, as he or she (and the program) is called, begins with a prayer. Oklahoma, according to Pew Research, is the eighth most religious state in America, and you don’t get to such an exalted ranking by accident. (Sharia Law bans, Ten Commandments monuments, anyone?3) But here’s where it gets hinky. That opening invocation was heretofore given by any member of clergy, irrespective of connection with actual representatives. But that was recently changed by Rep. Chuck Strohm (R-Tulsa County), who coordinates the Chaplain of the Day program and who also puts the wing in wing-nut. (He once authored legislation calling on the state to ignore U.S. Supreme Court decisions it didn’t like.4) His new rule stipulates that the Chaplain of the Day must be a clergy member from a sitting representative’s congregation. Sounds innocuous enough until you realize there are precisely no legislators at present who are Jewish or—summon the Müezzin —Muslim. Only a cynic would think this has to do with that last part. Call me a Jew. I’m confident this is not about keeping rabbis off the Senate and House floors, but I’ll make you the Toby Ziegler bet—“All the money in my pockets against all the money in your pockets”—this has almost March 7 – 20, 2018 // THE TULSA VOICE

everything to do with keeping Muslim leaders out of the chamber. And how do I know that? Months back, Strohm refused to allow Imam Imad Enchassi to address the chamber, even after Rep. Jason Dunnington (D-Oklahoma City) invited him to do so. Enchassi then applied himself, and Strohm rejected that overture, too. I called Sheryl Siddiqui, chairperson, Islamic Council of Oklahoma, and asked for her take on this. “It boggles the mind that someone who ran for office by soliciting citizen support now spends his time sabotaging so many of those voters. Instead of addressing the needs of educators, the Department of Corrections, the elderly and disabled served by the Health Department and DHS, he has decided to marginalize and alienate tens of thousands of tax-paying citizens [with] spiritual paths different from his own.” Rabbi Emeritus Charles P. Sherman, D.D., of Temple Israel (full disclosure: my rabbi for 30 years and a dear friend), agrees. “There’s no reason to restrict prayer. You should allow members of any faith community to pray,” he said. Admittedly, Sherman says this change in procedure, like the bill mandating “In God We Trust,” is a “minor annoyance” and an inefficiency. “This is a waste of energy and another example of shifting the focus. They are elected to make the tough decisions; so, make them.” There’s something else at work. “When someone prays in a public setting in the name of Jesus,” Sherman said, “it excludes people who don’t believe in Jesus. And prayer should be inclusive.” Which brings us to remarks of Pastor Bill Ledbetter, pastor of Fairview Baptist Church in Durant, who addressed senators on March 1 at the invitation of Sen. Josh Brecheen (R-Coalgate). Feb. 14 (a young man) went into a school and killed 17 of our people, our kids. What is going on? What is going on? I’m asking the question. Do we reall y believe that we can create immorality in our laws? Do we reall y believe that we can redefine marriage from the word of God to something in our own mind and there not be THE TULSA VOICE // March 7 – 20, 2018

a response? Do we reall y believe we can tell God to get lost from our schools and our halls of legislation and there be no response? Do we reall y believe that?5

As we’ve said many times in these parts, we’re not all Christian—nor want to be. Before we end today’s episode, let’s return to the “In God We Trust” legislation and head to Florida, where an almost identical piece of dreck is being discussed. During the debate, its sponsor, Kimberly Daniels, a Jacksonville Democrat, who runs her own ministry—imagine that?—said, “It is not a secret that we have some gun issues that need to be addressed, but the real thing that needs to be addressed are issues of the heart.” 6 Is that right? What makes this not just annoying, but insulting, is that while this fatuousness was being passed 97–10, the Florida legislature rejected a motion, just a day before, to even discuss an assault weapons ban.7 There were survivors of Marjory Stoneman Douglas High School in the gallery when that bill was defeated. They did get to witness, though, the Florida House passing a motion that called for “education, prevention, research, and policy change to protect the citizens of this state” … from pornography.8 The students are now protected from tattooed lesbians on the internet but not from AR-15s that could rip their spleens and small intestines into shreds in the classroom. a

1) kfor.com: ‘In God We Trust’ measure passes Oklahoma Senate committee 2) time.com: How ‘In God We Trust’ Got on the Currency in the First Place 3) pewresearch.org: How religious is your state? 4) newsok.com: Oklahoma House passes resolution calling on officials to treat abortion as murder 5) nondoc.com: Preaching to Senate, pastor ties shootings with ‘immorality,’ gay marriage 6) cnn.com: Florida lawmakers advance a bill that requires ‘In God We Trust’ displayed on school grounds 7) washingtopost.com: Florida House refuses to debate guns, declares porn dangerous 8) flhouse.gov: House Resolution. A resolution recognizing the public health risk created by pornography

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Smokefree Policies: How does Oklahoma stack up to other states?

TOWN HALL

SCHOOL

Many surrounding states are protecting friends, families and loved ones from the dangers of tobacco and secondhand smoke. How? By passing smokefree policies. States like Kansas, Louisiana and Arkansas no longer allow smoking in worksites, bars and cars when children are present.

It’s time Oklahoma did too. Many Oklahomans support stronger tobacco policies. Do you? Let us know at StopsWithMe.com.

NEWS & COMMENTARY // 9

statewide

he 1921 Tulsa Race Massacre, formally known as the 1921 Tulsa Race Riot, has always been at the periphery of my upbringing as a black North Tulsan. It was common knowledge in my family that my great-grandfather, who lived well into my early 20s, was a survivor of one of our nation’s most tragic and racially-motivated massacres. However, it wasn’t really a topic open for discussion. Yes, it took place. But the shame and pain seemed to be his to carry alone throughout the remainder of his days. “Black bodies floating in the Arkansas River for as far as the eye could see.” I overheard this memory as a child when it was recounted to my mother by a survivor. There was no explanation for why the outburst of racial hatred was allowed to go to that extent. During the handful of times in my childhood that the massacre was explicitly discussed, there was only despair, head-shaking, and mutters of pensive powerlessness in response to our reflection on it. As the years went by, there were more concerted efforts in the North Tulsa community to begin the painful reclaiming of our narrative. I experienced my own personal reawakening alongside this dynamic. The culmination of this came during my first year of college. On campus, I attended a discussion about the massacre and was excited about the presence of this opportunity in the historically white space. However, I was saddened (but not shocked) that there was only one other black person at the event, and she was a Nigerian professor at the university. The validation of the massacre in the historically white academic space prompted me to actively embrace my history in a way I hadn’t before. The act of not independently embracing this history is indicative of a deep psychological binding that occurs in black communities: we subconsciously question and deny our own power and agency. In an impulsive, passion-filled gesture, I had my left wrist tattooed with the date of the massacre—a tangible connection

10 // NEWS & COMMENTARY

RECLAIMING A HEINOUS NARRATIVE Oklahoma’s new race ‘riot’ curriculum represents false progress by TIMANTHA NORMAN

(Above) Tulsa Race Massacre; (Below) Ruins after the Tulsa Race Massacre, June 1921 LIBRARY OF CONGRESS

and constant reminder of this buried history. Little did I know that I had accidently made myself a walking advertisement for the massacre. In multiple instances acquaintances, friends, and colleagues have seen this tattoo and, shocked, asked me to tell them more about it. The majority of them were white natives of Oklahoma.

I have always been painfully aware of Oklahomans’ ignorance of the massacre’s true story and devastation. There have been attempts in recent years to remedy this—the most immediate example is the new Tulsa Race Riot curriculum, recently released through the 1921 Tulsa Race Riot Centenni-

al Commission. Initially, it was refreshing to think of all the students statewide that would finally receive this knowledge. But once I saw Senator James Lankford at the forefront of the curriculum’s unveiling, I became suspicious. Lankford, who has supported many policy initiatives detrimental to communities of color, is a peculiar choice for the head of this effort. While a number of dedicated advocates and professionals are part of the commission, it simply gets tiresome to see black community leaders used as pure political capital by those with selfish interests at heart. Then there are the problems with the curriculum itself. While there are definite positives to the curriculum, like the inclusion of a survivor’s first-hand account of the massacre and the investigation of primary and secondary historical documents, it doesn’t go far enough. On the commission, there was a definite lack of educators and experts in primary/secondary education crafting this curriculum. There is a serious lack of academic rigor to the discussion questions and no mention of including the curriculum in high school Oklahoma history classes (which are required for all ninth-graders). Terminology related to racism and bigotry is excluded and the curriculum’s treatment of whether the event should be called a riot or a massacre is superficial, dismissive, and condescending. The inclusion of Sen. Lankford’s speech about the massacre on the Senate floor was the tepid icing on the conciliatory cake. The architects of the massacre did much more than they themselves ever envisioned. They gained added power by taking away the agency of black North Tulsans in speaking their truth about the massacre, which, in turn, perpetuated the claiming of the massacre narrative by those who stand to gain the most from falsifying it. Compromised progress is not at all real or sustainable progress. a March 7 – 20, 2018 // THE TULSA VOICE

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NEWS & COMMENTARY // 11

foodfile

A square meal at Moonsky’s: donut holes, french fries, and a Ca jun chicken and shrimp cheesesteak | GREG BOLLINGER

No time to waste Moonksy’s is fast-paced and full of regulars by MITCH GILLIAM

oonsky’s Cheesesteaks and Daylight Donuts sits at the corner of North Lewis Avenue and East Pine Street. Like its placement in the restaurant’s title, donuts are an afterthought for the Moonsky’s sandwich-loving regulars. And there are plenty of regulars at Moonsky’s. I popped by on a Wednesday to ask for a good time to chat. “Not right now,” the manager said. Between the torrent of register clicks, drive-thru dings, and shouted order numbers, it seems there is no good time to chat at Moonsky’s. It’s either a breakfast or lunch rush for the tiny shop from 9 a.m. until close at 3:30 p.m. During those hours, Moonsky’s Cajun chicken and shrimp sandwich reigns king. I repeatedly heard the words “chicken and shrimp”—at the counter, from the drive-thru window, and by the manager, who confirmed orders over the phone. In three minutes, I counted at least 10 orders for the Cajun combo. Naturally, that’s what I had to eat.

12 // FOOD & DRINK

A Cajun chicken and shrimp combo comes with the titular sandwich, fries, and a fountain or canned drink. Cans of Big Red are available if you’d like a horrible and confusing medicinal-meets-bubblegum-meets-soft drink situation alongside the excellent sandwich. It’s easy to see why the Cajun chicken and shrimp combo is such a hot seller. Or easy to taste why, at least. For starters, the bread is perfect. My girlfriend is a repeat offender at the shop and describes the bread as “divine.” She also says the sandwich is “juicy” and “the right spice temp.” A crunchy on the outside, soft on the inside baguette is stuffed with Cajunspiced chunks of chicken and shrimp. And it comes with a justright amount of mayo, provolone cheese, onions, lettuce, and tomato. (Beef sandwiches come with American cheese.) A sign at the counter explains what “everything on it” means and says you must be prepared to “order correctly the first time.” Shouts of “I’m the only one here!” and “I knew that was you;

how are you doing?!” through the drive-thru window underscore the frantic pace of Moonsky’s and the importance of ordering right “the first time.” They don’t have time to waste. The fries that come with the meal are above bad but fly under the radar of memorable. For pro status, buy a donut with your combo so the fries are just packing peanuts for what you’re shipping to your stomach. Remember what I said about the donuts being an afterthought? Well, they’re still fantastic—they’re Daylight Donuts. People might wait three hours at Hurts to get a donut stuffed with gummy worms, but a true Tulsan knows Daylight is capital-T donut Truth. Moonsky’s is one of 1,000 Daylight Donut franchises located in the U.S. (including Hawaii). Daylight Donuts was founded in Tulsa in 1954 by Tommy and Lucille Day, in hopes of making a lighter donut. With their last name and singular mission, success was as certain as their company’s moniker. But Moonksy’s is in the minority of these spots when it comes to their eclectic

menu—it stands out among the other franchises. The Cajun chicken and shrimp is the most popular item, but it is far from the only option. Their donut game is as strong as it is traditional, featuring bars, twists, and fritters sharing cabinet space with the trusty glazed life-preservers. In addition to donuts, Moonsky’s offers beef cheesesteaks (duh), po’ boys, croissant sandwiches, biscuits and gravy, Cajun pies, chicken (tenders and nuggets), sausage rolls, and eggrolls. I’m not sure if it would make you a genius or psychopath, but try ordering a cheesesteak on two bear claws instead of the baguette. But wait a minute—it would be negligent to skip Moonsky’s perfect baguette. Order a donut with your combo, but save the last bite of your sandwich for after you’ve downed the Daylight. The sandwich is the real dessert. a MOONSKY’S CHEESESTEAKS AND DAYLIGHT DONUTS 2216 E. Pine St. | (918) 599-8530 Mon.–Sat., 5 a.m.–3:30 p.m. March 7 – 20, 2018 // THE TULSA VOICE

THE TULSA VOICE // March 7 â&#x20AC;&#x201C; 20, 2018

FOOD & DRINK // 13

downthehatch

Jeni is Thelma’s New bar flaunts shabby digs in Kendall-Whittier by MITCH GILLIAM Thelma’s | GREG BOLLINGER

“W

hat are you fellas doing today?” Jeni asked as she served us two High Lifes. “Oh, just trying to raise some hell,” my friend said. “Y’all need any lessons in that?” she replied. Jeni has quips, and Jeni has a bar called Thelma’s. Thelma’s sits at the western edge of the flourishing Kendall-Whittier district. The area is home to the Circle Cinema, Fair Fellow Coffee, and Heirloom Rustic Ales, but after Daddy Dee’s Beehive closed, it’s been sorely lacking in sleaze. Thelma’s is here to fill that void. The bar rubs shoulders with Bill’s Jumbo Burgers, seeing the shack’s grease and raising ‘em suds. Jeni only serves low-point beers, but smoking is allowed inside. If that sentence didn’t get you gagging, Thelma’s is your spot. Jeni will serve “strong beer” in the future but says “liquor is against [her] religion.” This religion isn’t based in adoration of a deity but in aversion to “drunk assholes and bullshit.” Apart from the ashtrays and lawnmower beers are two pool tables, a dartboard, and a digital jukebox. The decorations are certainly eclectic: anime wall scrolls across the front windows, a bamboo bead curtain leading to the restrooms, a Christmas tree, 14 // FOOD & DRINK

an assortment of wire scorpion sculptures. A “heat and eat” convenience food menu is written on a classroom-size chalkboard next to RIPs and happy birthdays for Jeni’s friends. The most-played song on the jukebox is Brownsville Station’s “Martian Boogie,” and Jeni offers bowls of popcorn if you’re lucky. As Jeni says, “It’s, ya know ... a real bar.” With a currently limited beer menu, the main draw of Thelma’s is Jeni herself, owner and sole bartender who’s always quick with a lighter or fresh beer and who—as mentioned before—keeps a quip at the ready. On one somber afternoon, I popped into Thelma’s on my lonesome and stared at my phone in the un-jukeboxed silence. “What do you want to lose at today?” Jeni asked. She motioned to the dartboard and pool tables, shook a hand full of quarters, and said, “One dollar a lesson.” She racked, I broke, and she ran the table. “It’s called geometry,” she said. “Which I only know from pool, because I took auto shop in school for my math credit.” Jeni admits she’s a longtime bar fly and knows a real bar from a fake. She was a regular at Eleventh Street’s Chatterbox and tried to buy their analog jukebox before they became The Starlite Bar.

She has roots in and knowledge of old, deep dives like Christie’s and a finger on the pulse of the current scene. And Thelma’s isn’t Jeni’s first bar. She keeps a banner and billiard lamp in Thelma’s to commemorate her first bar, appropriately called “Jeni’s Joint.” The bar was open in West Tulsa from 1997–2000. For all intents and purposes, Thelma’s is simply Jeni’s Joint II, but she is keeping the name from the neon “Thelma’s” road sign out front, which she hopes to restore soon. Jeni also has stories, and her road from Jeni’s Joint to Thelma’s is paved with them. Before her beer license ran out, Jeni closed the Joint to the public several days early. “We’d been partying in the bar, drinking off the stock for about three days with the door locked, and I must’ve been out of my mind ‘cause I was carrying a baseball bat,” she said. A few “crack-slingers” tried to break in, and when she opened to accost them, they took her bat and, well, she ended up having her head stapled shut. A year to the day after, Jeni says she posted to reopen, but the project was shot down by neighbors who protested the morals. The ensuing years were spent bartending and helping manage

varying dives while saving up. By the time Thelma’s former owners closed shop in their increasingly hip district, Jeni had money saved to lease the place. Her location is enviable, but traffic has been light. She recently fixed a banner to the back of her truck and drove it around town to announce the “Grand Opening” of Thelma’s. Despite her hustle, two friends and I were the only customers at the ribbon-cutting. “All my regulars are either dead, sober, or at the golf bar,” she said. But Jeni has high hopes. She routinely books karaoke and is looking for bands to play. Last weekend I persuaded a friend to take her birthday party to Thelma’s on the way to Heirloom, and the group got to witness Jeni on her A-game. One beer bucket turned into seven, and Jeni kept the popcorn and laughter flowing. “I used to have a table-dancing goat,” she said. The phrase “don’t be fuckin’ with my goat” figures into that story—but you’ll have to go see Jeni to hear why. a

THELMA’S 2008 E. Admiral Blvd. 6:30 a.m.–When Jeni says so facebook.com/jenisjoint2017 March 7 – 20, 2018 // THE TULSA VOICE

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FOOD & DRINK // 15

downthehatch

housands of different grapes are used to make wine in hundreds of countries around the world. I work in a wine shop, and it’s my mission to help people find better wine for a good price. It’s hard work to develop a deep knowledge of wine and to be able to walk into a store or a restaurant, know what you’re looking at, and what to choose. But I’ve got some hot tips for you. First, let’s talk about grapes. When I think about what kind of wine I drink, I always think about agriculture. In winemaking, the grapes don’t get washed before they get pressed into juice, so if vineyards get sprayed with Roundup, you better believe there’s some Roundup in those wines. Sulfites in wine get blamed for allergic reactions, but only an extremely small fraction of the population has a sulfite sensitivity—pesticides are probably the problem if wine makes your nose stuffy and your throat scratchy. The tips: 1) DRINK GRAPES YOU HAVE NEVER HEARD OF FROM REGIONS YOU DIDN’T REALIZE MADE WINE. Blaufränkisch, Saperavi, and Agiorgitiko. What do these three words have in common? They’re all grapes, and excellent wines from these grapes can be found (maybe not in Tulsa, unfortunately) for around $25. The biggest reason: supply and demand. Cabernet Sauvignon, Chardonnay, Pinot Noir, and some others are in high demand, but lesser-known grapes are often cheaper and offer better quality per dollar than those with household names. Also try wines from countries you don’t think of as winemaking hubs, like Hungary, the Czech Republic, or even Mexico. 2) PAY ATTENTION TO THE BACK LABELS. The way wine makes it into the U.S. is complex, and many different companies import wines. When I started getting interested in wine, I noticed I was more

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knowledgeable and brings in surprising products. And then there’s Emily at Ranch Acres Wine & Spirits (3324 E. 31st St.), who seems infinitely curious and, in addition to possessing a badass knowledge of wine, knows lots about beer, too. Talking to these folks about what they like to drink or what they’ve been surprised by recently is a good way to start expanding your tastes and having more confidence in the wines you buy.

Beaujolais at Ranch Acres Wine & Spirits, 3324 E. 31st St. | GREG BOLLINGER

HOW TO PICK BETTER WINE—BETTER A buying guide for the liquor store and restaurant by JENNY EAGLETON likely to enjoy wines from certain importers. Every importer’s portfolio tells a story about their taste and focus. I tend to drink wines from importers who focus on clean, pesticide-free farming and have plenty of wines from somewhat weird regions. Some of my favorite importers available in Oklahoma include Grand Cru, Skurnik (and their Terry Thiese portfolio), Jenny & Francois, Martine’s, and T. Edward. All these folks have stellar and smart wine collections. Look for their logo on the backs of the bottles.

3) TALK TO CLERKS. I’ve learned the most by asking people who know more than I do open-ended questions. There are some excellent shops run by excellent people in Tulsa. The two wine buyers at the original Parkhill’s Warehouse Liquors & Wine (2432 E. 51st St.) are Dave and Milton. Their knowledge is deep and their taste excellent. Between them, these guys seem to have tasted at least 98% of the wines they carry (which is rare in the constantly changing wine world). Steve at Old Village Wine & Spirits (1327 E. 41st St.) is

4) SPEND A COUPLE MORE (OR FEWER) DOLLARS MORE WISELY. This seems kind of obvious, but it’s more complicated than that. My sweet spot for really good wine is $17–$40. If a wine costs more than $40, it’s worth it if it’s Champagne, if you intend to age it and you’ve selected an age-worthy wine (maybe with the help of a knowledgeable clerk), or if you’re buying that particular wine for a very specific reason and know exactly what you’re getting because you’ve done your homework. Otherwise, you should never feel like you need to spend more than $40 on a bottle of wine. The $17 mark might sound random, but it’s what I’ve settled on after working in wine for a while. I’ve found that wines that are grown organically and hand-harvested (no birds or squirrels crushed in the making of the wine; also, better quality fruit because humans are smarter than machines … for now) almost don’t exist below that price point. There are rare exceptions, both above and below. Below $17 there are some whites from the Loire Valley (hello, Muscadet!), occasionally some decent Riojas and other Spanish wines, good Beaujolais, and solid Italian wines from all over, among others. California is a bad place to look for wine that is well-made and cheap—sad but true. There are rare exceptions, like the wines that Kenny Litiprakong makes under his labels Folk Machine and Hobo. Ultimately, you should drink what you like, but it never hurts to learn more about your options. a March 7 – 20, 2018 // THE TULSA VOICE

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March 7 – 20, 2018 // THE TULSA VOICE

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Peppers Grill and Cantina will celebrate its 40th anniversary in March. The restaurant, which opened on March 18, 1978, at the original East 61st Street and South Sheridan Road location, is now located at 1950 Utica Square and 2809 E. 91st St. The restaurant, known for its casual atmosphere, friendly service, and homemade Tex-Mex and Southwestern food specialties, will celebrate the anniversary March 12-18 with 99 cent margaritas each day and night and half-price appetizers each day from 4-6 p.m. Pictured are: Felipe Jesus Rodriguez, kitchen manager at the Utica square location and a 20-year Peppers’ employee; Tasha Barley, general manager at Utica Square and a 25-year employee; co-owner and co-founder Rick McFeely; Amanda DeLaTorre, general manager at the 91st Street location and an employee for 29 years; and Maria Elzy, prep cook at Utica Square and an employee for 30 years. Not pictured is co-owner Rik Helmerich. The founders of Peppers in 1978 were McFeely, Nick Samara, Don Jones and the late Fred Zimmer.

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www.guthriegreen.com THE TULSA VOICE // March 7 – 20, 2018

FOOD & DRINK // 19

RITE OF PASSAGE GREG BOLLINGER

SOME OF TULSA MUSIC’S FINEST SHARE FIRST CONCERT MEMORIES

KB HUBER MUSICIAN, BOOKING MANAGER AT THE COLONY

BY TTV STAFF

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COURTESY

CHRIS WILLIAMS PRODUCER, PHOTOGRAPHER, AND VIDEOGRAPHER WHO: It was a jams fest. It had Three 6 Mafia and Trina. I really don’t remember who else was there at all because those two acts pretty much took over. WHEN: I was young. That was back when Three 6 Mafia had all the songs that would make people fight. It had to be ‘94, ‘95. WHERE: Birmingham, Alabama WHY WAS THIS THE FIRST? I probably went to a Christian concert with my mom before … probably a revival or something. But I guess my cousin wanted to take us. The radio was real big in Birmingham. That’s who brought the concert to the city. And it was all-ages. So, I went with my cousin Terry. HOW WAS IT? It was so packed. That was the first time I could see how music influenced people directly. It was cool until they started playing their song, “Put ya sign in his face, gang sign in his face, make ‘em fight.” Everyone was throwing their signs up, their flags up, and there was a fight. I was like “Damn! That’s exactly what the song just said to do.” So that right there let me know that music can get you messed up. WHAT IMPACT DID IT HAVE ON YOU? Knowing how influential music is. It led me to be interested in music. We can literally talk over a beat and make someone want to do that, or feel that way, or console them. Music is, I feel like, one of the most important things we know about in the universe. As far as what people can convey through music, it’s one of the most powerful things. It hits your spirit different.

ANNIE ELLICOTT JAZZ VOCALIST, INTERDISCIPLINARY ARTIST

JEREMY CHARLES

We’re proud of our city’s rich musical history, and this month we’re celebrating the sounds of Tulsa (not the beeps of construction equipment; not those late-night train whistles). We asked local music industry folks about their intro to live music— here are their reﬂections on their ﬁrst dips into the baptismal font.

WHO: Rammstein. Some friends and I did the classic Detroit Rock City thing—lied to our parents, told them we were at each other’s houses. WHEN: 1997 WHERE: Cain’s WHY WAS THIS THE FIRST? There was the grunge thing at that time—Edgefest, Birthday Bash, Reggaefest, a ton of festivals. The Edge was a big deal. We were still calling in and requesting songs, sitting there listening for the next hour to see if they’d play them. Radio was a big deal. HOW WAS IT? I became hooked on live music. They had these pyrotechnics—there was a metal mask beak thing shooting ﬂames, there were ﬂames on the guitar. I’ll never forget it. WHAT IMPACT DID IT HAVE ON YOU? It was the start of the path I took to get me here today, and I work at the Colony now, so I guess it stuck with me.

WHO: My first big one was Steely Dan. WHEN: I was 15 or 16. WHERE: Dallas WHY WAS THIS THE FIRST? Went with my friend Audrey Downing, now Audrey Frampton. My brother lived there, my parents drove, and we all went. Audrey and I got away, and an older Italian stallion offered us beer. HOW WAS IT? Really fun. The sound was great, and the musicians were amazing. It sounded just like the album, which was impressive. I particularly remember “Razor Boy” and “The Boston Rag.” I was flippin’ out over that one. Audrey and I had short hair, and everyone thought we were a couple. WHAT IMPACT DID IT HAVE ON YOU? It was really awesome. I definitely wanted to be a Steely Dan backup singer. That was my big dream as an adolescent. I don’t know that the show brought me any epiphanies, but I think I realized I was basically one of the only people my age who liked Steely Dan. People in their 40s to their 60s were ruling the roost. The other thing I was into was big band, so my music-loving peers were all either 80 or 60. March 7 – 20, 2018 // THE TULSA VOICE

TERESA KNOX OWNER, THE CHURCH STUDIO

COURTESY

WHO: Elton John WHEN: I was thirteen, so that would’ve been 1982. WHERE: It’s the Cox Business Center now, but back then I think it was called the Tulsa Assembly Center. WHY WAS THIS THE FIRST? Well, I had an opportunity to go with a friend. I was exposed to him when I was eight. I had his Goodbye Yellow Brick Road piano book. I played it with my ﬂute and I memorized the entire book. It’s a fantastic album. It was so cool. And to this day it’s probably one of my favorite albums. I played it for years and still have the book. HOW WAS IT? It was really good. It was when he had a different album out. Different from his previous rock sound. He played old and new songs. He had a different look then, too. He’s such an amazing performer and one of my favorites of all time. WHAT IMPACT DID IT HAVE ON YOU? It really set the standard high. I’ve been to hundreds of concerts since then. It had a huge impact. Seeing a performer live and getting to engage with them from a live audience perspective was profound for me. To this day I see a lot of concerts. Music is a critical part of my life. To see someone as amazing as Elton for your ﬁrst concert really inspired me. And his relationship with Leon Russell—that made it that much sweeter. I saw them together in 2010 at the BOK Center. And I already have tickets to Elton’s concert in February 2019.

STEVE RIPLEY PRODUCER; SONGWRITER, GUITARIST, AND VOCALIST, THE TRACTORS; FORMER BOB DYLAN GUITARIST

KELLY KERR

WHO: The Dave Clark Five WHEN: I was 14 or 15—‘64, ‘65. WHERE: The old Municipal Auditorium in Oklahoma City WHY WAS IT FIRST? Slightly complicated answer because [before Dave Clark] I look to what was really a dance at the OSU Student Union [as my ﬁrst concert]. My mom took me to see Jim Edgar and The Roadrunners. Jim Edgar was from Perry. Fifty-plus years later, I still believe Edgar was one of the greatest singers ever from Oklahoma. Fabulous band. It was more of a ‘concert’ to me than a dance. That night changed my life—at least a little. HOW WAS IT? Girls screamed. The sound seemed perfect. The opening act [for The Dave Clark Five] was an Oklahoma City band called Jerry Fisher and The Nightbeats—an R&B sort of band with horns. They opened the whole night with a horn-based instrumental called “Virginia Woolf.” Blew my mind (so to speak). Fisher was also a phenomenal singer and eventually sang lead with Blood, Sweat and Tears. WHAT IMPACT DID IT HAVE ON YOU? That night was life-changing. It just couldn’t have been better. Dave Clark Five’s song “Bits and Pieces” is hard to beat, still. The Nightbeats were an entirely different thing, but also life-changing, and probably at the heart of why I wanted a horn presence with The Tractors.

MONICA TAYLOR GUITARIST AND VOCALIST, CHEROKEE MAIDENS AND SYCAMORE SWING

VICKIE FARMER

WHO: Sanders Family Bluegrass Festival—it would have been Bill Monroe and the Osborne Brothers. WHEN: I must’ve been in third grade. WHERE: McAlester WHY WAS THIS THE FIRST? I always loved music and sang along with my mom in church. My dad would always sing Bob Wills songs to me and would make sure I could sing them correctly. They gave me a guitar and started to take me to festivals. HOW WAS IT? This was a great one. The festival was on a mountain, in a real pretty spot in McAlester. WHAT IMPACT DID IT HAVE ON YOU? After, I wrote, in my third grade handwriting, the titles of songs Bill Monroe sang. I just wanted to learn them. Now I have the Western swing band the Cherokee Maidens & Sycamore Swing with Shelby Eicher, and we do those old songs. What you do for your kids early in life makes a difference.

DAVID TEEGARDEN OWNER AND PRODUCER, TEEGARDEN STUDIOS; DRUMMER AND VOCALIST, TEEGARDEN & VAN WINKLE

GREG BOLLINGER

WHO: There were two—one was Elvis Presley. Then Dave Brubeck. WHEN: Elvis Presley: 1956. Brubeck was a little after that, I think. WHERE: Elvis was at the Tulsa Fairground Pavilion; Brubeck was at the Tulsa Convention Hall, which is now the Brady Theater. WHY WAS THIS THE FIRST? For Elvis, I suppose because my older sister had an extra ticket, and my mother was a single parent. My father passed away just before I was born, so I was left with my sister to take care of me after school. It was probably a Thursday night. My mother worked at Vandevers, in the book department, and I think on Thursdays it was open later. So my mother wouldn’t come home until evening, and I suppose my sister was stuck with me. HOW WAS IT? Elvis Presley was pretty amazing. Hard to hear the music for all the screaming. Dave Brubeck was incredible. I loved it. WHAT IMPACT DID IT HAVE ON YOU? Elvis Presley: It was ironic because he had a trio backing him up—bass, guitar, drummer—and Scotty Moore was a guitar player I worked with in later years with Teegarden & Van Winkel. Dave Brubeck: I fell in love with jazz hearing him with his infamous quartet. a THE TULSA VOICE // March 7 – 20, 2018

FEATURED // 21

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March 7 â&#x20AC;&#x201C; 20, 2018 // THE TULSA VOICE

MIKE GILLILAND AND CONOR ROBB OF AUGGY REED STUDIOS EMPOWER MUSICIANS AND MAKE LOCAL ALBUMS HAPPEN BY DAMION SHADE PHOTOS BY MELISSA LUKENBAUGH

Hosts with the most THE TULSA VOICE // March 7 â&#x20AC;&#x201C; 20, 2018

Adrienne Gilley (front) and friends; from left: Peter Tomshany, Christopher Foster, Steve Beard, Mike Gilliland, Rachel Bachman, Conor Robb

FEATURED // 23

“Drink some wine and eat some food. You just sat and ate with us … and we all went and smoked our cigarettes, and now we’re all going to come in at the same time and sit down like freaking church and watch a band perform something beautiful.”

24 // FEATURED

Mike Gilliland

IN 1966, BOB DYLAN RECORDED HIS classic album Bringing It All Back Home, an RCA recording that featured a talented group of session players who’d never heard any of the songs before. They learned and tracked the album, live, right onto tape. On one track you hear Dylan mess up and laugh just before the band kicks in full-steam. Prior to the age of plugins, micro-edits, and autotuning, that’s how many records were made. Tulsa is experiencing a small resurgence of producers and artists interested in making records the old-fashioned way. Adrienne Gilley (Green Corn Rebellion, Grazzhopper) is one such artist, and she’ll release her ﬁrst solo album at a special dinner event on Sunday, March 11 at Auggy Reed Studios. Gilley’s new album sounds like a folk record from another time. It’s a sparse acoustic affair emotionally centered on her soft, plaintive voice. The sound is reminiscent of those of bands like the Innocence Mission, The Weepies, and ‘70s crooners like Carole King. The songs are immensely personal. “I ended a twenty-year relationship at the end of 2015,” Gilley said. “I was married for 18 years, and I hadn’t re-

ally been alone before as an adult. So, it was really painful, and it was really eye-opening. It was an experience I needed to have. Lots of people have been through it, you know? So, I did that divorce thing, being on my own for the ﬁrst time. I think the writing of these songs really helped me—even just hearing them at a later date after I’d written them.” The album is littered with aphorisms Gilley invented during this season of grief, truths she often repeats like quiet mantras. On the opening track she begins abruptly singing, “This boat’s not big enough for two … You looked like the perfect ﬁt. Honey, I need oxygen.” She explores lots of life in these phrases. At times, Gilley sings like she’s trying to convince herself that these words are true. And at times the truths rain down like a torrent: “Shine a light into your own heart” or “Take your medicine and try to sleep in the grownup bed. It’s not the goodness you’re attempting to shed.” Perhaps the most devastatingly honest words appear on the track “Just Don’t”: “Don’t cry. Don’t need. Don’t show regret. Don’t expect. Don’t question. Don’t ask. Don’t need March 7 – 20, 2018 // THE TULSA VOICE

Conor Robb inside Auggy Reed Studios

someone to fall, to fall into.” Her songs are hard-fought instructions for life. Gilley credits Mike Gilliland and Conor Robb, the founders-owners-producers of Auggy Reed, for making this record happen. “Mike Gilliland actually made these song selections,” Gilley said. “I gave him creative control of that because I don’t particularly enjoy listening to recordings of myself most of the time. I don’t hate it. I just wanted someone else’s ears to decide. Especially [in] picking the songs apart to decide which one is good enough or whatever. “Mike encouraged me to do this as a gift to people who have supported me. I haven’t had much fun recording before because I just don’t have enough experience. That’s all it is. So, I’m getting more experience now at a really comfy, nurturing environment at Auggy Reed.” Auggy Reed Studios, which opened to the public in 2008, has become a sort of home base for indie folk artists and garage rock acts in Tulsa. Touring bands often ﬁnd a warm meal and a place to crash there. The studio also hosts intimate dinner music events like Gilley’s upcoming album release. THE TULSA VOICE // March 7 – 20, 2018

Taking a cue from the old ‘50s recording model, Auggy Reed offers an affordable one-day song production with a session band. “Sun Studios in Memphis inspired us on the flat-rate thing,” Robb said. “We went on a little tour of the studio while we were on tour with our band the Dull Drums. They told us Sam Phillips [the producer who discovered Elvis, Johnny Cash, and Howlin’ Wolf, to name a few] used to have a four-dollar deal right after he opened. You come in. You basically had an allotted period of time. You paid him four dollars and walked out of there with a song on acetate record. Depending on the time it took, sometimes they’d do two.” “We call ourselves the Flat-Rate Band—Conor’s on drums and I play bass,” Gilliland said. “Then we flesh it out. It’s 70 dollars, and we have twoand-a-half hours. One-hour practice, one-hour recording, and 30-minute mix-and-master. Then out the door with a CD. There’s no limit, other than time. The people I’m seeking are songwriters that have little to no confidence in how good they are. They’re people I’ve seen playing at open mics and they’re just killing it in their own

private world. Then you talk to them, and they just don’t believe they can do anything more.” Perhaps this is why Auggy Reed Studios seems less like a house and more like a recording space where people happen to eat and sleep. Gilliland’s brother, Rich, started renovating the old white house in South Tulsa into a recording space back when he was a minor Christian rock star in the early 2000s. The narrow hallway from the front door to the living room is full of old pianos, organs, random vintage instruments, and tape machines. The living room is basically just a network of soundproof partitions, mic stands, guitar amps, and usually at least one drum set surrounded by furniture. The tight space can only ﬁt about twenty-ﬁve to thirty people at a house show, making each one a particularly intimate and unique DIY affair. Making the events feel like a Sunday family dinner is deliberate, but Gilliland and Robb both have greater long-term aspirations—namely, to grow into a bigger space. “Doing events here is testing our process of live recording to see if it really works,” Gilliland said. “The hope

is to get a captured live recording and a real experience … Eventually we need a venue. All of this stuff is a cry for something bigger. I think of a place like the Tulsa Little Theatre.” But at the end of the day, for Robb and Gilliland, the communal aspect of the process is what they’re aiming for. “[We] get everybody who’s gonna watch the show and perform in the show together to have a community moment,” Gilliland said. “Drink some wine and eat some food. You just sat and ate with us … and we all went and smoked our cigarettes, and now we’re all going to come in at the same time and sit down like freaking church and watch a band perform something beautiful.” a

ADRIENNE GILLEY ALBUM RELEASE WITH SPECIAL GUESTS ECHOES AND COPYCATS Auggy Reed Studios Sunday, March 11 6 p.m. dinner, 7 p.m. performance $20 for dinner and the album Tickets at adriennerosanne.bandcamp.com FEATURED // 25

HOW THE BOB DYLAN ARCHIVE, CENTER, AND INSTITUTE WILL FOREVER CHANGE THE WAY WE SEE THE BARD BY MASON WHITEHORN POWELL PHOTOS COURTESY OF THE BOB DYLAN ARCHIVE

26 // FEATURED

Ne dir ho March 7 â&#x20AC;&#x201C; 20, 2018 // THE TULSA VOICE

n October 23, 2016, Bob Dylan met George Kaiser at the Woody Guthrie Center. Ten days earlier, it had been announced that Dylan was to receive the Nobel Prize in Literature. Dylan was silent about the honor, but in Tulsa he had time to meet the man who purchased his archives and pay tribute to the legacy of Guthrie. “At the same time the Nobel Committee was looking for Dylan, he’s hanging out at Woody’s place,” said Deana McCloud, executive director of the Woody Guthrie Center. “Something about that just seemed right.” Along with Kaiser and McCloud was Michael Chaiken, curator of The Bob Dylan Archive, who splits his time between New York City and Tulsa.

ew rection ome

Dylan spent around 45 minutes at the Center, enjoying both the gallery and archival materials. One item that caught his interest, according to McCloud, was “Weegee’s People,” a photobook that Guthrie had annotated with snarky comments. McCloud showed Dylan the doors to Greystone Park Psychiatric Hospital in New Jersey, which were salvaged and sent to the Center before the hospital was demolished in 2014. A young Dylan had walked through those doors to meet Guthrie for the first time in 1961. “Seeing that realization of what those doors were, was really impactful,” McCloud said. “It was interesting to see the reaction, and I think that meant a lot to him.” McCloud plans to have the lead paint on the doors sealed and to put the items on display so patrons can pass through just as Guthrie and Dylan once did. In addition to paying tribute to Guthrie, there Dylan saw how Guthrie’s archives had been treated. Kaiser purchased the archives in 2011 and built the Woody Guthrie

THE TULSA VOICE // March 7 – 20, 2018

Center in 2013. The George Kaiser Family Foundation (GKFF) has a similar plan for The Bob Dylan Archive. The Bob Dylan Center (BDC) is scheduled for completion in 2020. It will be located near the Woody Guthrie Center in the Tulsa Arts District, will feature a rotating display of print and digital materials from the archives and a rotating exhibit space, and will host community events. “We really want to drive home the fact that this is first and foremost a civic project for Tulsa and the surrounding community,” Chaiken said. “So much of the work we’re doing here has to be driven by the interests of people in Tulsa and the surrounding area, because we want people to come back.” Chaiken described plans for an upcoming program that will bring prominent musicians, entertainers, politicians, and public figures to Tulsa leading up the launch of the BDC. These 120-plus individuals will spend time with the archives, engage in community events, and write personal statements about what Dylan means to them. “[The BDC] isn’t so narrowly focused on Bob, his life and his career,” Chaiken said. “Bob intersects with all sorts of other disciplines and influences, things he’s taken in and things he’s influenced—you can make a pretty convincing case that all these other areas are somehow tied to Dylan and his work.” The BDC will be a space for the public to interact with curated archival materials—carefully selected from an estimated 45,000–50,000 photos, thousands of hours of audio and video from studio master tapes and live shows, thousands of pages of Dylan’s writing, and ephemera, with more items on the way. The Helmerich Center for American Research at the Gilcrease museum will permanently house these items. It’s important that the BDC will allow the public a space to appreciate these items, because the archives are strictly for serious research purposes. While the archives are the anchor and catalyst for the BDC, they will do more for Tulsa than bring tourism. The Bob Dylan Archive gatekeeper is Mark A. Davidson, librarian and head archivist. He works closely with Dylan’s office FEATURED // 27

in New York on the digital archive, processes physical materials, and is instituting a metadata-driven archival management system to make the collections usable for researchers. Davidson estimated that, including photos and posters, there are roughly 60,000 physical items and around 100,000 digital items in the archives. A third version of the finding aid is accessible on The Bob Dylan Archive website (bobdylanarchive.com), to give one some idea of its contents, but Davidson is working beyond that to make related items interconnected across Dylan’s career. “I’m looking to drill down to make connections that archives aren’t normally able to make,” Davidson said, “which is item-level subject tagging, so that all of the materials are working together in a way I couldn’t do if I worked at a traditional archive with numerous collections.” Both Chaiken and Davidson mentioned the freedom that working with GFKK has provided them, which is unusual in the archival world. The money is there, and many important decisions are made quickly and unanimously without much red tape at all, fast-tracking the opening of the Archive. The University of Tulsa partnered with GKFF in the acquisition of the Archive from the beginning. Sean Latham, TU’s Walter Endowed Chair of English, and Brian Hosmer, the university’s H.G. Barnard Chair in Western American History, are the directors of the TU Institute for Bob Dylan Studies. Latham taught an undergraduate class on Dylan that coincided with the archive announcement, and he felt strongly about the importance of TU’s taking up the mantle of Dylan research in Tulsa. All of the research done on Dylan and the many volumes published about his career have all been completed without the help of the archives now located in Tulsa. The new materials will allow for research into uncharted territory. The Institute hosted its first research symposium, “Dylan in the Classroom 2018,” February 9–10, which was open to the public. Speakers discussed their integration of Dylan and other American pop musicians into various curriculums, including for Tulsa Public Schools special education 28 // FEATURED

classes and university courses in U.S. history. The study of Dylan provides a teaching method that contextualizes historical events and touches on important social issues. The Institute will host conferences, provide research fellowships, and publish a journal related to Dylan broadly exploring the impact of American pop music in the wake of the radio. “What our job is, as a research institute,” Latham said, “is to encourage and support the academic research into Dylan that will lead to big projects down the road.” Dylan is a well-known name the world over, but few know about his life beyond his music or understand the compositional methods that give his lyricism such depth. Academic research is what supports projects such as biographies, documentaries, and books about music, and these are what ultimately shape the public consciousness of writers and musicians beyond their albums and performances. Tulsa is where Dylan will be both memorialized as a cultural figure and entered into the academy. “Even as Dylan was making his music … at least by 1971, 1972, there was a recognition that this was a major creative figure, not just a musician, that his lyrics were unusually poetic,” Latham said. “That what makes Dylan Dylan is the fact that he brings a kind of poetic sensibility largely born out of the Beats—but with some global influences, particularly from modernism, writers like Rimbaud and so forth … and a particular orientation, I would say, towards history. Dylan [was] working deep into the folk tradition, reprocessing it in the same way that Joyce went back and reprocessed Homer as well as Flaubert. [This] makes this work particularly rewarding, in the same way that studying “Ulysses” is rewarding, because you find all of this intertextuality and reference and history all imbedded within one book. You find the very same thing in Dylan’s lyrics.” With the Guthrie and Dylan archives, Tulsa is an American music research capital. Soon, fans will be able to explore both Centers in a single day. Just as Guthrie, the Beats, and Rimbaud inspired Dylan, Dylan will now inspire us even more directly. a March 7 – 20, 2018 // THE TULSA VOICE

games

he Victorian style gold lettering on the facade of Eleventh Hour Enigma entices. Follow the clues. Solve the mystery. Unlock the mystery. Beat the clock. You definitely want to know what’s going on inside. Eleventh Hour Enigma is an escape room—an immersive, crime-thriller experience in which participants play detectives using clues to solve puzzles before a bomb takes out downtown Tulsa. The room, called Tulsa Time, is Tulsa-themed, so brush up on your local history beforehand. You will also need “a logic person, a math person, and a thinking-outside-of-the-box person, for your dream team,” said co-owner Mel McCelvey. For some, escape rooms function as a fun activity that brings people closer. For others, they offer an actual escape from technology and social media, a way to interact in the real world. There’s also the novelty of something more challenging than a night out at the bar, seeing the same folks, and hearing the same songs on the jukebox. Eleventh Hour Enigma celebrates curiosity, adventure, and friendship. Escape room enthusiasts are also close cousins to haunt enthusiasts. In fact, they share the same trade show, TransWorld Halloween & Attractions show in St. Louis, each year. “When escape rooms first started out, most were just an office building and one regular room,” said McCelvey. Eleventh Hour has definitely raised the bar. Even the instructional video room is decorated with Art Deco, Victorian, and steampunk artifacts. From marbled floors to gold-framed blueprints of various gizmos, everything has been thought out, especially the puzzles. For those of you who consider yourselves escape room experts, this isn’t an easy one. Don’t despair—each group gets a game master who will give as many or as few hints as required. A tip: You will need hints. Eleventh Hour has only been open a short time, and only a dozen or so THE TULSA VOICE // March 7 – 20, 2018

RIDDLE ME THIS Tulsa’s eleventh hour by KRIS ROSE

Eleventh Hour Enigma, Tulsa’s newest escape room | GREG BOLLINGER

groups have gone through. So far, no group has escaped! (By which I mean beaten the room. Eleventh Hour Enigma does allow you to leave.) If this cranks up your desire to be the first to solve the room, you can book Wednesday–Sunday (Mondays and Tuesdays are by private appointment only). You will have one hour to solve the room, which seems like plenty of time—until you look up and realize you only have twenty minutes left to solve the remaining puzzles.

McCelvey and her husband and co-owner Darby Thomas hope to eventually have three to four escape rooms. If their Tulsa Time room is any indication, forthcoming rooms should be amazing. The next will be based on the famous Sarah Winchester house, which legend holds was kept under constant construction because of Winchester’s belief that supernatural forces would come after her due to the many deaths caused by Winchester rifles. Others say the building was one giant Masonic

puzzle. McCelvey and Thomas are running with the latter theory. The possibilities are endless, so this room—located in the same building—will be bigger and badder than Tulsa Time and should be completed in 60 to 90 days. To prepare, you might want to hone your skills with a few other local escape rooms. Escape Hatch in Bixby (escapehatchbixby.com) has five different rooms, including a football game delayed by an ice storm, a biker gang robbery heist, and a virus outbreak. The Escape Tulsa, located at West 15th Street and South Carson Avenue, features four rooms of varying difficulty. There’s a murder to solve, an antidote to find, a spy to expose, as well as terrifying experiments to put a stop to—if you have the skills. With names like Abandoned, Crypt, Homicide, and Cabin, there’s variety as well as haunt elements for lovers of the macabre at The Safehouse in South Tulsa (4444 E. 66th St. #200). Lastly, there’s Key Quest (2909 S. Sheridan Rd.). It shares a building with Laser Quest and is probably the best choice for young players. They offer three different rooms, one of which is detention-themed, something that probably hits close to home for school-age participants. If you feel up to a road trip, the owners of Enigma gave a thumbs-up to OKC’s The Sanctuary Escape Games. They especially liked The Lost Dutchman’s Mine. McCelvey said after an hour of play, “I literally felt like I was in a mine.” Their La Famiglia room has a Mafia theme, perfect for the wannabe mobsters in your group, or maybe your granny who wears a lot of tracksuits. But before you go anywhere else, test your skills at Eleventh Hour Enigma. a

ELEVENTH HOUR ENIGMA Wed.–Thurs., 4–10 p.m.; Fri.–Sat., 10 a.m.–11 p.m.; Sun. 11:30 a.m.–8 p.m. 1325 E. 6th St. | 918-382-0005 eleventhhourenigma.com Tickets $20.50 per person ARTS & CULTURE // 29

bookworm

Cultivating imagination ‘Fisherman’s Blues’ is an immersive journey into Senegal by ZACK REEVES

ff the coast of Senegal, Anna Badkhen was along for the ride—a long boat ride. In the hull of the pirogue (an artisanal fishing boat), the fishermen she rode with stored a brazier and coals to heat water for tea on cold trips. When the men became peckish, they reached down into the sea, pulled out a fish, and cooked it on the coals. “You don’t need any spices,” Badkhen told me. “You don’t need any salt. It tastes divine.” It’s a certain kind of divinity that the Tulsa Artist Fellow and former war reporter details in her newest book, “Fisherman’s Blues,” out March 13 from Riverhead Books. The book comes from Badkhen’s experience living and fishing with the people of Joal, Senegal, the largest subsistence fishing port in West Africa. The narrative is lush, present, and full of colors and textures. When Badkhen describes the wobbling she feels walking on land after a long boat ride, the narrative wobbles with her. Readers follow as she hauls a net over a pirogue’s bow, as she rises early to eat breakfast with the fishermen, and as she slices 20 pounds of potatoes alongside other women for a feast. “Try cutting that many potatoes sometime,” she challenged me. “It does amazing things to your thumb for about a year. My thumb is still recovering its dexterity from that. But that was my job; it was a woman’s job.” Life in Joal is highly gendered: Only men fish, spending time away from their multiple wives, while women stay on land to cook, clean, and raise the children. Badkhen lived between these two worlds, fishing one day and suds-

30 // ARTS & CULTURE

Anna Badkhen | KAEL ALFORD

ing the back of someone else’s child the next. The generosity of her hosts, she said, helped her bridge that gap. That and curiosity. “I like to think that curiosity is mutual,” she said. “That curiosity about my story exists: ‘Who is this person? Why is she doing this? Why does she want to be doing this? Let’s find out.’” The book, too, seeks to bridge a certain gap: that between the Global South and the Global North, terms emerging—and replacing those some deem inappropriate (First World, Third World)—to describe the economic realities of countries below and above a certain level of poverty. To Badkhen, it’s all about accountability.

“Sharing stories of my hosts, my friends, and my fellow crewmen is another way for me to bring the world to accountability. To bring you and people who read my books to a sense of responsibility—personal responsibility— for how we treat the planet and other people on it.” She points out that the overfishing on the African coast comes not from Africa’s artisanal fishermen, but from illegal and unregulated fishing trawlers from Europe and Asia. “They’re vacuuming up the fish from the sea,” she said. “And a lot of that fish ends up on tables in the Global North.” The book is fascinating and thorough, with reminders

throughout of slavery and colonization’s influence on Senegal. For instance, we learn that prickly pear, a cactus native to the Americas, grows along Joal’s coast. We also see fishermen eating po’ boys, pain au chocolat, and beignets for breakfast—and that the peanuts the Portuguese brought in the 16th century have overtaken the harvest there. The sea off Senegal contains “maroon seaweed … that clarifies your beer and stabilizes your toothpaste” and “the bones of people who didn’t make it across.” It can be easy, Badkhen said, to dissociate oneself from faraway cultures. “James Baldwin called it ‘the guilty and constricted white imagination,’” she said. “I’m using ‘white’ here to describe a privileged chunk of Americans, regardless of skin tone, but definitely the white Americans who have a lack of desire to commit acts of imagination about how someone who is not like them might experience the world.” The corrective to that, she suggests, is the kind of curiosity and generosity that her hosts in Joal afforded her. “Imagine,” she said. “Imagination can be cultivated. Imagine that you’re walking down the coast in the evening, when the pirogues have come in, and you hear a young man doing jumping jacks and rapping an American song in a language he doesn’t speak. Imagine how connected we are.” a

“FISHERMAN’S BLUES” RELEASE PARTY Mon., March 19, 7 p.m. Living Arts of Tulsa 307 E. M.B. Brady St. March 7 – 20, 2018 // THE TULSA VOICE

community

fter the contentious 2016 election, Sofia Noshay wanted to do something to help bring the Tulsa community together. So, she came up with a social enterprise idea, Jujuu, which highlights local businesses doing good work. “There seemed to be a lot of negative energy at the time,” she said. “The idea was to provide opportunities to raise money and then be able to donate it back to the Foundation for Tulsa Schools and public education in Oklahoma.” What originally started as the selling of greeting cards has transformed into the giving of boxes filled with products from social enterprises and nonprofit organizations. “We honed in on doing gift boxes, with the focus on as many local companies as possible, to showcase those within Tulsa, Oklahoma, and beyond with social giving and social entrepreneurship that exists within our community,” Noshay said. Jujuu is just one of several social enterprises—defined as organizations that use business principles to generate revenue in order to solve social issues—springing up around Tulsa. A social enterprise can be a nonprofit entity, i.e. it can have a revenue stream through grants, but it should use business principles to generate revenue, according to Natalie Deuschle, director of grants and impact at the Lobeck Taylor Family Foundation (LTFF). “With all the cuts that are happening or have happened for a long time now to social services and education, I think a lot of foundations are feeling strapped to fill that gap, so, from my perspective, social enterprise is an opportunity for people who want to create change in their community and don’t want to rely on complete funding from foundations,” she said. “They can create revenue streams to support their social focus, the outcome they’re trying to pursue.”

THE TULSA VOICE // March 7 – 20, 2018

Taco from T-Town Tacos | GEORGIA BROOKS

Innovative and impactful Social enterprises are gaining traction in Tulsa by KRISTI EATON Tulsa, she said, could be an ideal place to start a social enterprise, because it’s a good city for launching ideas. “People in Tulsa are really willing to talk to you. They’re nice here. I think people have conversations with people, whereas in other cities, people might not be as open to giving their time,” she said. “The challenges here are that [social enterprise is] just so new people don’t really know about it, so maybe it’s access to best practices.” To build upon the interest of social enterprises in Tulsa, LTFF’s The Tulsa Start-Up Series, an annual startup competition, launched a social enterprise category, which received about 30 applications during its initial run.

“We need more opportunities for people to come and share their social enterprise ideas and get support from the community,” Deuschle said. “It’s not just the capital, but they got feedback from the panel of judges. Just making social enterprise more visible makes people realize it’s an option for them.” Initially worried they might not get as many applications for this category, the foundation ended up receiving just as many as they had for others. Other resources for individuals looking to start a social enterprise in Tulsa include Kiva Tulsa, which helps people gain access to capital with a zero-percent interest rate. One of the main benefits of social enterprise, Deuschle emphasized,

is that people can try disruptive ideas without many expectations or repercussions. “Whereas in a nonprofit with a board with certain expectations, they want to see certain impact every year, and the nonprofit maybe can’t be bold and try something new the way a social enterprise could say, ‘We have a brand new idea. We don’t have a lot of capital, so we can be high-risk and super innovative,’” she said. During a recent event at 36 Degrees North, New York Citybased social entrepreneur Ibada Wadud spoke about her experience founding the social enterprise Run by Rural in Peru. She said it’s critical to ask people what they need, because at the end of the day, if an idea doesn’t have substance, it’s just an idea. “It’s about being transformers—transforming problems into opportunities,” she said. a

A SAMPLING OF SOCIAL ENTERPRISES IN TULSA DOLLHER A subscription-based service that delivers a mix of pads, tampons, and liners to women in Oklahoma and elsewhere in the interest of female empowerment and bettering the lives of women and girls. dollhermonthlyclub.com OUR TROOPS CONSIGNMENT AND MORE, OUR TROOPS SERVICES A veteran-owned and -operated consignment shop and landscaping service. 11118 E. Admiral Blvd. facebook.com/ ourtroopscm, ourtroopsok.com TAKE 2 CAFÉ Operated by Resonance Center for Women, this café employs former women prisoners transitioning back into society. It features salads, soups, sandwiches, spuds, cake, and pie for dine-in, carryout, or delivery. 309 S. Main St. take2tulsa.com T-TOWN TACOS Youth Services of Tulsa provides education, health and safety, and ﬁnancial stability to Tulsa’s at-risk and homeless youth through employment with their taco cart. Locations throughout downtown Tulsa. t-towntacos.com ARTS & CULTURE // 31

contactsheet

CONTACT SHEET: THE HILL WIFE photos and words by DESTINY JADE GREEN

As a society we are forever chased by lions that do not exist. Recently I have been interested in the universal themes surrounding our primary emotions and, speciﬁcally, the more nuanced secondary emotion of anxiety. To expand on what might have been simply a cathartic exploration of something common, I decided to use a classic visual trope as a metaphor for fear of the unknown. Throughout history, the woods have been used in allegories to represent the chaos surrounding the unknowable and the other. The woods are symbolic of that which is outside our range of sight, holding signiﬁcance as a liminal space between what is understood and what might be. They are portals to our anxieties and places for us to explore a realm of new possibility. There is a certain magic, both contemporary and timeless, in such spaces. We are all wanderers in the present, moving toward the uncertainty of the future, and as viewers we can only guess what waits in the darkness of the wood. a

Contact Sheet is a place for local photographers to share their projects. If you’re interested in submitting, write to voices@langdonpublishing.com. You can follow Destiny on Instagram at @auroralgreen or see more of her work at destinyjgreen.squarespace.com. 32 // ARTS & CULTURE

March 7 – 20, 2018 // THE TULSA VOICE

THE TULSA VOICE // March 7 â&#x20AC;&#x201C; 20, 2018

ARTS & CULTURE // 33

sportsreport

Bout it

Local roller derby is as exciting to watch as it is to play by JOHN TRANCHINA The Valkyries’ and Roughnecks’ roller derby practice at SKATES in Sand Springs | GREG BOLLINGER

hile it’s not quite as brutal as popular culture would have you believe, women’s roller derby is an intense, complex sport that requires a significant investment of time and energy. It’s also a lot of fun, both to participate in and to watch. With over 500 different certified groups in the United States—and two in Tulsa—the sport is growing, too. The Tulsa County Roller Derby Valkyries play out of SKATES Roller Skating Entertainment and Event Center in Sand Springs (401 E. Broadway Ct. B), and the Roughneck Roller Derby is headquartered at the Ninowski Recreation Center on the Rhema Bible Church campus in Broken Arrow (1367 E. 71st St. S.). Both have new seasons starting this month, with the Valkyries at home on Saturday, Mar. 3, against the Salina Sirens, and a Roughnecks road match in Norman against the Oklahoma City Victory Dolls on Mar. 4. A couple of things about roller derby: It has a long list of rules. It’s not as gratuitously violent as the old 1970s reputation suggests, and the games create family-friendly, fun environments. It’s a great athletic outlet for the participants, and while they definitely look cool, they’re not necessarily all punk 34 // ARTS & CULTURE

rock or alternative. And yes, there are occasional injuries, as in any fast-paced contact sport. There’s a lot of strategy involved, and players have to pass a basic skill test on the track as well as a written test before they’re allowed to officially compete. There are lots of rules to follow, and six different referees police the action. There are penalties, and, like in hockey, there is a penalty box. Like in basketball, players “foul out” if they receive up to seven penalties in a game. “10 girls go out on the track; you have five from each team,” said Emily from Tulsa County Roller Derby, who is recovering from a broken ankle. “You’re going to have a girl that has a helmet cover on with a star on it—she’s our jammer. She’s the only one that can score points. Each team will have a jammer and four blockers. Your jammer wants to make it through the pack of blockers, all the way around the track, and however many of the opposing team members she passes is how many points she scores. Each team can be scoring points at the same time, and you want to strategize how to not let the other jammer through while getting yours through. It’s the only sport where you’re playing offense and defense at the same time.”

“People think it’s a bunch of badass, hard-hitting chicks like the 1970s—it’s okay, it makes them interested, but sometimes they’re disappointed,” said the Valkyries’ president, Teresa (aka “Evil”), who is skating again after an ACL surgery last October. “It’s a real sport. I’m a mom, I got kids and a full-time job, but this is my thing. I just love it. I did not realize how much I loved that competitiveness with a team.” The skaters are a mix of former athletes and people who saw a game and, as they say, were “bitten by the derby bug.” Most players range in age from mid-20s to mid-30s, and many have been doing it for years. “For me, the appeal is the camaraderie and the sisterhood that you get,” said Roughneck Roller Derby’s Lauren Washburn, also known as “Squashburn.” “I’m 30, and making friends as an adult is hard, so it’s a fun way to meet new people and have a support system. And on top of that, you’re kicking your own butt for two hours, but you’re having fun and roller skating, so it’s a good way to get in shape, stay in shape, and really push yourself.” While it is a contact sport, players say it’s not excessively rough. “Back in the day, it was set up

like WWE. They had everything worked out,” said Jessica Coleman (“Juggernaut Jess” or “Juggs” to her teammates), head coach and captain of the Valkyries. “People say, ‘I used to watch that on TV. I loved seeing girls clothesline each other,’ and I’m like, ‘We don’t do that.’ I don’t consider it superviolent. It gets aggressive. It’s one sport where women are allowed to hit each other, but it’s not the nature of the sport to hit people and want to hurt them. It’s like, ‘That girl is going to knock you down if you’re not ready for it.’” Tickets to home games in Broken Arrow, Sand Springs, or at Skateland Tulsa (1150 S. Sheridan Rd.) are typically $8 ahead of time and $10 at the door. “It’s fun to have people that come from your work or something and they have signs. We get people that bring in cowbells, and it gets loud,” Juggernaut Jess said. “It’s fun, it’s an event. We try to do a halftime event, and we always have an area for kids if they get tired of watching.” a A longer version of this story appears on thetulsavoice.com. For more information and full season schedules, visit roughneckrollerderby.com and facebook.com/tulsacountyrollerderby. March 7 – 20, 2018 // THE TULSA VOICE

M E N S W E A R

THREADS O N

B O S T O N

TULS

A PE RFOR MING ARTS CENT ER

170 9 S. BOS TON AV E . • 9 18.515.1181 • T H R E A DSON BOS TON.COM

Now - Mar. 29

Talitha Jacobs PAC Art Gallery March 6-11

Finding Neverland Celebrity Attractions March 7

bART Center for Music PAC Trust Brown Bag It March 9-17

A Steady Rain American Theatre Company March 9-18

Into The Woods Theatre Tulsa March 11

GET TICKETS

Horszowski Trio Chamber Music Tulsa

TULSAPAC.COM March 16-18 MYTICKETOFFICE.COM Cinderella 918.596.7111 Tulsa Ballet

TULSA SYMPHONY

2017-2018 S E A S O N T W E LV E

Classics Series

CLASSICS V: MAHLER’S SYMPHONY NO. 4

SATURDAY, MARCH 24, 2018 | 7:30 PM

TUL SA P ERFORM ING ART S CEN TER On this final Classics Series concert of the 20172018 season, Daniel Hege will lead the Tulsa Symphony in John Adams’ Chairman Dances and Edward Elgar’s In the South (Alassio). The lovely Sarah Coburn is the featured soprano soloist for Mahler’s Symphony No. 4.

ADAMS: Chairman Dances ELGAR: In the South (Alassio), op.50 MAHLER: Symphony No. 4 Daniel Hege, Principal Guest Conductor Sarah Coburn, Soprano * Pre-Concert Conversation | 6:30 PM * Pre-Concert Student Recognition Concert | 6:45 PM * Post-Concert Reception – All Welcome * Childcare Available

For Tickets, Call 918.596.7111 or www.tulsasymphony.org

THE TULSA VOICE // March 7 – 20, 2018

ARTS & CULTURE // 35

thehaps

BEST OF THE REST EVENTS

THINK & DRINK

Thursday, March 8, 6:30–8:30 p.m. Heirloom Rustic Ales, stemcelltulsa.com

he STEMcell Science Shop hosts this series, pairing casual scientific discussion with casual drinking. Each month, a special guest with a deep understanding of a particular scientific field will provide insight into their work in an informal presentation. Presenters for this month’s event are OSU Center for Health Sciences paleontologists Dr. Haley D. O’Brien and Dr. Paul Gignac, who will speak about their excavations in the East African Rift Valley and the deserts of Madagascar, respectively.

AWARD CEREMONY

YWCA Tulsa presents The Pearl Party: 2018 Women of the Year – Pinnacle Awards. Featuring a keynote speech by Kathy Taylor. Mar. 8, 6 p.m., $100, DoubleTree Downtown Tulsa, tulsapearlparty.com

ARTIST TALK

Commemorating the beginning of the construction of his Stickwork installation at 6th and Main, artist Patrick Dougherty will present an artist talk and book signing at 108 Contemporary. Mar. 8, 7–9 p.m., 108contemporary.org MUSIC AND MOVEMENT

Philbrook’s Second Saturday event for March will feature a special interactive performance of John Harbison’s “Songs America Loves to Sing” by Tulsa Symphony and Portico Dance Company. Mar. 10, 9 a.m.–4 p.m. THE SEARCH CONTINUES

The annual Oklahoma Bigfoot Symposium returns to CC Camp in Stilwell for a weekend of presentations and opportunities to meet and discuss with Sasquatch researchers. Mar. 10–11, mabrc.com

CONCERT

TALITHA JACOBS - ROOTS OF ART // Jacobs is a mixed-media artist who paints in bright, bold acrylics on repurposed wood pieces she finds in and around Tulsa. // 3/2–3/29, Tulsa PAC - PAC Gallery, tulsapac.com BROWN BAG IT: THE BART CENTER FOR MUSIC // bART Center students perform // 3/7, Tulsa PAC Kathleen Westby Pavilion, tulsapac.com OK, SO STORY SLAM - CONFESSIONS // An evening of true stories based on a given theme. // 3/8, IDL Ballroom, facebook.com/oksotulsa GREATER TULSA HOME AND GARDEN SHOW // Check items and needs off of your home improvement list at Oklahoma’s largest home and garden trade show, featuring more than 500 exhibitors. // 3/8–3/11, River Spirit Expo, Expo Square, tulsahba.com ADMIRAL TWIN DRIVE-IN SEASON OPENING // Everyone’s favorite drive-in reopens, with “A Wrinkle in Time” and “Black Panther” showing on the east screen and “Peter Rabbit” and “Jumanji: Welcome to the Jungle” on the west. // 3/9, Admiral Twin Drive-In, admiraltwindrivein.com CAFFEINE CRAWL // Hop around town trying coffee from seven local shops, including Chimera, Cirque, DoubleShot, Dwelling Spaces, Fair Fellow, Foolish Things, and Topeca. // 3/9, Multiple locations, caffeinecrawl.com SILENT DISCO HOUSE PARTY // Wear headphones to hear the music at this dance party, or take them off and observe the Silent Shuffle. // 3/9, Philbrook Museum of Art, philbrook.org TOUCH OF TULSA FASHION SHOW // AnnED by Denna Latrice and Monae King present this event, which includes a fashion show, silent auction featuring items by local artists and designers, and vendors. // 3/10, Central Library, facebook.com/ annedbydennalatrice LOST TULSA: MAIN STREET THEN & NOW // This tour by Tulsa Foundation for Architecture will examine how Main Street has changed as Tulsa grew from cow town to boom town to the present. // 3/10, Philcade Building, tulsaarchitecture.org DRESSFEST // DressFest is an evening of dancing with a cause: empowering women and girls. The majority of proceeds from the event will benefit the Native American Children’s Alliance, and Community HigherEd and Safari Joe’s Exotic Wildlife Rescue will also receive donations. // 3/10, Safari Joe’s H2O, bidr.co/events/dressfest IICOT SPRING FLING - INDIAN TACO SALE & NATIVE VENDOR ART FAIR // The Intertribal Indian Club of Tulsa will be selling Indian Tacos and hosting this art fair featuring art, handcrafted jewelry, silver, turquoise, textiles, and more. // 3/11, American Legion Post 1, facebook.com/iicot

The Tulsa Youth Symphony presents Play-a-thon, a free concert at Woodland Hills Mall featuring three orchestras performing pieces from “The Phantom of the Opera,” Danny Elfman’s “Corpse Bride” score, and others. Mar. 11, 1–5 p.m., tyso.org

KAY REDFIELD JAMISON: GENIUS AND MANIA // An expert on mood disorders, Dr. Jamison explores the work of Pulitzer Prize-winning poet Robert Lowell, who put his struggles with bipolar disorder to paper. Dr. Jamison illuminates the relationships between mania, depression, and creativity. // 3/13, Magic City Books, magiccitybooks.com

EDUCATION

PERFORMING ARTS

TEDxUniversityofTulsa: Footnotes will feature more than 15 speakers on topics including poetry, language, death, performing arts, health, social justice, and more. Mar. 16, 12–5 p.m., $10–$35, Lorton Performance Center, tedxuniversityoftulsa.com 36 // ARTS & CULTURE

CONCERTS WITH COMMENTARY: A MUSICAL LEGACY // This concert features Celtic/folk/ bluegrass group Vintage Wildﬂowers with special guests Scott Schmidt and Quinn Maher. // 3/8, Lorton Performance Center - Meinig Recital Hall, lpc.utulsa.edu

BEETHOVEN AND EWAZEN // A Tulsa Symphony chamber ensemble performs Eric Ewazen’s Trio for Trumpet, Violin and Piano (1992), as well as pieces by Beethoven. // 3/9, Fly Loft, tulsasymphony.org INTO THE WOODS // Classic fairy tales collide to show storybook tales don’t always get storybook endings in Stephen Sondheim’s beloved musical. // 3/9–3/18, Tulsa PAC - John H. Williams Theatre, tulsapac.com A STEADY RAIN // The relationship between two Chicago policemen and best friends is tested when a case takes a turn for the worse in this play by Keith Huff. // 3/9–3/17, Tulsa PAC - Liddy Doenges Theatre, tulsapac.com MOZART AND IVES // Tulsa Oratorio Chorus, Tulsa Symphony Orchestra, and organist Casey Cantwell perform Mozart’s Mass in C Minor, Charles Ives’s The Celestial Country, and the Buck Concert Variations on The Star Spangled Banner. // 3/10, Trinity Episcopal Church, tulsachorus.com SECOND SUNDAY SERIALS // See five new short plays by local writers and vote on which three should continue into next month’s installment. // 3/11, Agora Event Center, hellertheatreco.com HORSZOWSKI TRIO WITH MASUMI PER ROSTAD // The trio will perform Schumann’s Trio in F Major, Op. 80 and Andreia Pinto-Correia’s Night Migrations (written specifically for Horszowski Trio), and Rostad will join the Trio for Dvorak’s Piano Quartet in E-flat Major, Op. 87. // 3/11, Tulsa PAC - John H. Williams Theatre, tulsapac.com CINDERELLA // The classic tale of an ordinary girl and one magical night inspired Prokofiev’s 1945 ballet. Choreographed by Ben Stevenson. // 3/16–3/18, Tulsa PAC - Chapman Music Hall, tulsapac.com MADE IN AMERICA // Signature Symphony performs Aaron Copland’s Appalachian Spring and TU professor Joseph Rivers’s Concerto for Oboe and English Horn. // 3/17, VanTrease PACE, signaturesymphony.org

COMEDY GREG WARREN // 3/7–3/10, Loony Bin, tulsa.loonybincomedy.com ADULTING // 3/9–3/10, Rabbit Hole Improv, rabbitholeimprov.com THE NICKS ARE DICKS: ROAST BATTLE W/ NICK BIRKITT AND NICHOLAS OSBORN // 3/11, The Venue Shrine, facebook.com/bazarentertainment GRANT LYON // 3/14–3/17, Loony Bin, tulsa.loonybincomedy.com 6-PACK OF PUNCHLINES, VOL. 5 W/ MICHAEL C. HALL, LACEY HUNT, SHEILA NAIFEH, CHARLES CHUCKREAL DRYER, JAY KINCADE, MARK ANTHONY // 3/18, Blackbird On Pearl, facebook.com/bazarentertainment

SPORTS DRILLERSFEST // Get ready for baseball season at ONEOK Field’s annual open house. Test your batting skills in the indoor hitting cage and take a behind-the-scenes tour of the stadium. The Fest is the ﬁrst opportunity to buy tickets for the 2018 season. // 3/10, ONEOK Field, tulsadrillers.com TULSA OILERS VS. WICHITA THUNDER // 3/10, BOK Center, tulsaoilers.com TULSA OILERS VS. WICHITA THUNDER // 3/11, BOK Center, tulsaoilers.com TULSA OILERS VS. KANSAS CITY MAVERICKS // 3/16, BOK Center, tulsaoilers.com March 7 – 20, 2018 // THE TULSA VOICE

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LGBTQ friendly ARTS & CULTURE // 37

Start celebrating early at the Burn Tulsa St. Patty’s Celebration at Fuel 66 on Friday, March 16, which will feature art, performances, and music from Rhizomorphic, Faye & Bobby Moffett, and Marie Curie Band. 6 p.m.–2 a.m. St. Patrick’s Day falls on a Saturday this year, so there’s no excuse not to revel. As in other years, the biggest celebration is in The Blue Dome District, where parties at Arnie’s Bar and McNellie’s converge into one big street party, with bands on outdoor stages and green beer pouring from all directions. 10 a.m.–2 a.m.

Day events

A more family-friendly event nearby is the inaugural Tulsa Irish Festival at Guthrie Green. The festival will feature performances by Cleghorn, Flannigan’s Right Hook, Goode Academy of Irish Dance, Tulsa Pipe & Drums, and more. Noon–9 p.m. The ShamRock the Rose street party in Broken Arrow’s Rose District will feature music by Rod Robertson Band, Casii Stephan and The Midnight Sun, and more; a Craft Beer Garden featuring Broken Arrow Brewing Company, Nothing’s Left Brewing Co., Lagunitas Brewing Co., and more; and street vendors and a VIP area. 4 p.m.–10 p.m. George’s Pub in Jenks will host their seventh annual St. Patty’s Day Bash, with music from Brian Hughes & The Springfield Two and Barrett Lewis & Weston Horn. 11 a.m.–1:30 a.m. The Irish American Club of Tulsa will host a St. Patrick Dinner Show at the American Legion Mohawk Post 308, featuring a meal of Irish cuisine and performances by the Ryan-Johnson Irish Fiddlers and others. 6–9 p.m. $10–$18, contact irishclubok@msn.com for tickets. The Reserve at Grogg’s Green Barn will host Ceilidh of Saint Patrick, a feast of new twists on old Irish classics. 6:30–8:30 p.m. $75–$85 Soul City is calling their annual St. Pat’s bash Saint Hoefling’s Day. The event will feature music from the Robert Hoefling Band and several special guests. 4 p.m.–2 a.m. Rock and pop band The Rumor will host a St. Paddy’s dance party at Osage Casino Tulsa. 9 p.m. Keep the celebrations going on Sunday, March 18 as the Irish dance sensation Riverdance rolls into River Spirit Casino’s Paradise Cove. 8 p.m. $50–$65 a

38 // ARTS & CULTURE

March 7 – 20, 2018 // THE TULSA VOICE

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At Ranch Acres, you’ll find Guinness has lots of international friends in our store…famed beers brewed in countries around the world. Come select one representing your native land and join the celebration on March 17th. The Irish will understand and celebrate with you. THE TULSA VOICE // March 7 – 20, 2018

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ARTS & CULTURE // 39

musicnotes

Make America dark again HOLY VOID OFFERS SEARING PUNK ROCK AND BLACKENED HARMONIES by BRADY WHISENHUNT Holy Void | COURTESY

n Dante’s “Inferno,” the innermost level of hell is reserved for a very special brand of treasonous coward. In the mind of Dante, as in life, there are varying degrees of evil, yet at the end of the day there is nothing more abominable than destructive deception. It is no secret that in Oklahoma there is a divide. Light vs. dark, left vs. right, religious vs. atheist, timid vs. outspoken. It is this divide and its dark shadow that forms the root spark for the blistering, tarry, unholy explosion of blackened sound that is Tulsa’s own Holy Void. A live Holy Void show is a pummeling, breakneck onslaught of otherworldly hardcore punk. The classic, time-honored forms of hardcore—relentless D-beat rhythms pounded out over a cacophonic fistfight of searing, shredding guitars and frenetic, enraged bass runs—is present in Holy Void’s sound. But there’s another, more important presence: the undeniable sonic fingerprint of unholy evil, that same character of sound that can change a church hymn into a death march by virtue of one dark, forbidden, wellplaced chord. Holy Void songs are short but dense, just like their discography. So far Holy Void’s only release is a split 7” single with Tulsa’s Senior Fellows. The single’s two songs, “Rat King” and “Prisoner,” were

40 // MUSIC

recorded by Bob Hensley. The two tracks are furious and unrelenting and leave the listener bloodthirsty for more. Fortunately, the band plans to record approximately eight to 10 songs in April for an EP-length release. When listening to Holy Void, I get the sense that there is something not right in the world— something sinister and dark that needs to be brought to light. This, as it turns out, is intentional. “Honestly, the world is sort of a terrible place. What can I, or we as a band, do to change that?” guitarist and vocalist Brian Troth said. “We use our anger, or darkness if you want to call it that, to target all that we feel is corrupt or problematic in society. There are things people don’t want to think about or discuss because it may be uncomfortable, but that’s not going to change a thing. You gotta confront it.” All five members of Holy Void share a common bond: They grew up in the Bible Belt, noticed the hypocrisy surrounding them, and decided to make music to address this evil. Three of the five members were also members of now-defunct Operator Dead: Post Abandoned, which ran from 2004–2011 and had a constantly changing lineup. Operator Dead had a different sound. It was heavy, impressive, tightly wound hardcore punk, just like Holy Void, but the song

structures in the old band were more technical and less emotionally haunting. Four years after Operator Dead’s last show, Holy Void formed. Troth moved back to Tulsa after a stint in Arizona and talked with his old friends and Operator Dead alumni Eric Salazar (vocals) and Patrick Caldwell (drums) about forming a new band, one they could have more fun with. They brought Clay Flores (bass) and Clay Buckles (guitar) onboard and started writing sounds that were, in the words of Troth, “more straightforward, more angry.” Holy Void’s artistic inspiration is razor-focused. When asked what albums most contributed to their sound, they responded, nearly in unison, “Cursed’s One and II.” They share a strong, kindred connection to the Canadian hardcore band’s blend of angry punk and blackened harmonies, as well as the sense of alienation spawning from similar cultural geographies. Holy Void also cites the recorded works of His Hero Is Gone and From Ashes Rise as major influences. But that otherworldly component that marks Holy Void’s sound—the infernal, accursed darkness—has deeper roots even still. “Maturing had a lot to do with it,” said Troth. Indeed, he, Caldwell, and Salazar are now married with families, and life is

busier. “When you have your first kid, it changes your life.” “The world becomes scarier,” said Caldwell, who has been creating scary music for over a decade. “It’s like being born again. You have to figure everything out again,” Troth said. Responsibility is dark and personal, and the catharsis is real. A Holy Void show is a release, both for the crowd and the band. “Everything that’s inside me, I’m going to push it out,” said Troth. “It’s therapeutic,” Caldwell said. “I don’t remember anything in our shows. It’s your purest time, and it’s also your most vulnerable. Those two things combined ...,” Caldwell stared off, pausing. “Afterwards I’m in such a good mood.” The Holy Voids of this world are important, because right now in Oklahoma there’s a kid waking up from the lies she’s been told. The words her parents, her pastor, and her government force down her throat don’t add up. She wonders if anyone around her is also thinking these thoughts. She’s getting angry, and hopefully she will discover some hardcore punk. a

HOLY VOID WITH STORM(O) AND NIBOOWIN Fri., Apr. 13, 9 p.m. | Barkingham Palace 412 S. Phoenix Ave. | Free and all ages (Donations for touring bands encouraged) March 7 – 20, 2018 // THE TULSA VOICE

Comprised of three parts—“Fear,” “Passionate Hope,” and “Rollicking Dance”—Rivers’ “Concerto for Oboe and English Horn” will also be featured. The piece in its entirety is meant to mimic the mixed feelings of change. Rivers, who teaches numerous film-composition classes at The University of Tulsa, described the difference between composing for film and live performance as a less collaborative, more independent creation process. “In film composition, the music will be tied to the image,” he said. “Whereas for live performance you’re focusing mainly on the problem of musically capturing a feeling.”

The concerto will feature Signature Symphony artists Lisa Wagner and Sarah Evans as soloists. Wagner has previously performed the piece on English horn but this time will play the oboe. “The combination of oboe and English horn as soloists is one that has rarely been used before,” said TCC Media Relations Manager Nicole Burgin. “So [with Copland’s work], you will have a perfect combination of the known and the new!” As well as working on “Made in America,” Rivers is composing a piece for Holocaust Remembrance Day next January, focused speciﬁcally on the massacres at Babi Yar. The work is commissioned by the

Signature Symphony. The Symphony will celebrate its 40th anniversary in the 2018–2019 season. “The mark of a vivacious, vibrant community is its arts organizations,” Rivers said. “That’s what the Symphony means to Tulsa.” a

MADE IN AMERICA 7:30 p.m., Sat., Mar. 17 Van Trease PACE 10300 E. 81st St. $12–37 signaturesymphony.org

Composer and TU professor Joseph Rivers COURTESY

WORKS OF SPIRIT TCC’s Signature Symphony celebrates American composition by TRENT GIBBONS ON MARCH 17, THE SIGNATURE SYMPHONY at Tulsa Community College will present “Made in America,” a concert of musical Americana, at the Van Trease Performing Arts Center for Education. Signature Symphony’s theme for the 2017-2018 season is “From the Heartland: Tulsa Music Connections.” “Made in America” honors this with music by local composer Joseph Rivers, along with songs by renowned Americana artist Aaron Copland, who is also known as the “Dean of American Composers.” From Copland’s hefty repetoire, the symphony will play “Appalachian Spring,” an orchestral suite that premiered in 1944, and “Old American Songs,” an arrangement of classic American folk songs. Copland’s work is said to capture America’s pioneering spirit and is accessible to the general public. Maybe the most explicit example of his populist sentiments is his famous ballet “Fanfare for the Common Man.” Rivers called it an honor to share a performance with Copland, whose work inﬂuenced his own composition. “Copland had an ability to make art with a distinctly American sound,” Rivers said. “There is something in his music that is particularly American.” THE TULSA VOICE // March 7 – 20, 2018

MUSIC // 41

musiclistings Wed // Mar 7 Lefty’s On Greenwood – Soul Cool Mercury Lounge – Jared Tyler & Seth Lee Jones Oklahoma Jazz Hall of Fame – Eicher Wednesday – ($10) Pit Stop – DJ MO River Spirit Casino - 5 O’Clock Somewhere Bar – Jacob Dement Soul City – Don and Stephen White Soundpony – Lyrical Smoke The Colony – Tom Skinner’s Science Project Wyld Hawgz – Open Mic

Thurs // Mar 8 Hard Rock Casino - Cabin Creek – Asphalt Cowboys Hard Rock Casino - Riffs – Travis Kidd, Paralandra Lefty’s On Greenwood – The Percolaters Mercury Lounge – Paul Benjaman River Spirit Casino - 5 O’Clock Somewhere Bar – Jake Flint River Spirit Casino - Paradise Cove – Johnny Mathis – ($60-$75) Soul City – The Begonias Soundpony – The Captains Son Spinster Records – AMA, Candy Fly, Ramona & The Phantoms The Colony – The Soup Kitchen w/ Dane Arnold The Hunt Club – Ryan McLaughlin Yeti – Glow Tulsa

Fri // Mar 9 Bad Ass Renee’s – DJ MO George’s Pub – Taylor Jones Hard Rock Casino - Cabin Creek – Well Hungarians Hard Rock Casino - Riffs – Dante Schmitz, Weekend All Stars Hard Rock Casino - The Joint – *Los Lobos, Los Lonely Boys – ($39-$59) Mercury Lounge – The Stylees – ($5) Osage Casino Tulsa - NINE18 Bar – The Stars River Spirit Casino - 5 O’Clock Somewhere Bar – Brent Giddens River Spirit Casino - Volcano Stage – The Fifth Element Soul City – Scott Musick & Friends, Susan Herndon Soundpony – Mystery Blood, The Dull Drums, Acid Queen The Colony – *Kalyn Fay, Matt McNeal – ($5) The Hunt Club – *Hosty The Max Retropub – Retro DJ The Run – Ginger Grey The Venue Shrine – Hunter Hutchinson, Bryce Dicus, Wesley Hayes – ($7-$10) Westbound Club – South of Vertical Wyld Hawgz – Secret Society Yeti – Cucumber Mike’s Happy Hour

Sat // Mar 10 628 S Quaker Ave – Boytoy, Vietrahm, Champagne Superchillin, Sylvia Wrath, Planet What Bad Ass Renee’s – The Violet Hour, Sovereign Dame Blackbird on Pearl – Jeff Graham and Juvenation, Brian Parton, Soul Surferos Cain’s Ballroom – Josh Abbott Band, Roger Creager – ($20-$23) George’s Pub – Barrett Lewis Hard Rock Casino - Cabin Creek – Darrel Cole Hard Rock Casino - Riffs – Scott Eastman, Well Hungarians IDL Ballroom – Drezo, Ryan Collins – ($10) 42 // MUSIC

Lefty’s On Greenwood – *Faye Moffett Lot No. 6 – Alan Doyle Mercury Lounge – Lloyd McCarter & The Honky Tonk Revival Osage Casino Tulsa - NINE18 Bar – Travis Kidd Band Pit Stop – DJ MO River Spirit Casino - 5 O’Clock Somewhere Bar – Zodiac River Spirit Casino - Volcano Stage – Wesley Hayes Soul City – Kalo – ($10) Soundpony – Pony Disco Club The Colony – Mike McClure and Dylan Stewart – ($5) The Fur Shop – Troy Petty, Echo Bones The Hunt Club – Ben Neikirk Band The Max Retropub – DJ AB The Run – G-Force The Venue Shrine – The Schwag – ($10-$15) Vanguard – Whitney Peyton, 5280 Mystic, W, J-Rod X Kryptic, CIX FIV, 2Whoopzent – ($10) Westbound Club – South of Vertical Wyld Hawgz – Rocket Science Yeti – Damion Shade and the Savage Young

Sun // Mar 11 Cain’s Ballroom – Flogging Molly, Jon Snodgrass & Friends, Scott H. Biram – ($32.50-$103.05) East Village Bohemian Pizzeria – Mike Cameron Collective Mercury Lounge – *White Mystery, Boy Toy, Tight Rope, Cucumber and the Suntans Oklahoma Jazz Hall of Fame – *Collaborations: Sean Al-Jibouri, Dean DeMerritt, Sarah Maud – ($5-$20) Pit Stop – DJ MO River Spirit Casino - 5 O’Clock Somewhere Bar – Brent Giddens Soul City – Bruner & Eicher Soundpony – Iron Cathedral, Self Inflicted, Carcinogen Daily The Colony – Paul Benjaman’s Sunday Nite Thing The Hunt Club – Preslar Monthly Showcase Vanguard – Boys Home, Sorrytown, Cavern Company, Much Less – ($10) Wyld Hawgz – Exposure Rock Jam Yeti – Glass Mansions, Kudos

Mon // Mar 12 Blackbird on Pearl – The Portal w/ Josh Beeson Hodges Bend – Mike Cameron Collective Mercury Lounge – Chris Blevins River Spirit Casino - 5 O’Clock Somewhere Bar – The Marriotts Soundpony – Urban Renewal Project The Colony – Seth Lee Jones The Run – Monday Jam Yeti – *The Situation ft. Carnage the Executioner & Taiyamo Denku

Tues // Mar 13 Blackbird on Pearl – The Pearl Jam Gypsy Coffee House – Open Mic Hard Rock Casino - Riffs – Trixie Delight Hard Rock Casino - The Joint – *Alanis Morisette – ($69-$89) Lefty’s On Greenwood – *The Free Samples Mercury Lounge – Wink Burcham & Jacob Tovar Oklahoma Jazz Hall of Fame – Depot Jazz and Blues Jams River Spirit Casino - 5 O’Clock Somewhere Bar – Dane Arnold Soul City – Dustin Pittsley Soundpony – Adult Books, Tracy Bryant The Colony – Singer/Songwriter Night The Fur Shop – *Community Center, Rachel Bachman Yeti – Yeti Writers’ Night

Wed // Mar 14 Mercury Lounge – Jared Tyler & Seth Lee Jones Oklahoma Jazz Hall of Fame – Eicher Wednesday – ($10) Pit Stop – DJ MO River Spirit Casino - 5 O’Clock Somewhere Bar – Jacob Dement River Spirit Casino - Paradise Cove – Chicago – ($75-$450) Soul City – Don and Stephen White Soundpony – The UK’s, The Mules The Colony – Tom Skinner’s Science Project Vanguard – Vesperteen, Vinyl Theatre, Future Tapes – ($15) Wyld Hawgz – Open Mic

Thurs // Mar 15 BOK Center – Toby Mac, Mandisa, Danny Gokey, Ryan Stevension, Aaron Cole, Finding Favour – ($15$69.75) Cain’s Ballroom – Excision, Liquid Stranger, Dion Timmer, Monxx – ($35-$50) Hard Rock Casino - Cabin Creek – Great Big Biscuit Hard Rock Casino - Riffs – Franklin Birt, The Stolen Winnebagos Hard Rock Casino - The Joint – Alanis Morisette – (SOLD OUT) Mercury Lounge – Paul Benjaman River Spirit Casino - 5 O’Clock Somewhere Bar – Jake Flint Soul City – The Begonias Soundpony – Soft Leather The Colony – Tovar’s Western Night Vanguard – All About a Bubble, Fervent Roze, Ragland!, Kompulsive Child – ($10) Yeti – Teddy Stevie’s MiDNite Mass

Fri // Mar 16 Brady Theater – Justin Moore, Dylan Scott, Travis Denning – ($47.25) Cain’s Ballroom – Granger Smith, Earl Dibbles Jr. – ($20-$35) George’s Pub – SteneRoller Gypsy Coffee House – Marilyn McCulloch Hard Rock Casino - Cabin Creek – Bobby D Hard Rock Casino - Riffs – Chris Hyde, Another Alibi Lefty’s On Greenwood – The Feelers Osage Casino Tulsa - NINE18 Bar – Ronny Pyle and The Drivers pH Community House – *Lume River Spirit Casino - 5 O’Clock Somewhere Bar – Travis Kidd River Spirit Casino - Volcano Stage – Ayngel & John Soul City – Scott Musick & Friends, Susan Herndon Soundpony – Afistaface The Colony – The Grits, The Dull Drums – ($5) The Hunt Club – BC and the Big Rig The Max Retropub – DJ Moody The Run – Secret Society Vanguard – Hagen Pavey of NeoRomantics, Briana & Parker of Nightingale, The Gales – ($10) Yeti – Cucumber Mike’s Happy Hour

Sat // Mar 17 C.J. Maloney’s – Tequila Kim Reynolds El Coyote Manco – Intocable, Fito Olivares – ($30) Fassler Hall – *Bassel & The Supernaturals Fuel 66 – Faye & Bobby Moffett, Marie Curie Band George’s Pub – Barrett Lewis & Weston Horn Duo, Brian Hughes & The Springfield Two Guthrie Green – Tulsa Irish Festival w/ Cleghorn, Flannigan’s Right Hook, Goode Academy of Irish Dance, & more

Hard Rock Casino - Cabin Creek – Chad Lee Hard Rock Casino - Riffs – Chad Lee, Hook Lefty’s On Greenwood – Smoochie Wallus Mercury Lounge – *The Dollyrots, Brandon Clark, K Phillips, Tulsa Pipes and Drums, TGTG Osage Casino Tulsa - NINE18 Bar – The Rumor pH Community House – *Kyle Motl Pit Stop – DJ MO PJ’s Pub – Zodiac River Spirit Casino - 5 O’Clock Somewhere Bar – DJ and the Band River Spirit Casino - Volcano Stage – Brent Giddens Soul City – *St. Hoefling’s Day Soundpony – My Brother and Me The Colony – Lord Barth – ($5) The Hunt Club – Brothers Moore The Max Retropub – Afistaface, DJ AB The Run – Secret Society Uncle Bently’s Pub & Grill – *Anthony Lookout Band, Balderdash Vanguard – Outline in Color, Awaken I Am, When the Clock Strikes, Keeping Secrets, Lilac Kings, Planet Namek – ($10) Westbound Club – Jimmy Blythe Band Wyld Hawgz – Sweatin Bullets Yeti – *Helen Kelter Skelter, Dane Arnold and the Soup, The Dull Drums

Sun // Mar 18 East Village Bohemian Pizzeria – Mike Cameron Collective Mercury Lounge – Gutter Demons, The Decomposed Pit Stop – DJ MO River Spirit Casino - 5 O’Clock Somewhere Bar – Brent Giddens Soul City – Bruner & Eicher Soundpony – Damion Shade, Susie McCombs Happy Hour Show The Colony – Paul Benjaman’s Sunday Nite Thing The Venue Shrine – *Brothers and Sister of The Dirt - A Benefit for Brandon Jenkins – ($10) Wyld Hawgz – Exposure Rock Jam Yeti – Shut Up! Dance Party w/ Kudos

Mon // Mar 19 Blackbird on Pearl – The Portal w/ Josh Beeson Hodges Bend – Mike Cameron Collective Mercury Lounge – Chris Blevins pH Community House – I Forgot to Love My Father, The Ambulanters, Masters Chambers River Spirit Casino - 5 O’Clock Somewhere Bar – The Marriotts Soundpony – Steak, Forming The Void, Police Academy 2 The Colony – Seth Lee Jones The Run – Monday Jam Yeti – The Situation

Tues // Mar 20 Blackbird on Pearl – The Pearl Jam Gypsy Coffee House – Open Mic Hard Rock Casino - Riffs – Adairs Run Lefty’s On Greenwood – John Glazer & Debbye Zanerhaft Mercury Lounge – Wink Burcham & Jacob Tovar Oklahoma Jazz Hall of Fame – Depot Jazz and Blues Jams River Spirit Casino - 5 O’Clock Somewhere Bar – Dane Arnold, Drew Baldridge and Heart Radio Soul City – Dustin Pittsley Soundpony – Fast Eddy, Breaker Breaker, Tightrope The Colony – Singer/Songwriter Night Yeti – Yeti Writers’ Night March 7 – 20, 2018 // THE TULSA VOICE

THE TULSA VOICE // March 7 â&#x20AC;&#x201C; 20, 2018

MUSIC // 43

filmphiles

popradar

Donald Glover in “Atlanta” | COURTESY

AFFIRMATIONAL FETISHISM ‘Death Wish’ is ill-timed

Bruce Willis in “Death Wish” | COURTESY

THE CROWD FOR ELI ROTH’S “DEATH WISH” is older white dudes—the generation that remembers the original with Charles Bronson (and its increasingly exploitative sequels, courtesy of Cannon films) are the unironic target audience for a John McClane version of the good guy with a gun. In this version, more of a re-adaptation of the namesake Brian Garfield novel than a remake of the ‘74 film, Dr. Paul Kersey (Bruce Willis) is a brilliant trauma surgeon in Chicago, as opposed to Bronson’s New York architect. (This distinction makes for one of the film’s more brutal scenes.) Kersey has a beautiful house, a beautiful wife, Lucy (Elizabeth Shue), and college-bound daughter, Jordan (Camilla Morrone). When a sketchy valet overhears the doctor will be out with his family for the night, he snaps a pic of the Kerseys’ home

Tulsa’s independent and non-profit art-house theatre, showing independent, foreign, and documentary films.

44 // FILM & TV

address, messaging it to a trio of burglars who promptly break in. Due to a snafu that doesn’t make a ton of sense (along with the lack of a security system, or how they knew about the safe), Lucy and Jordan return home and are taken hostage. The tense situation turns violent, with Lucy dead and Jordan clinging to life in a coma. Paul, grieving and frustrated by the necessarily slow pace of two well-meaning detectives (Dean Norris and Kimberly Elise), is enticed—after he gets the shit beat out of him for trying to stop a rape— by an Andy Sedaris-inspired commercial featuring hot girls firing assault rifles (a very Eli Roth moment). Upon learning about paperwork and waiting periods, Kersey instead snatches a gun from a dead gang member in the ER and decides to get to the bottom of the case himself. It’s difficult to overstate how ill-timed “Death Wish” is. It’s a tacit validation of every conservative talking point about guns, just when the national conversation is shifting. The collective films always muddied the point of the novel—that vigilantism is just as criminal, inviting descent into anarchy. The script mostly succeeds at sidestepping the messy racial politics, but I have a feeling FOX News sycophants aren’t going to take away a message different from the one I did. The ends justify the means. In that regard I’m conflicted about liking “Death Wish.” Willis is invested, even going full McClane for a couple of scenes. Roth shoots a retro-handsome film while utilizing Kersey’s change of profession to indulge in some typically satisfying gore. And Carnahan’s sinewy, unapologetic script knows exactly what it’s supposed to be. –JOE O’SHANSKY

IT’S GOOD TO BE DONALD GLOVER ‘Atlanta’ is a game changer

DONALD GLOVER BRINGS A ZEN-LIKE charm to supporting roles in blockbuster ﬁlms, playing atypical savior to Matt Damon’s desperate agrarian astronaut in “The Martian” or the cagey yet amiable criminal Aaron Davis in “Spider-man: Homecoming.” He does stand-up. Obviously he’s Troy from “Community.” His funky-as-fuck band, Childish Gambino—a great, semi-satirical project—earned multiple Grammy awards. And now that he’ll be Lando Calrissian in the upcoming “Solo: A Star Wars Story,” it seems there’s little the 34-year-old Renaissance man isn’t afraid to try. It says something about the multitalented Glover that he makes creating one of the best shows on television, “Atlanta” (which returned for its second season on March 1), look almost effortless. Glover, who sometimes writes and directs, is Earn, a perpetually broke college dropout searching for inspiration—and money—when he approaches his rapper cousin Paper Boi (Brian Tyree Henry) and hype man Darius (Lakeith Stanﬁeld, who kills it) with a proposal for them to manage his sputtering career. Earn occasionally lives with his sometimes girlfriend Vanessa (Zazie Beetz). Their on-again-off-again relationship, interspersed between other romantic interests, is held together by their young daughter, Lotti. These two threads comprise the bulk of the stream-of-consciousness storytelling in “Atlanta.”

You know how they say life is what happens between plans? That’s what the loose narrative of “Atlanta” feels like, and it’s a big reason why some of the show’s more astonishing left-field moments are so goddamn pleasing. Part (often hilarious) comedy, part (sometimes dark) drama, part something else, each episode of “Atlanta,” like good sci-fi, explores contemporary themes—sociological, cultural, or sometimes both—from an exclusively black perspective (which has the inverse effect of rendering its painfully white characters as caricature—deserved treatment after decades of our shit). I didn’t count on how weird it could get, either. There are little movie in-jokes peppered throughout, but in the first season, after six narrative-ish episodes, out of nowhere, Glover indulges his inner Paul Verhoeven in “B.A.N.,” a supremely satirical entry that finds Paper Boi the beleaguered guest on a Tavis Smiley-esque talk show. He takes heat for the misogyny, violence, and homo/ transphobia in his lyrics from an identity politics-fueled white lady while Robocop-inspired commercial breaks skewer misguided consumerism (“The Dodge Charger. Keep it in the divorce.”), psychics, Swisher Sweets, and police brutality in the form of an animated kid’s cereal ad that, like the show as a whole, borders on the sublime. It’s wicked sharp, funny, and completely unpredictable. The only problem I have with a second season of “Atlanta” is that now I have to wait a week for the next episode. –JOE O’SHANSKY March 7 – 20, 2018 // THE TULSA VOICE

filmphiles

A BRIEF RUNDOWN OF WHAT’S HAPPENING AT THE CIRCLE CINEMA

OPENING MARCH 9 A FANTASTIC WOMAN An Oscar nominee for Best Foreign Language Film, this Chilean drama is the portrait of a transgender singer who faces persecution after the death of her older boyfriend. Starring actress Daniela Vega. Rated R.

“The Breadwinner” | COURTESY

Augmenting brutality

Stirring animation portrays young girl risking persecution by the Taliban “THE BREADWINNER” MAY BE ANIMATED and based on a young adult novel, but rarely in a film have the dangers of being a woman under Taliban control felt so palpable and heartbreaking. Now streaming on Netflix, this recent Academy Award nominee for Best Animated Feature tells the story of an 11-year-old girl named Parvana. She lives in pre-9/11 Afghanistan, where the Taliban rules the country with an oppressive interpretation of Islamic Sharia law. Enforcement is harsh and merciless. Parvana’s father, Nurullah, provides for his wife, two daughters, and baby son. Their lifestyle is meager, but their household is loving. This fragile existence breaks completely when Nurullah is imprisoned after an angry Taliban member makes false accusations against him. Since women are not allowed in public without a male escort, this leaves his wife and daughters trapped at home without a source of income. Their only hope is young Parvana— with a short haircut, she can pass herself off as a boy. And she does. Bravely venturing into the city on her own in male disguise, Parvana looks for any hustle she can find. Along the way, the world opens up to her like never before, and she forms an unexpected bond with a grieving customer (the film’s best, most tender throughline). But the danger is always there, looming, particularly as she strives to free her father with bribe money. THE TULSA VOICE // March 7 – 20, 2018

That danger of dehumanizing cultural misogyny isn’t merely suggested—it’s seen. Women are beaten with canes; girls are threatened. The violence is just out of frame, but the subsequent bruises and pain are shown. In a year that gave us breakthrough female directors like Patty Jenkins (“Wonder Woman”) and Greta Gerwig (“Lady Bird”), Nora Twomey deserves to be heralded in the same breath. This Irish-born director melds tension and beauty with sensitive candor, telling an inspiring story with her female collaborators Anita Doron (screenwriter) and Angelina Jolie (executive producer), with source material by author Deborah Ellis. “The Breadwinner” also marks Cartoon Saloon as one of the world’s premiere animation studios. It’s their third of three features to be Oscar-nominated (following “The Secret of Kells” and “Song of the Sea”), with a signature 2-D aesthetic that rivals global powerhouses Disney, Pixar, Laika, and Studio Ghibli. Instead of softening the degree of brutality, animation has a way of augmenting it, making these realities more, not less, resonant and visceral. Even in a discreet, tactful portrayal it’s unsettling to see such inhumane cruelty in a medium so commonly associated with innocence. “The Breadwinner” grieves these injustices and empowers its victims with courage and resolve. – JEFF HUSTON

OPENING MARCH 16 THE INSULT An incident between a Lebanese Christian and Palestinian refugee leads to an explosive trial that creates division and garners national attention. Academy Award nominee for Best Foreign Language Film. From Lebanon. Rated R.

SPECIAL EVENTS HAMLET: NT LIVE This encore presentation stars Benedict Cumberbatch in the title role of Shakespeare’s most enduring tragedy. Adults $17, Seniors $15. (Thu. March 8, 6:00 p.m.) DAWN OF THE DEAD (1978) Graveyard Shift presents George A. Romero’s classic zombie horror sequel that ﬁnds a motley crew of soldiers and citizens seeking refuge in a secluded shopping mall. Rated R. Tickets $10. (Sat. March 10, 10:00 p.m.) RIDERS OF THE PURPLE SAGE (1925) Free admission. Second Saturday Silents presents this classic early Western with cowboy star Tom Mix. With accompaniment by Bill Rowland on the Circle’s original

1928 pipe organ, the screening begins with a Felix the Cat silent cartoon short. Memorabilia display from Tom Mix Museum of Dewey, OK. Sponsored by Hughes Lumber Co. (Sat. March 10, 11:00 a.m.) THE SECRET WORLD OF ARRIETTY (2010) Anime Club presents this modern classic from Hayao Miyazaki’s Studio Ghibli about a 4-inch-tall family whose secret existence at an average home is discovered. Rated G. (Fri. & Sat. March 16 & 17, 10:00 p.m.) THE EXTRAORDINARY HISTORY OF LEON RUSSELL This multimedia event is a fundraiser for the Leon Russell Monument Fund. Hosted by Russell historian Steve Todoroff, it traces Russell’s inﬂuential life and career from its roots to his home in Tulsa, OK. Includes continental breakfast, door prizes, rafﬂe, and more. Tickets $40. (Sat. March 17, 10:00 a.m.) EVERYTHING IS TERRIBLE! PRESENTS: THE GREAT SATAN This irreverent, psychedelic look at the satanic and demonic in pop culture returns with new material in the latest U.S. tour. Tickets $12. (Wed. March 21, 7:00 p.m.) JULIUS CAESAR: NT LIVE Ben Whishaw, Michelle Fairley, and David Morrissey star in Shakespeare’s tragedy about the betrayal of the beloved Roman emperor. Staged by British legend Nicholas Hytner from the stage of London’s Bridge Theatre. Adults $18, Seniors $15. (Thu. March 22, 6:00 p.m.)

FREE IT ’S L E G A L T IL L

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Michael Fairchild • Attorney at Large • 918-58-GRASS (584-7277) FILM & TV // 45

Oklahoma’s largest selection and lowest prices for hand blown jewelry by Glasswear Studios

Jesus established what he said by DEMONSTRATION, thus making his acts of HIGHER IMPORTANCE than his words. – M. B. EDDY

FIRST CHURCH OF CHRIST, SCIENTIST 924 S. Boulder Church & Sunday School • 10:30am Wednesday Meeting • 6:00pm

ARE YOU CURRENTLY PAIN-FREE BUT WANT TO LEARN HOW TO REGULATE PAIN? A TU IRB-approved research study is being conducted at The University of Tulsa that uses biofeedback to teach participants to regulate responses to pain. Participants must be healthy, currently pain-free, and able to attend 3 laboratory training sessions (3.5-4.5 hours/day). Behavioral and physiological reactions to painful stimuli will be assessed each day to test the efficacy of the training. Up to $300 compensation will be provided for completing the study. CONTACT: Psychophysiology Laboratory for Affective Neuroscience (PI: Jamie Rhudy, PhD)

918-631-2175 or 918-631-3565

Thursday, April 26, 2018 6:30 p.m. - Reception 7:00 p.m. - Dinner

Mayor Rodger A. Randle

Honorary Chair

Saluting Tulsa Community Leader

Mayor M. Susan Savage

Mable Rice

Sponsorship Levels Presenting … $25,000

Gold … $10,000

Silver … $5,000

Bronze … $2,500 Individual … $150

YOU NOMINATED. WE TABULATED. WINNERS ANNOUNCED IN SPECIAL EDITION OUT MARCH 28.

For additional information, contact:

Frances Jordan-Rakestraw @ 918 596-1025

46 // ETC.

March 7 – 20, 2018 // THE TULSA VOICE

THE FUZZ THE TULSA VOICE SPOTLIGHTS: TULSA SPCA

2910 Mohawk Blvd. | MON, TUES, THURS, FRI & SAT, 10 a.m.-5 p.m. 918.428.7722

How can you resist that gorgeous smile? HECTOR is a social, friendly dog and would ﬁt well into any family, no matter how big or small. He is four years old and weighs 67 pounds. Hector loves toys and playtime but is also the perfect companion for cuddle up on the couch at the end of the day!

ACROSS 1 Lugosi the horror legend 5 Weight revealer 10 Hollywood’s Blanchett 14 Moses’ rod 19 Terrible smell 20 Boo-boo 21 Skip over 22 Strong cotton thread 23 Be an OK interpreter 27 Constant 28 Frank or Archer 29 Sidesteps 30 Itty-bitty parasite 31 Some fitness gyms 32 Low cards in pinochle 33 Wise Hindu teachers 37 Scott of “Happy Days” 38 “Whether ___ nobler ...” 39 Seize an opportunity 48 College credits 49 Irish language 50 Wilson of film 51 Unruly prison event 52 Snug animal retreat 53 Mythical arrow shooter 54 Hooky player 56 Word with tooth, heart or head 57 Away from home 59 Pleasure craft 60 Had lunch at home 61 Shun 68 Some eagles 69 Earring shape 70 Incubator young 71 Word with three or open

72 Assembly rules 75 B-movie safecracker 76 “___ only as directed” 79 Not skip over (Abbr.) 80 Glance impolitely 81 Diamond corner 82 Valentine blooms 84 Go off the deep end 89 Common duo? 90 Half-and-half half 91 Quite opposed 92 Desert plants 95 Be in a bee 97 Desert fruit 99 Androids 100 Far from flushed 101 Tobacco shop fixtures 106 Arrangement involving stakes 109 Candidate’s prey 110 It arcs in a pub 111 Hunter of the stars 112 Creative mental flash 113 Jury composition 114 Salon stock 115 Wedding announcements 116 Like country pastures in the morning DOWN 1 Places for cranberries 2 Change one’s story? 3 Feb. 14 word 4 Vicinity 5 U-turn from generous 6 Native of Rijeka 7 Popped up 8 Came in next-to-last 9 Before, to a bard 10 Barbecue throwaway

Miss TRUDY is an 85-pound gentle giant. Trudy’s warm, calm demeanor makes everyone around her feel loved. She is one-and-a-half years old and would ﬁt well with small kids or senior folks because of her laid-back attitude and benevolent spirit.

11 Maytag subsidiary 12 Trident’s stickers 13 Sci-fi creatures, sometimes 14 Blindly imitative 15 Tennessee tackler 16 “All joking ___ ...” 17 Frozen drifters 18 Grassy wetlands 24 Owns up to 25 Certain Sri Lankan 26 Not strict at all 31 Ivy League school 33 Variety of poker 34 Start to fade 35 Similar in nature 36 “Have we ___ before?” 37 Big smooch 38 “Back in those days ...” 40 Bone-chilling 41 What a cowboy busts 42 It must be served 43 Airline of yore 44 Addressed a crowd 45 Kitchen dicing device 46 Like seven Nolan Ryan games 47 Transcription taker, for short 53 Middle of telethons? 54 Disorderly outbursts 55 Heavy file 57 Seattle landmark 58 Extra qtrs. 59 Work a horn 60 Noisy commotion 61 “Following this?” 62 Robot maid of Richie Rich 63 Sweater type

NOEL is a peppy two-and-a-halfyear-old Lab mix who never stops smiling. She loves people of all ages and other dogs. Her favorite activities include playing with squeaky toys, splashing in water, and giving lots of hugs and kisses! If you are looking for a social pet that loves playtime and being around people, Noel is the dog for you.

64 Place for Chicago touchdowns 65 More than just plump 66 Encourages 67 Nautical diary 72 Complexion spoiler 73 “For” votes 74 “My Name Is Asher ___” 75 Tug 76 Sputnik launcher (Abbr.) 77 Gets an eyeful 78 “___ quam videri” (N.C.’s motto) 81 Cotton capsule 82 Revolutionary Paul 83 Loneliest number 85 Alphabet fill 86 Many breakfasts 87 1040 submitter 88 Some cotton fabrics 92 Small Pacific salmon 93 Become less intense 94 Cook’s apple gizmo 95 Spread out one’s fingers 96 San Diego fielder 97 “Bon appetit!” 98 Cover-up in the kitchen 99 Invitation abbr. 101 Prefix with mount or chute 102 In the thick of 103 Surrender possession 104 More than sensed 105 Command to a dog 107 Peculiar 108 Weep

Find the answers to this issue’s crossword puzzle at thetulsavoice.com/puzzle-solutions. THE TULSA VOICE // March 7 – 20, 2018

The Tulsa SPCA has been helping animals in our area since 1913. The shelter never euthanizes for space and happily rescues animals from high-kill shelters. They also accept owner surrenders, rescues from cruelty investigations, hoarding, and puppy mill situations. Animals live on-site or with foster parents until they’re adopted. All SPCA animals are micro-chipped, vaccinated, spayed/neutered, and treated with preventatives. Learn about volunteering, fostering, upcoming events, adoptions, and their low-cost vaccination clinic at tulsaspca.org.

HARLOW is a ﬁve-year-old tuxedo cat who likes naps and occasional petting. She isn’t much for playing, but Harlow loves to pose for selﬁes! The best home environment for Harlow would be calm and have plenty of windows where she can sunbathe.

Do you like cats with a little bit of sass? MAZIE is a one-year-old cat who is looking to be the queen of the castle. Mazie would prefer to be the only cat and have all of the toys and snuggles to herself.

Universal sUnday Crossword siMPle eXCHanGe By Timothy e. Parker

3/11 ETC. // 47

Pleas e re cycle this issue.