The Tulsa Voice | Vol. 3 No. 11

MAY 18 - 31, 2016

1955-2016

//

VOL. 3 NO. 11

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THE TULSA VOICE // May 18 – 31, 2016

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CONTENTS // 3

4 // CONTENTS

May 18 – 31, 2016 // THE TULSA VOICE

Steve Pryor | PHIL CLARKIN

contents A farewell to Steve Pryor

May 18 – 31, 2016 // vol. 3 no. 1 1 N E W S & C O M MEN TA RY

MICHAEL STAUB // 21

American buffalo The bison just became the country’s national mammal DENVER NICKS // 8 10 // W hen rape isn’t

12 // A mockery of justice

Barry Friedman, articulator

Ryan Gentzler, watchdog

How a court drew a line in non-existent sand

Cuts leave court system unbalanced

viewsfromtheplains

okpolicy

FOOD & DRINK 14 // Fresh air The Tulsa Voice staff

A guide to Tulsa’s best patios alfresco

24

28

30

Disparate worlds

In the studio

Lee Roy, Speed, West Texas, and Bob

by Damion Shade

by Liz Blood

by Joshua Kline

Kalyn Fay’s debut album explores life in Bible Belt

2016 Tulsa Artist Fellow Gary Kachadorian

Western Doughty captures a gonzo road trip

f e at u r e d

f e at u r e d

f e at u r e d

18 // Kick-start kitchen Megan Shepherd, foodprenuer

Kitchen 66 aims to build a food hub for Tulsa citybites

A RT & C U LT U R E 26 // P rinciples of play

COVER PHOTO BY SCOOTER BROWN OF HEARTLAND MEDIA PRODUCTIONS

John Tranchina, keeper

Despite losing stadium, Athletics demise exaggerated

MAKE YOUR VOICE HEARD

sportsreport

32 // O n being a critic Alicia Chesser, evaluator

Send all letters, complaints, compliments & haikus to:

PUBLISHER Jim Langdon MANAGING EDITOR Joshua Kline ART DIRECTOR Madeline Crawford ASSISTANT EDITOR Liz Blood DIGITAL EDITOR John Langdon GRAPHIC DESIGNERS Morgan Welch, Georgia Brooks PHOTOGRAPHY/MULTIMEDIA Greg Bollinger

voices@ langdonpublishing.com

facebook.com/thetulsavoice twitter.com/thetulsavoice instagram.com/thetulsavoice

AD SALES MANAGER Josh Kampf

FILM & TV 42 // H eadless women Claire Edwards, firebrand

Comic Marcia Belsky and headless women 44 // 2016 summer preview

1603 S. Boulder Ave. Tulsa, OK 74119 P: 918.585.9924 F: 918.585.9926 PUBLISHER Jim Langdon PRESIDENT Juley Roffers

Joe O’Shansky, popnosticator

A round-up of good, bad and who-knows-what filmphiles

VP COMMUNICATIONS Susie Miller CONTROLLER Mary McKisick RECEPTION Gloria Brooks, Gene White

The Tulsa Voice’s distribution is audited annually by Circulation Verification Council THE TULSA VOICE // May 18 – 31, 2016

o n s tag e

l a dy pa rt s

INTERNS Nataly Anderson, Chandler Hunt, Tara Rittler, Josalyn Scaife CONTRIBUTORS Scooter Brown, Jeremy Charles, Alicia Chesser, Phil Clarkin, Western Doughty, Claire Edwards, Barry Friedman, Ryan Gentzler, Landry Harlan, Melissa Lukenbaugh, JP Morrison, Adam Murphy, Denver Nicks, Bobby Dean Orcutt, Joe O’Shansky, Damion Shade, Hannah Shepherd, Megan Shepherd, Michael Staub, John Tranchina, Nick Weaver

Reviewing is necessary to elevate Tulsa art

R E G U L A R S // 19 downthehatch // 29 artgallery // 34 onstage 36 thehaps //38 musicnotes // 40 musiclistings // 46 thefuzz CONTENTS // 5

editor’sletter

S

ome issues I’d rather not write an editor’s letter, and this is one of them.

The last few weeks have been difficult for a lot of Tulsans I know. Actually, the last year has. To say “people keep dying” is about as obvious as “people keep eating”—it’s unavoidable—but the looming shadow of mortality is something we spend our lives trying to shake. With each loss of a friend, loved one,

6 // NEWS & COMMENTARY

acquaintance, or community pillar, we’re reminded that our time on this planet is not for long. It’s something most of us will never get used to.

The death of Lee Roy Chapman last year had a seismic effect on Tulsa. He dedicated his life to our city through his journalism and his art; he unearthed buried secrets, he insisted we understand and acknowledge who we are and where we come

from. Chapman’s best friend, Western Doughty, is currently honoring him with a photo exhibit that chronicles a wild road trip the two took to West Texas to find Bob Wills’ old tour bus. The exhibit is featured at Mainline through the end of the month.

On May 6, we lost another one of the greats. I didn’t know Steve Pryor, but I know what he meant to many of you. He was a giant among

guitar players, someone who could share the stage with the world’s legends, and Tulsa had him all to itself. He was also by all accounts a lovely human being, grounded, humble and unassuming. We offer our sincerest condolences to all of you who are grieving his loss. a

JOSHUA KLINE MANAGING EDITOR

May 18 – 31, 2016 // THE TULSA VOICE

THE TULSA VOICE // May 18 – 31, 2016

NEWS & COMMENTARY // 7

bottomline

American Bison graze on the Tallgrass Prairie near Pawhuska | LIZ BLOOD

American buffalo

The bison just became the country’s national mammal

by DENVER NICKS

T

he Obama administration recently declared the bison America’s “national mammal,” placing the animal in the same pantheon as, but somewhere just below, America’s official national animal—the bald eagle. Giving the status of “national mammal” to anything other than the human is a little suspect—THANKS OBAMA— but leaving that oddity aside, the designation is a good thing for Oklahoma.

Several years ago I was alone in a truck, stopped on a road in the largest tract of protected tallgrass prairie left on earth, the Tallgrass Prairie Preserve, near Pawhuksa in Osage County. A gang of bison sat near the road in silence, placidly hanging about, tails swatting, basically doing what they used to call “cold chilling.” Without warning, two of the herd stood up, locked eyes,

8 // NEWS & COMMENTARY

kicked up a cloud of dust, cocked and loaded their bodies then lunged into one another, their skulls crashing together with a disgusting crack. They tussled for a moment, then sat back down, whatever tiff there was between them having apparently been settled. It remains one of the most terrifying, majestic things I’ve ever seen.

Weighing up to two tons and standing six feet tall, the bison is North America’s largest land animal. It’s official scientific name, genus to subspecies, is Bison bison bison, which says something in a poetic, indirect sort of way about the animal’s sheer obstinate will. The beast’s ability to evoke a sense of majesty and awe is immediately clear to anyone who has been close to one in a near-wild setting. A YouTube search for “bison attack” will yield results displaying careless

people for whom a bison also became a frightening reminder of nature’s unrelenting indifference to human concerns. The bison is enormous but agile, ferocious and destructive but also lethargic and at times, somehow, extremely chill. It is often eerily quiet, even secretive, but its presence is never unnoticed. It is unquestionably cool—a fitting animal to represent the United States.

The bison once ranged freely from Alaska to Mexico but was driven nearly to extinction in the 19th century by humans who were intent on doing the same thing to Native Americans, or who were simply hunting them for sport. Bison were brought back from the brink through a last minute effort that began in New York City of all places and came right to Oklahoma.

The United States’ first national bison preserve was established

near Cache, Oklahoma, at what is today the Wichita Mountains National Wildlife Refuge. In 1907, with less than 1,000 bison left in existence (down from about 60 million), 15 were transported by train from the New York Zoological Park—now the Bronx Zoo—to the refuge, where that tiny herd of pioneers (six bulls and nine cows) spearheaded the reintroduction of bison to the Great Plains they once dominated, rescuing the species from annihilation.

Today there are about 350,000 bison in the U.S., living, according to the Department of the Interior, on both public and private lands in all 50 states. Though one wonders what those bison are doing in New Jersey and Rhode Island (and Hawaii, for that matter), having bison in every state is surely better than having none in any of them. a May 18 – 31, 2016 // THE TULSA VOICE

Gilcrease Museum and the Henry Zarrow Center for Art and Education

Summer Art Camps 2016

June 17, 2016

®

5-6 years old at Gilcrease Museum 7-12 years old at Zarrow Center

7pm until midnight

Prices per week Half-Day Classes: $100 members; $125 not-yet members All-Day Classes: $200 members; $250 not-yet members

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John Steele Zink Foundation

June 13 through Aug. 5, 2016 9:00 a.m.-Noon & 1:00 p.m.-4:00 p.m.

Meshri Family

Registration and payment are required. Members-only registration begins March 1.

General public registration begins March 21.

SUPPORTING SPONSORS

Melanie & Lex Anderson • Daniel Ashbaugh & Ashley Corker • Bailey Family • Bank of Oklahoma Sara & Ryan Barry • Capital Advisors, Inc. • Flintco & George Kaiser Family Foundation GlobalHealth • Helmerich & Payne, Inc. • Edward & Kathy Leinbach and Jones, Gotcher & Bogan, P.C. Key Construction Oklahoma, LLC • Magellan Midstream Partners, L.P. • Osage Casino Lynn & Barbara Owens • The Oxley Foundation • Hannah & Joe Robson Radiology Consultants of Tulsa • Stava Building Corporation • The Williams Foundation

Register online at gilcrease.org/summercamp.

Special thanks to these zoo partners for building a better zoo through their continued support.

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

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The Helmerich Trust

or older

For our full list of programs, visit our website. TU is an EEO/AA institution.

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THE TULSA VOICE // May 18 – 31, 2016

NEWS & COMMENTARY // 9

viewsfrom theplains

When rape isn’t How a court drew a line in non-existent sand

by BARRY FRIEDMAN It’s enough to make you want to put a paper bag over the state.1 “Forcible sodomy cannot occur where a victim is so intoxicated as to be completely unconscious at the time of the sexual act of oral copulation,” the decision read.

The case before the Oklahoma Criminal Court of Appeals, as you may recall, dealt with a 17-year-old boy who allegedly orally raped an intoxicated 16-year-old girl after the two had been drinking.

Tests would later confirm that the young man’s DNA was found on the back of her leg and around her mouth.

The boy claimed to investigators that the girl had consented to performing oral sex. The girl said she didn’t have any memories after leaving the park. Tulsa County prosecutors charged the young man with forcible oral sodomy.

First, the trial judge, Tulsa County District Court Judge Patrick Pickerill, dismissed the charges, stating “unconsciousness and intoxication” are not present in the law’s definition of the crime and then, equally astonishing to those with firing synapses, the court of appeals concurred. In its 10 // NEWS & COMMENTARY

5-0 decision, it agreed with Pickerill, saying forcible sodomy is only possible when one is in a position to register a complaint, and the girl, due to her intoxication, was not in that position.

It gets worse.

“There was absolutely no evidence of force or him doing anything to make this girl give him oral sex,” McMurray said, “other than she was too intoxicated to consent.”

That’s the boy’s attorney, Shannon McMurray, showing why Shakespeare may have been on to something when he wrote, “The first thing we do, let's kill all the lawyers.”

The fault, though, as maddening as this is, may not lie with the courts, but rather with state legislators who wrote the law.

Michelle Anderson, the dean of the CUNY School of Law who has written extensively about rape law, called the ruling “appropriate” but the law “archaic.”

Here’s why.

Oklahoma has two2 laws3 that deal with sexual assault: 1) One for rape by penetration, and that law specifically

includes intoxication as one of the factors considered in terms of the victim not being able to consent, and 2) One that deals with oral sodomy that includes specific requirements for the commission of “forcible sodomy” but expressly does not include intoxication as one of those requirements.

Lovely.

Like it or not, that is the lens through which the Court had to decide.

Benjamin Fu, the Tulsa County district attorney who prosecuted the case, doesn’t like it, going so far as to say he was “completely gobsmacked” by the court’s ruling.

“The plain meaning of forcible oral sodomy, of using force, includes taking advantage of a victim who was too intoxicated to consent,” Fu said. “I don’t believe that anybody, until that day, believed that the state of the law was that this kind of conduct was ambiguous, much less legal. And I don’t think the law was a loophole until the court decided it was.”

Calling the decision “insane,” “dangerous” and “offensive,” he said to focus on why the victim was unable to consent or where

literally on the body the rape took place was both obtuse and absurd.

“My argument was that if you rule today that because she was intoxicated it can’t be force, then … you’ll have to engage in what I can only refer to as the ‘orifice test,’” Fu said. “Whereby the contact by the defendant and the state of mind of the victim are the exact same. It just depends on (the location of the sexual act).”

For some out-of-state perspective, I first checked with John Shutkin, chief counsel of a law firm in Minnesota who follows cases like these, about Fu's assessment, and then with Garrett Epps,4 who teaches Constitutional Law at the University of Baltimore and covers the Supreme Court for The Atlantic, about the takeaway.

Shutkin says the answer is in the very nature of the beast and why people use that Shakespeare quote so much. “ Short answer—typical lawyer BS but true—is ‘it depends,’” Shutkin said. “In theory, if you have a statute out there, the judge is constrained to interpret it as written, no matter how poorly written. The idea is that it is then up to the legislature to clean up the law in the future. No lawyer can really disagree with it. That said, judges on all sides of the May 18 – 31, 2016 // THE TULSA VOICE

spectrum have contorted themselves to avoid enforcing laws that clearly were not meant to apply as their words suggest. Typically, they will rely on ‘legislative intent’ as a basis, or on adages to the effect that, if a law can be interpreted one way that makes sense and another that doesn't, a judge should choose the former.”

Shutkin believes the stench emanates from the Capitol.

“But the bottom line still is that a poorly drafted law may have to be enforced as written until amended or repealed.”

Epps concluded there is enough pox in this case to go around.

“Whether the decision is disgusting or the statute is disgusting, it's disgusting,” he said.

Back in Oklahoma, Tim Gilpin, of Gilpin Law Office, who has practiced law here for more than 30 years and served a stint as an Assistant State Attorney General under Robert Henry in 1989-90, agrees with both Shutkin and Epps, adding the Appeals Court should actually be applauded for how it handled this case.

“The decision was not rendered for publication and, thus, was not ‘precedent’ for any other case.”

What that means is this decision is only good and applies only to this case—what lawyers call “law of that case.”

So, why do that, why issue an order and not publish an opinion that’s applicable to all future cases?

“The answer,” says Gilpin, apoplectic that the court received the lion’s share of national criticism and social media vitriol, “is the Court must answer the legal question put before it under the appeal, but does not have to strike down other cases at the same time. This order was clearly an attempt to alert the Legislature and Governor that the Law, as written, is flawed and needs revision.”

Which brings us to those flaws.5 Rep. Scott Biggs, R-Chickasha, thought the court of appeals made a “grave” error in its decision, but said, “if they need more clarification, we are happy to give it to them by fixing the statute.” To that end, he added an amendment to House Bill 2398, which would include instances in which the victim is unconscious or intoxicated into the definition of THE TULSA VOICE // May 18 – 31, 2016

forcible oral sodomy. Further, it will include language that changes the definition of sexual consent to state, “consent cannot be given by a person who is asleep, physically incapacitated by drugs or alcohol, or is under duress, being threatened or being forced to perform a sexual act.”

You want to cut state legislators some slack on this—surely, even in Oklahoma, where many of their positions on men and women and sexuality reside in the 14th Century,6 they didn’t intend for there to be different criteria for anal, vaginal, and oral rape— but in a state that increasingly treats women like chattel (and we only have to see the gutting7 of Planned Parenthood, constraints on contraception, choice and reproductive rights, and de-certifying8 doctors who perform abortions, as examples), it’s not all that surprising such an abominate distinction existed.

“It’s not the Courts’ fault,” Gilpin says, “our Legislature and Governor can’t write clear and decent sexual assault laws that make sense enough to protect people.

The Court has actually done us a favor by pointing out as best it can, in a non-published order, that the law as written is flawed.”

Which will be of exactly no comfort to the raped 16-year-old girl who was told by Oklahoma she really wasn’t. a

1) the guardian.com: Oklahoma court: oral sex is not rape if victim is unconscious from drinking 2) oscine.net: Title 21. Crimes and Punishments 3) lawfirmoklahoma.com: Forcible Sodomy Law 4) theatlantic.com: Garrett Epps 5) oklahomawatch.org: With Court Ruling, Sodomy Law Doesn’t Apply When Victim Is Unconscious 6) christianpost.com: Oklahoma Bill Requiring Clergy Approval to Be Married Passes House; Opponents Claim Law Would Prevent Gays, Atheists From Being Wed 7) christiannews.net: Oklahoma Becomes Next State to Cut Planned Parenthood From Medicaid Program 8) tulsavoice.com: The war on women

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8212 E. 41st St. 918-794-3851 Open Tues. - Sat. 10am - 4pm NEWS & COMMENTARY // 11

okpolicy

A mockery of justice Cuts to Indigent Defense System have left our justice system unbalanced

by RYAN GENTZLER

A

dd this to the list of potential fallout from the state’s unprecedented budget disaster: Oklahoma may soon be forced to release people accused of violent crimes because the state can’t afford to pay for their legal representation.

Every person accused of a crime in the United States is constitutionally guaranteed the right to be represented by an attorney.

The duty of protecting this right falls squarely on the states. It’s a significant task. Over 80 percent of those charged with felonies are represented by a public defender because they cannot afford to hire a lawyer.

In theory, America provides a fair justice system by putting public defenders and district attorneys on equal footing to pursue the best defense and prosecution possible. In practice, indigent defense systems across the country are in full-fledged crisis, and their funding is “shamefully inade12 // NEWS & COMMENTARY

quate,” according to the American Bar Association. The result is a deeply imbalanced system that makes a mockery of justice for the poor.

For example, some judicial districts in Louisiana have waiting lists of over 2,300 defendants, and attorney staffing has been cut in some districts by 90 percent.

Defendants in South Carolina are often not told of their right to an attorney and are sentenced without representation, in complete disregard for their Sixth Amendment right to a fair trial.

The same problems can be found in Oklahoma. The Oklahoma Indigent Defense System (OIDS), like many other state agencies, has faced growing caseloads and flat budgets over the past 15 years. When adjusted for inflation, state appropriations have fallen over 30 percent since 2002, while the number of cases the agency handles has grown by over 27 percent.

The National Legal Aid and Defender Association has set a national standard of annual caseloads at 150 felony cases, 200 juvenile cases, or 400 misdemeanor and traffic cases for each public defender. By that standard, each OIDS staff attorney did the work of 1.21 attorneys in 2007.

By 2015, each staff attorney was doing the work of 2.07 attorneys.

Because attorneys work in several district courts in regions that cover up to 7,544 square miles, they must travel extensively, stretching their time even further.

In 2002, the Oklahoma Indigent Defense System was in such dire financial straits that Executive Director James Bednar was ruled in contempt of court for not providing attorneys for several defendants charged with serious crimes. Bednar argued that he simply couldn’t hire counsel because he would be violating the law if he spent more than the agency had been allotted. It was a Catch-22

that was only temporarily resolved by shifting funds from the court to provide an outside lawyer.

Today the agency is almost certainly in an even worse financial position than it was in 2002. While another part of the justice system may step in to provide the funds needed to keep an alleged criminal in custody if a similar case arises, Oklahoma can’t continue on this path. When resources are tipped so heavily against public defenders, the whole system is off balance. Justice requires a prosecution and defense on equal footing, but public defenders have been steadily sliding backwards for far too long. a

Ryan Gentzler is a policy analyst with Oklahoma Policy Institute (www.okpolicy.org).

Find this story and more at

May 18 – 31, 2016 // THE TULSA VOICE

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THE TULSA VOICE // May 18 – 31, 2016

NEWS & COMMENTARY // 13

alfresco

Rusty Crane

Blue Rose Cafe

Cafe Olé

Zanmai

Dalesandro’s

East Village Bohemian Pizzeria

Eloté

Soul City

Fresh air A guide to Tulsa’s best patios

by THE TULSA VOICE STAFF photos by TULSAFOOD.COM

14 // FOOD & DRINK

McNellie’s South City

Andolini’s Pizzeria

Queenie’s

Mercury Lounge

Mixco

Tucci’s

May 18 – 31, 2016 // THE TULSA VOICE

Andolini’s Pizzeria 1552 E. 15th St. THE PATIO: When the weather’s nice, this patio fills up quick.

Located on Trenton, it’s just a few steps from the fast-paced Cherry Street life.

WHAT TO ORDER: A purple label luxury pizza, if you’re feeling fancy, and the Norma Jean cocktail Arnie’s 318 E. 2nd St. THE PATIO: Just beneath the shadow of the blue dome, this walled-in patio is at the heart of the district. In spring and summer, the foliage grows thick over the patio, creating a cool canopy.

WHAT TO ORDER: Guinness, Bushmills

Caz’s Chowhouse 18 E. M.B. Brady St. THE PATIO: First off, Bernie Sanders ate here. Ok, he ate inside—but still. The patio puts you front and center in the Brady Artist District hubbub.

WHAT TO ORDER: Marshall Brewing Co.’s This Machine IPA Crow Creek Tavern 3534 S. Peoria THE PATIO: Their motto says it all: See no evil, hear no evil, eat no crow! Crow Creek is a great spot to park your hog and catch live music (5 nights a week).

WHAT TO ORDER: Crow rings (fried red onions) and a cold one

Baker Street 6620 S. Memorial Dr. THE PATIO: This patio near Woodland Hills is large and in charge. With a Gold’s Gym and tanning salon next door, you can GTP … gym, tan, patio.

WHAT TO ORDER: Jameson and ginger beer with a lime

Dalesandro’s 1742 S. Boston Ave. THE PATIO: The beloved Italian bistro features full service outdoors on a spacious wooden deck when the weather’s right, perfect for a romantic evening with the one you love, or at least like.

WHAT TO ORDER: Stuffed shells and the Lemon Basil Prosecco, an Italian twist on the French 75

Blue Rose Cafe 1924 Riverside Dr. THE PATIO: Blue Rose Cafe’s crown jewel is its expansive, bi-level riverfront patio with a beautiful view of the sunset.

WHAT TO ORDER: Blue Rose Famous Cheese Fries and a longneck

Doc’s Wine & Food 3509 S. Peoria Ave. THE PATIO: Laissez les bon temps rouler at Doc’s Wine & Food— maybe the classiest patio on Peoria.

WHAT TO ORDER: Sazerac and oysters on the half shell

Cafe Olé 3509 S. Peoria Ave. THE PATIO: This patio is a hidden gem. Because it doesn’t sit directly on Peoria, it might be easy to miss—but don’t. The charming tiled wood-burning fireplace in back makes it a good spot in cooler weather, too.

WHAT TO ORDER: Tequila or mezcal flight

Dust Bowl/Dilly Diner 402 E. 2nd St. THE PATIO: Miniature houses for kids and springy astro turf-covered stools make this patio interactive and fun for all ages.

WHAT TO ORDER: Pie, a boozy milkshake, or your favorite jazzedup diner fare

East Village Bohemian Pizzeria 818 E. 3rd St. THE PATIO: Nestled between two red brick buildings in the East Village, this cozy patio has charm, good seating, blankets, and a couch—perfect for an al fresco lunch during the day and live music at night.

WHAT TO ORDER: Margherita Bohemian and the Hunter S. Thompson—a far above average rendition of the Doctor’s favorite cocktail, the Singapore Sling El Guapo’s 332 E. 1st St. THE PATIO: One of the few rooftop patios to be enjoyed in Tulsa!

Head here for a cold cerveza on a sunny day, or one of their many specialty margaritas.

WHAT TO ORDER: Tony Collins Dip and a tamarind margarita El Guapo Southside 8161 S. Harvard Ave. THE PATIO: This garden patio serves the same great food and service as the downtown location.

WHAT TO ORDER: A house marg, or try one made with mezcal Elote Cafe & Catering 514 S. Boston Ave. THE PATIO: Elote’s intimate patio is the perfect spot for a downtown quittin’ time drink. Watch the cars cruise by on Boston as you snack on chips and salsa and sip a cocktail from Elote’s Luchador Bar. WHAT TO ORDER: Farmer’s Market Margarita (May - Oct) Empire 1516 S. Peoria Ave. THE PATIO: Spacious and multi-leveled, the patio at Tulsa’s most dedicated soccer bar offers a respite for smokers and those philistines uninterested in the big game.

WHAT TO ORDER: Jell-o shots, one of each color

ZANMAI

DALESANDRO’S

Tulsa’s newest Japanese Steakhouse, Hibachi, Sushi, and Bar. Award winning Patio overlooking downtown Tulsa on Tulsa’s famous Cherry Street.

Tuesday - Thursday 11 AM - 10 PM Friday - Saturday 11 AM - 11 PM Sunday 11 AM - 9 PM zanmaiok.com

Welcome to Dalesandros Join us on the Patio for Award Winning Authentic Italian Food. Located on 18th & Boston, Downtown Tulsa. Walk-ins are welcome, but reservations are recommended.

1402 S Peoria Suite 200 | 918.556.0200

1742 S Boston Ave | 918.582.1551 dalesandros.com

MODERN JA PA NESE CUISINE

THE PINT

CAZ’S CHOWHOUSE

Welcome to The Pint on Cherry Street.

Cherry Street’s neighborhood Pub and Grill featuring craft beers and great food.

We strive to bring the best food and drinks here in Tulsa with high quality ingredients. We offer a comfortable and warm atmosphere where you can kick back, relax and enjoy yourself. Join us on the Patio for Happy Hour 4pm-6pm; 10pm-2am!

Homestyle cooking the way you wish your mama made it! Look for our New Patio coming this Summer! Located downtown in the Historic Brady District just steps away from the Brady Theater, Cain’s Ballroom and just a couple of blocks from the BOK Center and PAC. We look forward to seeing you!

1325 E 15th St | 918.561.6119 thepinttulsa.com

THE TULSA VOICE // May 18 – 31, 2016

18 E M. B. Brady St | 918.588.2469 cazschowhouse.com

FOOD & DRINK // 15

Saturn Room

Fassler Hall 304 S. Elgin Ave. THE PATIO: This place was awesome before, but its biergarten is a major upgrade—now with an outdoor bar, bean bag toss, those iconic community picnic tables, and a great view of downtown architecture.

WHAT TO ORDER: Deutches bier (That’s German ... for German beer.)

Hodges Bend 823 E. 3rd St. THE PATIO: Classy and well lit, the patio is also within striking distance of The Parish, the gourmet food truck permanently stationed at Hodges. No need to order from the truck—the restaurant’s attentive waitstaff never neglects the patio—just enjoy the smells.

WHAT TO ORDER: Japanese cold brew or the Tobacco Old Fashioned Hop Bunz 3330 S. Peoria Ave. THE PATIO: A big outdoor television makes this a great choice for watching the game while enjoying nice weather. If you want less distraction, sit on the 33rd Place side.

WHAT TO ORDER: Bourbon & Caramel custard shake The Hunt Club 224 N. Main St. THE PATIO: Partially covered and with plenty of places to park it, The Hunt Club’s two-story patio is a great spot to take in a show.

WHAT TO ORDER: Whatever you feel like, dammit!

Inner Circle Vodka Bar 410 N. Main St. THE PATIO: This 7,000-square-foot patio with cabana-style seating has giant Jenga, giant Connect Four, giant beer pong, and three cornhole sets to keep you and your buds busy.

WHAT TO ORDER: One of their many different vodka infusions

Mercury Lounge 1747 S. Boston Ave. THE PATIO: The charming patio of 18th and Boston’s oldest bar features picnic tables divided between covered and uncovered areas, so you can enjoy a beer outdoors whether rain or shine.

WHAT TO ORDER: Shot-and-beer special Mixco 3rd St. and Denver Ave. downtown THE PATIO: It’s hard to go wrong at this downtown favorite, inside or out. Mixco has just added a kitchen, with food by Nico Albert, meaning you can imbibe both excellent drink and food, now.

WHAT TO ORDER: Smoke & Mirrors, or a cold shot of Fernet, which they serve on tap(!)

Saturn Room 209 N. Boulder Ave. THE PATIO: With its giant ceramic ashtrays, wicker furniture, bartenders in Hawaiian shirts, and outside order window—Saturn Room’s patio recalls hedonistic times of beach-lounging and Mai Tai-sipping. Why buy a ticket to Maui? Saturn Room has brought the vacay to Tulsa. Did we mention the fantastic view?

WHAT TO ORDER: A Scorpion Bowl for the table Soul City 1621 E. 11th St. THE PATIO: Soul City’s back patio is a great listening venue with frequent live music, and is bike, creative, and family-friendly.

WHAT TO ORDER: Spicy Foo-Egg-O Fightin’ Sliders and, maybe, a glass of milk

The Penthouse Rooftop Lounge at The Mayo 115 W. 5th St. THE PATIO: The Penthouse bar’s roomy patio offers a stunning 360-degree view of downtown. Weekends on the rooftop are great for party crashing and people watching.

WHAT TO ORDER: Something really classy

Soundpony 409 N. Main St. THE PATIO: Grungy, funky Soundpony is a Tulsa must: great view of the downtown skyline, décor made out of bikes, graf�iti, and bizarro handmade patio tables.

WHAT TO ORDER: Sixpoint Brewery’s Resin beer, or local, of course

The Pint on Cherry Street 1325 E. 15th St. THE PATIO: String lights, umbrellas, quality beers, and the bustle of the busy neighborhood might make you feel like you’re in … Tulsa. Enjoy it.

WHAT TO ORDER: $4 pint special

Tucci’s 1344 E. 15th St. THE PATIO: Outdoor seating at this covered patio is made all the more special by red curtains and a cozy Italian trattoria feel.

WHAT TO ORDER: Vino bianco, o vino rosso

Queenie’s 1834 Utica Square THE PATIO: This cute, small sidewalk patio sits right in front of Queenies, with good views of their pastry case and Utica Square and ceiling fans to keep you cool.

WHAT TO ORDER: Tomato tart with a side salad, or carrot cake and a coffee

Laffa 111 N. Main St. THE PATIO: Good things come in small packages, like this compact patio. Laffa’s myriad Medi-eastern flavors in its food and drink mean no patio could ever be big enough.

WHAT TO ORDER: Street falafel and a Fall From Grace

R Bar 3421 S. Peoria Ave. THE PATIO: This patio equals brunch goals. With plenty of shade and spots in the sun, R Bar is the place to people watch on Brookside and/or nurse a hangover while you stuff your face with chicken and waffles.

WHAT TO ORDER: One of their 80+ different beers

McNellie’s South City 7031 S. Zurich Ave. THE PATIO: An excellent sunny spot with Ping-Pong, picnic tables, and plenty of beer.

WHAT TO ORDER: Probably a beer—there are 350+ from which to choose. Or, try a flight.

The Rusty Crane 109 N. Detroit Ave. THE PATIO: Though a great stop-off or pre-game point for your downtown adventures, Rusty Crane’s lengthy, comfortable patio is meant for slowing down and being here.

WHAT TO ORDER: Rusty wings and a Tin Man

16 // FOOD & DRINK

R Bar

Vintage 1740 1740 S. Boston Ave. THE PATIO: Nearby smells of Burn Co., Dalesandro’s, and Doubleshot make this patio a sensational experience. Sit at one of the few tables and feel supremely classy with a delicate glass of wine in hand.

WHAT TO ORDER: Wine you haven’t tried before Yokozuna Southside 9146 S. Yale Ave. THE PATIO: Yokozuna’s tagline is “Noodles. Sushi. Cocktails.

Happiness.” The only thing they forgot is: Patio. Luckily, this location has one anyway!

WHAT TO ORDER: Saké Sour Zanmai 1402 S. Peoria Ave. THE PATIO: This Japanese Steakhouse, Hibachi, Sushi, and Bar has a comfortable second-story patio that looks straight towards Tulsa’s downtown and is located just a few steps off of Cherry Street.

WHAT TO ORDER: A big Japanese beer: 33 oz. Asahi, or 22 oz.

Orion, Kirin, or Sapporo a May 18 – 31, 2016 // THE TULSA VOICE

FASSLER HALL

INNER CIRCLE VODKA BAR

Welcome to Fassler Hall Tulsa. This German gem in the heart of downtown Tulsa is known for its German beer and live entertainment. Join us for the Thunder Games and Happy hour in the biergarten! Also, don’t miss the expansive whiskey and cocktail menu.

Inner Circle features the largest and liveliest patio in downtown Tulsa. With a brand-new outdoor bar, giant patio games, unique shipping container seating, a stage, and an amazing view of the skyline this patio is the place to be. DJs & live music on weekends, acoustic on Wednesdays and movies on large projector screen Sundays.

MCNELLIE’S SOUTH CITY

THE HUNT CLUB

Sure our beer selection is immense, but the food’s pretty good too! McNellie’s menu is filled with fresh, reasonably priced food. Every day, our dedicated kitchen staff works hard to make a variety of items from scratch, using the best ingredients available. Enjoy brunch on the patio every Saturday and Sunday, which features a great bloody mary bar.

Join us on the Patio and try our New Menu, Mr. Nice Guys at The Hunt Club!

Located Downtown in the Historic Brady Arts District. Food, full bar, and live music!

304 S Elgin Ave | 918.576.7898 fasslerhall.com

409 E 1st St | 918.382.7468 mcnelliessouthcity.com

DILLY DINER

402 E 2nd St | 918.938.6382 dillydiner.com Downtown Tulsa’s favorite diner. Serving up breakfast all day, housemade bread, pastries, pies & cakes, homemade soft serve, house cured meats, local produce and so much more! Come soak up the sun on our patio with a fat stack of pancakes and mimosa service. Open till 1am on weekends.

410 N Main St Ste A | 918.794.2400 icvodkabar.com

224 N. Main | 918.599.9200 thehuntclubtulsa.com

Happy Hour Mon-Sat 2p.m.-9p.m. & All Day Sunday BAKER STREET PUB-TULSA 6620 S. Memorial Dr. bakerstreetpub.com Live Music Thursday-Saturday, No Covers

EL GUAPO’S CANTINA SOUTHSIDE

8161 S Harvard Ave | 918.728.7482 elguaposcantina.com Our newest El Guapo’s is located in the Walnut Creek shopping center at 81st and Harvard. Here you’ll find the largest selection of tequila and mezcal in Tulsa, a beautiful garden patio, and the same great food and service as the original.

TULSA

THE TULSA VOICE // May 18 – 31, 2016

FOOD & DRINK // 17

citybites

Kick-start kitchen Kitchen 66 aims to build a food hub for Tulsa

by MEGAN SHEPHERD

T

he past decade has brought a boom to Tulsa’s food scene. Restaurant groups around town are adding new concepts monthly, farm table dinners are ubiquitous come spring and summertime, and if downtown’s expansion is any indication, more local projects are on the horizon. Publications like Edible Tulsa churn out locavore-centric food writing, community garden projects are flourishing across town, and programs designed to connect farmers and purveyors with schools and businesses are gaining speed. Respect for growing and shopping local has gained traction, and Tulsa’s beloved Cherry Street Farmers’ Market is as vibrant as ever.

Still, when you place Tulsa side by side with other food cities, it’s hard not to feel underwhelmed.

Our restaurants and grocery stores still struggle to source locally, many of our best eateries close up shop Sunday and Monday nights, we’re still desperately lacking authentic world cuisine, and downtown and the north side’s food deserts show no signs of new life.

When compared with Chicago, Dallas, Denver, and other culinary-minded cities in our region, Tulsa has a long way to go in the world of food.

Perhaps it’s this reality that’s pushing the Lobeck Taylor Family Foundation to act. The organization recently launched Kitchen 66, a multi-faceted endeavor designed to help build up food and food businesses in Tulsa.

“We’re calling it a kick-start kitchen,” said Kitchen 66 Program Director Adele Beasley.

18 // FOOD & DRINK

At Kitchen 66’s Grand Opening | COURTESY

Kitchen 66 is part cafe, part launch program, and part commercial kitchen space. The goal is to help aspiring “foodpreneurs” get their ideas off the ground. By providing affordable commercial kitchen access, entrepreneurial mentorship, access to wholesale ingredients and affordable supplies, and the rallied support of Tulsa’s food and start-up scenes, Kitchen 66 supports business owners through every step of the process, from recipe to retail.

“Our ultimate goal is really to build a food hub along Route 66 that supports food entrepreneurs of all kinds,” said Elizabeth Ellison, founder of Kitchen 66.

But what exactly is a food hub, and how is it different from Tulsa’s current local market scene?

“I think the food hub part for me really comes from wanting to create that connection in Tulsa for people eating together, sharing stories together, and also utilizing locally grown food to make food in Tulsa,” said Ellison.

As she tells it, a food hub would ideally offer a place to shop for Oklahoma-made prepared meals, along with meat, breads, cheeses, and produce. “But not just produce...” she said. “Oklahoma everything.”

The idea is great in theory, but for a new entrepreneur, taking that family salsa recipe from part time hobby to the supermarket shelf is tough. And when commercial kitchen space alone costs upwards of $50,000, the idea of a business newbie single-handedly launching a profitable food business in Tulsa starts to sound pretty dismal, if not totally impossible.

For scrappy cooks with business acumen, Kitchen 66 picks up where the creative genius leaves off—with resources, connections, and community support.

If Kitchen 66’s first food hub event is any indication, the initiative is well on its way. Held at Kitchen 66’s Cafe in the Sun Building (907 S. Detroit Ave.), the makeshift pop-up market featured

food and drink offerings from the launch program’s seven start-up businesses. Vendors sold everything from specialty coffee drinks to finishing salts to baked goods.

Over the lunch hour, the room buzzed with new entrepreneurs serving rolls, empanadas, salsas, and even gourmet dog food.

Kitchen 66 Cafe will also offer a deli-style breakfast and lunch Monday through Friday, with rotating daily specials, house-roasted meats, and fresh pastries.

I asked Ellison how Kitchen 66’s goals are different from those of other local food markets. As she tells it, Kitchen 66 is not a farmers market, and as great as it is to use local ingredients, an over-emphasis on local sourcing doesn’t always account for the nuances of some businesses’ products.

“Although I’d like to see a farmers’ market in our food hub, I think the farmers’ market in Tulsa will only allow products that have all Oklahoma ingredients, and Spokto [Beverage Co.] is a good example of someone who ... you can’t grow coffee in Oklahoma, so they’ll never be allowed to be in the Farmers’ Market,” Ellison said.

“We’d like to be a place where you can go shopping and enjoy live music on a Saturday, but maybe not be as stringent about the fact that all the ingredients in the food be from Oklahoma.”

Whether or not Kitchen 66’s mission is really that different from those of its predecessors remains to be seen, but one thing seems pretty clear: why reinvent the wheel when you can build the hub? a May 18 – 31, 2016 // THE TULSA VOICE

downthehatch

by LIZ BLOOD

Belting it Drinking near-beer the Cain’s way

A

six-pack (now fourpack) of Coors Banquet dangles from my brown leather belt on my right hip. I feel like one of those girls wearing a belly chain in the music videos, except this one is heavy and has special powers—namely, the ability to give me a buzz.

Yes, it’s 3.2 beer, yes by the end of the third the stuff tastes more like lake water than corn-and-hops bitter-sweetness, but this is what you do at Cain’s Ballroom.

Jonathan Tyler has just come back out to sing a song with Ray Wylie Hubbard. Tyler is wearing a white cowboy hat and a red satin baseball jacket, looking like he just won the rodeo. Hubbard looks like a gypsy who’s just emerged from a covered wagon. They’re singing about powerful lightning and the broken-winged angels smoking Marlboros in heaven’s back alleys.

Those angels might like a banquet beer, too.

Both singers are from Texas and I’m from Oklahoma and I think Cain’s might be the best example of a shared home for THE TULSA VOICE // May 18 – 31, 2016

the two states—after all, it’s “The Home of Bob Wills and the Texas Playboys.” We’re separated by the Red River, but our music and liquor laws are similar and the grit is shared. California conjures images of vineyards and oranges, Ohio of the Amish and beekeeping, Montana of big sky, Maine of those quaint covered bridges. But Oklahoma and Texas? Lake beer, red dirt country, temperamental weather and weathered people.

My thigh is cold from the beer; I yank another off my sagging belt. It springs back from release of the weight. Another beer gone—knocking pins down. I wish I’d worn my dad’s hand-tooled leather belt, the big thick one with the silver and brass buckle initialed “B,” for Blood, the name Ken tattooed in fat, white CAPS on back.

For another night, another sixer. a

In “Down the Hatch,” assistant editor Liz Blood offers a look inside Tulsa’s many bars, pubs, saloons and gin joints. Send suggestions for future columns to liz@langdonpublishing.com or @lizblood on Twitter.

FOOD & DRINK // 19

Tickets on sale NOW

OKMOZART.COM

20 // FEATURED

TULSA SYMPHONY ORCHESTRA SIGNATURE SYMPHONY CATHERINE RUSSELL OKC PHILHARMONIC MEMBERS MIRO QUARTET BRIGHTMUSIC SIMPLY THREE STONELION PUPPET THEATRE BARTLESVILLE SYMPHONY ORCHESTRA ESPECIALLY FOR KIDS EVENTS 90+ SHOWCASE EVENTS 5K TRAIL RUN AT PRAIRIE SONG May 18 – 31, 2016 // THE TULSA VOICE

PHOTO BY MICHELLE POLLARD

{ A FAREWELL TO }

D E C E M B E R 2 7, 1 9 5 5 – M AY 6 , 2 0 1 6

BY MICHAEL STAUB

THE TULSA VOICE // May 18 – 31, 2016

FEATURED // 21

PHOTO BY PHIL CLARKIN PHOTO BY PHIL CLARKIN

PHOT

The foundation of Tulsa’s music scene was shaken on Friday, May 6, when our cornerstone, Steve Pryor, died after being involved in an accident on his motorcycle.

For those not familiar with Steve Pryor or his work, my apologies. We lost one of the greats.

Born and raised in Tulsa, OK, Steve Pryor was an immensely gifted musician who cut his teeth playing the Tulsa scene. From his first band in high school, Light Years, with Jimmy Strader on bass, Damon Daniels on drums and Mark Carpenter on guitar (one of Steve’s first six-string influences), to lessons and jams with the legendary guitarist Mike “Monk” Bruce and sit-ins with local legends like Jimmy Markham and Carl Radle at The Colony in the early 70s, Pryor was Tulsa, through and through.

After tearing up the local and regional scene through the late 70s and early 80s, Steve caught a big break in ‘89 when he moved to LA and landed a record deal. He experienced a few years of rock-n-roll success, touring with the Fabulous Thunderbirds and opening for Joe 22 // FEATURED

Cocker, among other highlights.

By 1992 he found himself back in Tulsa. Although he’d shared the stage with the likes of John Lee Hooker, Albert King, Buddy Guy, B.B. King, Greg Allman, and Dr. John, Steve never got another shot at the big time.

I point this out because it’s often the “elephant in the room” when talking with people about Steve Pryor. It goes like this: “Steve’s one of the greatest guitarists I’ve ever heard!” Then, almost in a whisper, “It’s really too bad he never made it...” This is usually followed by speculation about his personal demons or a surface-level discussion of the recording industry’s paradigm shift in the early 1990s.

Now that Steve is gone, I’m inclined to set the record straight and remember Steve Pryor the musician for what he was, not what he wasn’t, because Steve Pryor was the greatest guitar player I’ve ever heard. But before we get into that, let’s acknowledge something else: Steve was one of the funniest damn dudes on the planet. If you knew him for more than two minutes he

made you laugh. Sometimes it was a joke, or a story (man, he could tell stories), or just some funny situation. Sometimes it was all three rolled up in a big ball.

One early evening, Brian Fontaine and I were having a casual conversation at The Colony when Pryor burst through the door with this wild look on his face. Nobody else was in the entire bar.

“What’s up, Steve?” Fontaine asked.

Standing wide-eyed in the middle of the empty room, Steve launched into a ten-minute story about how he had just been at home watching the blues channel when he realized it was past 10 o’clock (downbeat for his show that night). Thinking he was late for the gig, he freaked out, frantically grabbed his shit and ran down to the Colony, only to burst in and realize... it’s 8:30? Evidently he saw the blues channel cable number on TV and mistook it for the time.

Which is where the story gets good. He then launched into the most hilariously self-deprecating diatribe I’ve ever heard. Something about how stupid he is (he was never cocky)

and how there is a special place in hell for him filled with a thousand electric guitar players playing nothing but Journey in unison for eternity at insanely high volumes while some girl behind a grill offers him “fake bacon” saying “try it, Steve, it tastes just like real bacon.”

There was more, but I was laughing so hard I didn’t catch the rest. If you knew Steve, you’ve got a lot of stories like this.

I guess that’s one of the reasons Steve’s playing was so disarming.

He never acted like he was a rock star. Not in terms of ego, anyway.

He was truly a kind and humble spirit. He was a mentor to many of the current and up-and-coming players on the Tulsa scene today.

“He was crazy at times,” said Chris Combs, guitarist for JFJO and Boom Clap. “But he was so true. And honest. And not mean. He was real.

And kind. 100%. He was fearless.”

We live in a time when “success” is measured almost solely based on recognition and compensation.

We’re programmed to believe the person on the radio or the person with the most downloads is “the MAY 18 – 31, 2016 // THE TULSA VOICE

PHOTO BY PHIL CLARKIN

O BY SCOOTER BROWN

best.” Surely, if Steve Pryor was such an amazing guitarist he’d have been recognized by the masses, right? But that’s exactly like arguing McDonald’s makes great hamburgers, or provides any real nutrition. It’s simply not true.

Henry David Thoreau died poor with an attic filled with unsold copies of Walden. So while he wasn’t commercially successful, was he not successful in writing a piece of literature that helped change the world? Maybe there is a different economy where it isn’t about money or fame, but the currency is just as valuable. Maybe the currency of this economy moves souls, shakes cities, and impacts the hearts and minds of human beings in ways that make money, power and fame are worthless in comparison.

This is the currency Steve Pryor dealt in. Plenty of musicians gain that other “success,” but they are rarely successful at ripping your heart out with every note. They aren’t successful at touching and impacting the lives of almost every musician they come in contact with whom (go read Steve Pryor’s FaceTHE TULSA VOICE // MAY 18 – 31, 2016

book wall). They aren’t successful in creating a sound that actually shakes your heart and soul, to the point you begin to cry for no other reason than this vibration passing through you. Steve was a success, beyond measure.

There were two main elements that set Steve Pryor apart from the rest and put him in that small, otherworldly class of musical masters.

One was his ability to surprise you with his choices—melodically, harmonically, rhythmically and maybe most of all, dynamically. Steve could play the standard and classic licks but he always found ways to twist them or turn them upside down in ways you didn’t see coming. And while known for his power in up-tempo “blues burners,” the real extent of his power can best be felt in the slow-burn build and in his quiet ballads (find his recording of the John Coltrane classic “Naima” with Pryor on Pedal Steel).

“It was uncanny, even scary at times,” said guitarist Lloyd Price, Steve’s longtime friend and band mate. “You could write a textbook on his use of dynamics alone. We didn’t

just lose a great guitar player. We lost an irreplaceable force of nature.”

This “force” is the other element that set Steve apart. We might call it intent. It isn’t a very powerful-sounding word, but I’d like to suggest it’s had a bad rap. While actions speak louder than words, it is intent that fuels the most passionate of actions. It’s the person behind the word, or the note. It’s the fire of the will. It’s where we get sayings like, “he really means what he says.”

There was never any doubt that Steve Pryor, with every note he played, meant it.

It’s like trading solos with Pryor, something we do often in this town.

It’s something like a friendly “cutting contest”; if you were left standing there at the end, after Pryor played, it’s because he wanted you to be. He left you alive. You could play every note in the world as fast and perfectly as possible, but you weren’t about to “mean it” like he did, regardless of what you played. I’m not saying he didn’t have off-nights. Everyone does. But when he was on, he was like no other.

I remember talking with someone about Pryor one time and they asked if he was as good as Eric Clapton. Without thinking I replied, “If I saw Eric Clapton on stage with Steve Pryor I’d just feel sorry for Clapton.”

Good luck, mate.

I’ve thought a lot about how to best honor Steve Pryor, the musician. So many of his friends and colleagues have expressed such moving and powerful tributes. Damon Daniels, life-long friend, consummate drummer, and one of the few to play with Steve from the beginning to the end, is one of them.

“He taught me so much,” Daniels said. “But he showed us all the value of unconditional love. If we could all be more like that ... this would be a better place.”

Everyone who loves Steve and his music will find their own way to mourn, celebrate, and pay respect.

But it occurs to me there is a way we could all honor Steve, as a community. Get up tomorrow morning, strap on your proverbial guitar, and play your heart out.

Play like you mean it. a FEATURED // 23

“Michael Jackson and MC Hammer were my dad’s music, and my mom listened to Whitesnake. Now I play folk music,” Kalyn Fay said, chuckling.

She’s a witty, passionate, artful dork who loves her dog, her family, her print work and her newly discovered gift for writing songs. In March, she defended her thesis, a manifesto on the conflict between Native spiritualism and what Fay calls “her white family.” The daughter of a French-Irish mother and a Cherokee father, Fay lives in a space of contradictions. Her arms and legs are littered with tattooed remembrances of these disparate worlds: Old testament prophets and “Awi Usdi,” a deer spirit from ancient Cherokee tradition where the elements of the physical world have meanings that transcend nature’s limits.

At age 26, she seems to have finally embraced her contradictions. Kalyn Fay’s new album, Bible Belt, comes from a deeply honest struggle to understand her parents’ lives in the uncertain context of her own.

In writing her songs, Fay has had to rediscover some of her own past. In her memory, she is four years old crooning “Victory in Jesus” on her white grandmother’s piano. Then she is ten and her father is forbidding her to see the medicine man, saying only, “If you know good medicine, then you know bad.” She repeats this phrase by rote like scripture, and even compares “good medicine” to the tree of the knowledge of good and evil in the Bible. It’s a closed room full of secrets too powerful to learn.

Over the years, peeking in and out of that room, Fay has gained a profound spirituality and a sense of identity wholly unique to herself.

“A lot of these songs deal with my personal faith and living here in the Bible Belt—dealing with that and trying to find your way around those certain views and certain people,” she said. “My entire family switched over to Christianity when my dad was in high school, but it’s funny because

Disparate

Worlds Kalyn Fay’s debut album explores life in the Bible Belt

BY DAMION SHADE P H OTO S B Y J E R E M Y C H A R L E S

they still carry these Native ideas and superstitions. There was an owl that was sitting outside our house for like a week, and he’d go out everyday with a big yellow plastic broom and try and scare it to try and make it leave.”

In 2008, while studying graphic design and print lithography at TU, Fay wrote her first song, a sappy ukulele love ballad penned for her then-boyfriend and eventual fiancé. When they broke up, she suddenly had to build a new life for herself.

From then on, Fay never stopped writing. She kept her guitar close and began crafting the songs that would capture this difficult and beautiful time in her life.

Don’t remember much about that house on Broadway, that town in the Southeast. Trees are swaying around as if they had a secret. Wish they would’ve told me. ... Can’t explain just how I felt, living in the Bible Belt, she sings on the album's opening track.

She walks us across her history slowly. Long sun-swept stretches of flat grass and red Earth lay vast with echoes of her grandmother Betty's voice telling Cherokee stories in her Native tongue.

“I think I’m just trying to tell my stories and trying to tell other people’s stories,” she said. “My grandmother taught Cherokee to children from home for a number of years. A song like “Spotted bird” only exists because it’s based on ... Cherokee beliefs about owls. My family doesn’t like owls because they are supposed to be able to let you know that someone is about to pass on. Cougars and owls are supposed to be really holy animals. If an owl stays at your house for so long it’s supposed to be a bearer of death.”

Cherokee belief is strewn throughout this album as much as the Bible belt itself. Trees awaken.

Owls and cougars are harbingers of death. Even the deepest, most God-centered plan can seem to

evaporate before the unflinching strength of nature.

Oklahoma is also a constant character, as Fay's soft alto voice leads us through whiskey-soaked evenings from Tahlequah to Tulsa and fights with know-it-all lovers who “should probably shut their mouths.” The warm jangle of lap steel, country guitar, fiddle and drums underpinning these 10 tracks has a particularly Oklahoman tone, as well.

Co-produced and tracked by Scott Bell and Dylan Layton, the songs are spacious and warm, driven by a country and folk rock sensibility reminiscent of Sun Sessions records from the 1950s, while also containing traces of modern bands like Beach House and Cat Power.

Bible Belt lays a lot for its listeners to unravel. In less than an hour, it sings, pleads, intones birdsong, laughs and wanders through a young woman’s faith and memory with a simple wisdom. God is a ghost in the walls on this record—not just a moral force but an emotional one, like some lost love persisting past reason.

After our interview, Fay sent me a picture of herself at six years old.

Imagine a lively kid with chestnut eyes and an auburn half-mullet, wearing a faded blue Disney Pocahontas t-shirt and smiling dubiously at the camera. Twenty years later she’s still that kid—riddled with the questions and uncertainty of life.

But, she’s also still smiling.

“I hope people find their own way to talk about their faith and their views on life through this album. I hope it makes them feel less afraid to discuss certain issues,” she said.

As Fay says on the album's final track, “Plans,” I’m still trying to figure it out. It’s a hard lesson when you’re full up of doubt ... We can plan, but life’s still gotta deal us a hand that we’ll never quite understand. a The release party for Bible Belt is set for June 11 at The Colony.

sportsreport

(Left to right) Athletics co-owner Sonny Dalesandro, coach Joey Ryan and co-owner Dr. Tommy Kern | ADAM MURPHY

Principles of play Despite losing stadium, Athletics’ demise greatly exaggerated

by JOHN TRANCHINA

D

on’t shed any tears for the Tulsa Athletics. Even though the soccer club is losing its stadium in four months, it doesn’t mean the team is folding or moving out of the city. From the teams point of view, it will simply herald a new chapter in its history.

In fact, the Athletics just kicked off their fourth season at Athletics Stadium (formerly Drillers Stadium) at the corner of 15th St. and Yale Blvd., battling to an entertaining 1-1 draw against the Liverpool Warriors (based in Saginaw, Texas, not England) in front of 3,487 fans on May 7.

“Good crowd, great atmosphere, our fans are fantastic,” said Athletics coach Joey Ryan of the season opener. “They always take care of us, always behind us.”

The night proved that support is still strong for entertaining,

26 // ARTS & CULTURE

competitive soccer that is more geared towards a local Tulsa grassroots appeal. The Athletics, who play in the amateur National Premier Soccer League (NPSL), one level below the United Soccer League (USL), are confident that wherever they end up next season, the support will follow them and they will continue to fill that niche successfully.

The forced move comes on the heels of the April 5 Vision Tulsa vote, which allocated $15 million to tear down the stadium in order to construct the new national headquarters for the American Bicycle Association and USA BMX, including a training center for bicycle motocross athletes and offices.

Athletics co-owner Sonny Dalesandro noted that the soccer club’s lease expires on August 31, enabling them to complete the

2016 season. After that is the great unknown, but they are working to find a solution.

“A year from now is when we’ll kick off the 2017 season, so we’ll have to find a new home by then,” said Dalesandro, a lifelong Tulsan who played at Cascia Hall High School and for the old USISL’s Tulsa Roughnecks in the 1990s.

He revealed that one of the options might be a partnership with the Tulsa Rugby Club, which currently plays on a field at Riverside Dr. and E. 37th St. Of course, that whole Riverside area is currently undergoing construction, so it’s unclear yet exactly what might emerge.

“As far as plans, we’ve partnered with a couple of groups, one being the Rugby club,” Dalensandro said. “I don’t want to say too much, but that’s something that we’re very interested in,

especially with all the development in the area. Being a part of that, I think, a sports venue, if the parking situation could get sorted out, could be beneficial for everything that goes on there.”

The Athletics actually view the recent events as a positive step.

“I think initially, like anything else, when you get news like that, there’s a little bit of concern, but honestly, we’re excited,” Dalesandro said. He pointed out that maintaining Athletics Stadium has its challenges, especially for a club that operates in an amateur league.

“This is a very big, old facility.

It requires a lot of maintenance over the course of 12 months.

Maybe one percent of amateur teams office and work at a facility of this magnitude, and a lot of our money, time and resources go to keeping this thing ductMay 18 – 31, 2016 // THE TULSA VOICE

taped and Gorilla-glued together, for the lack of a better term …

I think wherever we end up next will probably be a better fit for us.

In 2013, we saw that no one was using this place. Our goal at that time was to see how far we could progress the sport of soccer in the city of Tulsa.”

That brings us to the pink elephant in the room—that the newer, higher-level Tulsa Roughnecks FC now command much more attention from area soccer fans. But the die-hard supporters of the Athletics will tell you that they were here first.

“The Roughnecks wouldn’t be here if the Athletics hadn’t been so successful,” declared Will Gibson, 16, a sophomore at Booker T. Washington High School and a huge Athletics fan. “They had great attendance, they brought in a lot of friendlies, and the Roughnecks and Drillers organization and Prodigal LLC, the organization from Oklahoma City who’s responsible for bringing in the Roughnecks, I feel like they’re just trying to piggyback on the success of the Athletics.”

The Athletics were an instant hit both on and off the field when they began play in 2013, going 10-0-2 and claiming the NPSL’s South-Central Division title before losing in the South Region Semifinal. They also drew just under 3,300 fans per game.

In 2014, it was more of the same, as they won the division title again, advancing to the South Region final and averaging 3,439 fans per game. It was after that season when the higher-level, professional United Soccer League opted to expand to Tulsa, heralding the arrival of the Roughnecks.

Last year, the Roughnecks enjoyed strong support, attracting an average of 4,714 fans at ONEOK Field, while the Athletics struggled, as their attendance dropped to just 1,350 per contest.

It’s clear, though, that for a large contingent of its fans, the grassroots, old-school appeal of the Athletics and their game presentation is more attractive than the more hyped, corporate feel of Roughnecks games.

They point out that the Athletics are locally-owned, play in a

park that has a long history with run at Athletics Stadium. The game the city’s sports traditions and atmosphere is outstanding, because have made efforts to include many the way the soccer field is squeezed players that have local ties. onto the former baseball field (it “The Athletics are the grassis actually slightly smaller than the roots team, that’s why I love it,” standard field dimensions, but still Gibson said. “Sonny, the owner, within “acceptable” range), the fans he’s walking through the stands, are right on top of the action. you can stop and talk to him. He “The sightlines here are fanwas out there at the tailgate with tastic,” Dalesandro said. “Everythe supporters group… And for where you sit is a great seat, right it only being a small, grassroots on top of the field. It’s earmuffs effort, they really do project an for the kids if you’re too close to aura of professionalism and they the field, but that’s part of it. A lot really have a great brand, I think – of people like getting right there a good image.” and being part of the action.”

The club has integrated itself “As a Drillers fan from back in within the local community, with the day, I have childhood memomany home games promoting— ries growing up here, too,” added and providing proceeds to—local Daniel DeVore, president of the charities, including the local VFW Tulsa Armory, the club’s die-hard chapter, Project Woman, Youth supporters group. “I kind of feel Services of Tulsa, and Tulsa Bike like I’m living out that last dream— Club. this old stadium, it’s going to be “At the end of the day, for what bull-dozed here in a few months, we are, we want to stay connected so let’s enjoy this last part of it.” with the community, and if we can So yes, the Athletics game use this club to generate support experience as it currently exists for local charities, that’s great,” has about three more months to Dalesandro said. play out. But the team and what it JOIN US. As they look forward, this seastands for will continue on—just son is the time to cherish the fi nal somewhere else in Tulsa. a Relay For Life of Tulsa Guthrie Green, Brady Arts District

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1.800.277.2345 THE TULSA VOICE // May 18 – 31, 2016

ARTS & CULTURE // 27

artistprofile

Gary Kachadourian, Tulsa Artist Fellow from Baltimore, MD, in his drawing studio at AHHA | MELISSA LUKENBAUGH

In the studio 2016 Tulsa Artist Fellow Gary Kachadourian

by LIZ BLOOD or the next six months, in each issue of The Tulsa Voice, we’ll introduce you to one of the twelve visual artists brought here through George Kaiser Family Foundation’s Tulsa Artist Fellowship. The yearlong program offers its participants an unrestricted stipend of $20,000, housing, a studio space, and the option to renew for a second and third year. Meant to invigorate, grow, and bring attention to our local art scene, the fellowship is focused on bringing in artists from outside of Tulsa, though local artists are considered (this year, the fellowship’s first, three Oklahomans are fellows). Next year, fellows will include both visual artists and writers.

F

Gary Kachadourian is recording our natural habitats—man-made and not.

He sits on a platform made to look like a rock and draws in his fourth floor AHHA drawing stu28 // ARTS & CULTURE

dio, overlooking the trains rolling through town. Or, he works from a webbed lawn chair, a drawing in his lap. Other days might find him in the next room, carving or building blocks, platforms, and other large items for his installations.

In the project studio hangs a curious ink drawing—a small mass of thick black squiggles. I ask him what it is and he tells me it’s a Popeye’s fried chicken leg. I then see curled bits of fried batter in the lines.

“Yeah, I drew that and was like, ‘I know this is going to fail, but it’ll be fun.’”

The drawing studio is a perfect example of his installation work: every surface—the platform, floor, and walls—is covered in large, layered pencil and ink drawings of weeds, leaves, trees, grass, and rocks. Other installations might be of an urban or suburban streetscape.

Gesturing to the ink drawings of weeds and grass, Kachadourian says, “These [panels] are drawn in medieval space. Nothing gets

smaller as it goes back into the distance. If everything went back, you couldn’t repeat the same image.”

Drawn in a stream-of-conscious manner, the images are highly detailed and three-dimensionally strong—individual clover leaves, weed stems, blades of grass. He calls the method “field reporting.”

Very literally, he is often in a field doing it.

He sells these drawings in simple paper books that allow the buyer to Xerox each panel, or drawing, and install them.

“One of the issues of making art is where to show it,” he says.

“These books are like sending out the exhibition.”

He also makes books of his small, to-scale pencil drawings of city scenes, most of which he drew on a bus in his hometown of Baltimore. These generally follow themes of urban living and commuting, with images like apartment dumpsters and abandoned couches, vacant lots, concrete jersey barriers, and parking meters.

For these drawings, Kachadouri-

an is more methodical, taking an architectural approach that prioritizes mathematical accuracy.

Kachadourian scans his scale drawings and manipulates and layers them in Photoshop to make new images, which he also uses for installations. When offered a show at a gallery with a 23’ ceiling, he was elated.

“I got to have an entire forest.

Most ceilings are twelve feet. I was totally excited. It was made up of three drawings—one tree, one bush, and a section of forest floor.

Those were layered.”

These drawings are also for sale—meant to be cut out of their books and put together into 3-D models. The scale varies; some scenarios are 1/32, others are 1/12, 1/24, 1/48, and 1/64.

“It’s an efficient way to distribute sculpture,” he said.

Most of his books are nominally priced at $3-5. “People take your art more seriously if they buy it.”

“I’ve always had a job to support my art, but now because of the fellowship, art is my main gig.” a May 18 – 31, 2016 // THE TULSA VOICE

artgallery

Canaanite Howl

BY NICK WEAVER

I saw the best minds of my generation destroyed by newsfeeds, direct messages and status updates, hysterically dragging ourselves through cyber streets at dawn begging for a retweet. #Angry. #Thirsty.

We scream staccato keystrokes like Mountain Dew junkies.

Hypnotized by our avatars, hardware STD-free.

Lonely for someone to check our check-ins, because we want you to like us, and like us for liking you back, and always notice when we are not at home.

I saw my peers’ eyes go dark in every suburb, bug zappers dimming as they used cellphone cameras “Wings & Flings (Spiraling),” paper, fabric & glue on canvas, 12x12”, 2016

Tulsa native Hannah Shepherd uses vintage books, magazines and fabric to create vibrant multi-media collages. Her work explores nostalgia, love, femininity and indulgence by juxtaposing text, graphic and photographic elements. Follow her on Instagram: @hannahandherscissors

to search the sky for distant red stars because it’s been so long since the neighborhood has seen something red.

We can’t even lay claim to the history in our veins anymore.

We stopped sacrificing to Moloch after children became Canaanites, fire gods lacing themselves through tiny notches in spines.

We played Words with Friends until we had neither.

Really we don’t care if you listen to our quotes, or our reviews, we want you to listen to our howls.

We want you to scroll down to the comments section of our youth and reply to all the questions left unanswered.

Open an “epilogue-of-our-lives” dot tumblr dot com free for anyone to follow. Not full of things unsaid but an explosion you’ve never heard before.

I want to detonate my online presence, leave the fallout of my browser behind.

Join my generation. Delete my OkCupid profile and find love with a person that I can be a monster with.

Because I want to be a werewolf pack animal meshing with a brother’s DNA cursing and foaming at the mouth.

We will tear into chests and rip out the hearts of all who bare them to us.

We’ll relocate passion and compassion.

We will find the stories again, lift them to the cosmos dripping and wet, clenched between our jaws.

Pain can be shown to the world and the world can know it still has heroes.

There’s a full moon coming and it’s gonna be blood red so howl for us.

“Mermaid,” colored pencil, gouache and ac rylic on paper, 30” x 22”, 2013

JP Morrison’s work focuses on the beauty of the human form and complexity of human experience. This work is in the permanent collection of the Bundaberg Regional Galleries in Queensland, Australia.

THE TULSA VOICE // May 18 – 31, 2016

Nick Weaver is a poet and spoken word performer. He lives in Tulsa and in his free time enjoys staring into space.

ARTS & CULTURE // 29

Lee Roy, Speed, West Texas, and Bob Photographer Western Doughty captures a gonzo road trip

by JOSHUA KLINE

30 // ARTS & CULTURE

May 18 – 31, 2016 // THE TULSA VOICE

O

n May 26, 2013, photographer Western Doughty received an excited 4:00 a.m. phone call from his friend, the late historian and journalist Lee Roy Chapman. Years earlier, Chapman and Marcos Matheos had found the original tour bus of Bob Wills—the King of Western Swing and iconic godfather of Cain's Ballroom—in Big Spring, Texas. Chapman was well known for his exceptional ability to sniff out obscure and forgotten pieces of Tulsa history, and one of his ongoing missions was to locate the bus and find a way to get it back to Tulsa. Now, it was finally happening. Chapman had made a deal with Tulsa businessman Loren Frederick, who financed the purchase and agreed to send Chapman down to negotiate the details with the owner. Chapman called Doughty to share the good news—and to ask for a ride.

"When?" Doughty asked, thinking the road trip would likely be planned in the next few weeks.

"What are you doing now?"

Chapman replied.

“My mom’s from down there, and I thought ‘why not?’” Doughty says now. He grabbed his camera and took a bunch of speed to survive the impromptu journey on no sleep, and a few hours later, the two were strapped into Doughty's beat-up '97 Acura with no struts and only one working window, careening southbound, smoking cigars and laughing like mad men.

Doughty captured the journey on film, creating a gorgeous document of a deepening friendship against the evocative tranquility of the small towns and countryside leading to Big Spring.

Along the way, they stopped in Archer City, home of author Larry McMurtry and his renowned rareand-used bookstore, Booked Up. Archer City was also the shooting location for the 1971 film adaptation of McMurtry’s classic novel, “The Last Picture Show.”

“The movie, Peter Bogdanovich’s visuals, were a huge influence on my photography,” Doughty says. Shot in lush black and white, the film tells McMurtry’s semi-autobiographical tale of restless youth coming of age in rural Texas. The film opens with THE TULSA VOICE // May 18 – 31, 2016

an iconic image of Archer City’s Royal movie theatre. The camera slowly pans from the theatre across the desolate street as a windstorm carries leaves and debris across the frame. Doughty shot the theatre while they were there, paying homage with his own black and white image of the landmark and town, which looks remarkably unchanged in the 40-plus years since Bogdanovich’s film.

When they arrived in Big Spring, they found the storied bus rusting in a field alongside other forgotten vehicles.

“You see these kind of ramshackle places in Big Spring, [The owner of the bus] has got these cars in these fields, he’s got a trailer for crime scene clean-up,” Doughty says, laughing. “A lot of these guys [in West Texas] are millionaires, but you’d never think they’d be wealthy, they’re so unassuming.

But that’s kind of how it is down there. Really interesting place.”

Doughty was skeptical of the bus’s origin at first. “I was

like, ‘are you sure this was Bob Wills’?’” he recalls. “Then we get on the bus. I found a picture of Bob Wills, and I found a gas receipt that he had signed. Nine bucks to fill up a bus.”

Doughty has curated a selection of these photographs for an exhibit entitled “Lee Roy, Speed, West Texas, and Bob,” which is featured through the end of the month at Mainline Art & Cocktails. The project is an emotionally complex, deeply personal work for Doughty; both his mother and grandfather grew up in Big Spring, and traveling the landscape that bore his family had an unexpected effect on him that he describes as “spiritual.” He’s also still grieving the recent death of Chapman, who passed away last October.

He says this trip marked a turning point in their friendship during which emotional walls came down and they bonded like brothers.

The exhibit is, more than any-

thing, a delicate, moving tribute to Chapman’s memory.

“We challenged each other,” Doughty says. “It was all good, even the bad was good, ya know?

My struggle [with this project] was: it’s still too soon for a lot of people. I wanted to be gentle with it. I didn’t want it to mess with the sacredness of what he meant to me. Lee Roy is in one photo, and you’d have to look really hard to find him.”

For Doughty, the bus was the least significant aspect of the trip, though it’s featured prominently in the exhibit. This dichotomy— putting a visual emphasis on the bus while keeping Chapman and West Texas in the background—is a clue to just how personal this project is for Doughty. He wanted to share the memories, the spirit of the trip, but only so much. He’s kept the most important parts to himself.

At the end of our interview, Doughty recalls a moment that perfectly sums up the whole trip.

The gonzo nature of the experience is capped by an incredible brush with Mother Nature that, like the drugs, the family history, and Chapman himself, is only alluded to in the exhibit, represented by two photos of ominous, beautiful storm clouds.

On the way back from Big Spring, Doughty and Chapman drove through Amarillo and stopped at The Big Texan, where they gorged on 72-ounce steaks while outside clouds churned and the temperature convulsed. The whole time they’d been in Texas, Oklahoma had been in the throes of an extended tornado outbreak.

As they hit the road for the last leg of the drive east down I-40, a storm was forming in front of them that would eventually grow into an absolute monster. In an extended moment of poetic divinity, the storm led Doughty and Chapman through Central Oklahoma, a kind of cosmic path-clearing that eventually turned quite literal: the storm produced one of the largest tornados in recorded history, a staggering 2.6 miles wide. Doughty and Chapman rode it.

“Lee Roy and I followed the tornado all the way in.” a ARTS & CULTURE // 31

onstage

On being a critic Reviewing is necessary to elevate Tulsa art

by ALICIA CHESSER

R

ecently, a bolt of energy shot through Tulsa’s theater community in the wake of a highly critical review by the Tulsa World’s James Watts of the Tulsa Project Theatre production of “Billy Elliot.” Watts opened a conversation on Facebook a few days before his review about whether community theater should be reviewed “honestly,” and a productive and interesting discussion followed, with several local actors and directors chiming in with an unequivocal “yes, please.” Many expressed support for my comment that there was no way the quality of local theater would ever improve if everyone always only said “good job, dear” after every show.

That idea is based on the assumption that local companies and performers want to improve. Whether or not one identifies as “an artist,” the fact remains: if you’re onstage, you’re offering yourself up to be seen and judged. The critic has the platform and the guts and the commitment to what you’re giving to do it out loud. Pride in one’s work is one thing; a refusal to entertain the notion that one might do better is something different.

Professional reviewing comes with expectations, too. The job requires research, nuance, and specificity, standards drawn from the whole history of art, and an acknowledgement of one’s own limited perspective, no matter how many performances one has seen.

There’s a reason there aren’t many people willing to do it.

I believe a critic’s job is not to criticize, as the word is conven-

32 // ARTS & CULTURE

Alicia Chesser at Studio K | GREG BOLLINGER

tionally understood; nor to be a publicity machine; nor to pretend to be an all-knowing uber-viewer in an audience of foggy-minded dolts. The task is to see and help others see with more clarity, more discernment, more breadth of knowledge. It’s to cultivate an audience that has more room and skill in its imagination to absorb, reflect, and carry into life what has been given in performance.

I’m not interested in hyper-analyzing this particular Watts/TPT skirmish (though I would like to draw attention to the pitfalls, for everyone, of having only one or two paid arts critics in a city this bustling — for instance, a serious lack of diversity in tastes and

viewpoints, and a serious threat of burnout). But I will say that Tulsa’s lack of toughness in general often frustrates me.

In 2003, after working in New York City as a writer for the Village Voice and other publications, I moved to Tulsa and was shocked at the walking-on-eggshells feeling in the arts community here, among artists and writers alike. The not-so-subtle message persists today: tough criticism isn’t welcome because we should be “supporting each other.”

Where is the ferocity, the scrappiness? Are we going to be so careful about not distressing our viewers or readers—and our actual

or potential donors or colleagues– that we hem in our own creative and critical power, our belief in the power of live art?

There are exceptions, of course.

A solid quantity of artists and presenters and writers here walk the line between progress and preservation, between challenge and community spirit. As the Irish critic Chris O’Rourke (a onetime Tulsan who wrote about the Watts kerfuffle on Examiner.com) suggests, the excuse that we shouldn’t expect too much, either of artists or of critics, because “they had a small budget” or “they’re young” or “this is Tulsa” is, frankly, insulting, particularly to the hundreds of people working in this cultural landscape who would sure as hell like us to take them seriously.

There’s a widely held belief among dancers: if we don’t get a correction in class, it means the teacher doesn’t think we’re worth investing in. I’m not suggesting it’s not okay to be hurt by a review, or to worry out loud that a tough one will hurt a company’s (perhaps already meager) earnings. Critics are often reviled. They’re often (and why not?) disagreed with.

But a critic serves an important purpose in any community: to protect and expand the freedom of his or her fellow citizens to judge, to use their minds as well as their feelings. Without that, we might as well not go to the theater at all.

An audience that has been shown someone willing to share his or her observations and opinions boldly will eventually grow bold about doing it themselves–which makes a better environment for the arts for all of us. a May 18 – 31, 2016 // THE TULSA VOICE

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ARTS & CULTURE // 33

onstage

Keith Hines, Aaron De Jesus, Drew Seeley and Matthew Dailey star in Jersey Boys | JEREMY DANIEL

Backstage with Bob An interview with ‘Jersey Boys’ star Drew Seeley

by LANDRY HARLAN

W

e chatted with Drew Seeley, who plays Bob Gaudio in the Broadway show “Jersey Boys,” about his travels, affinity for his character, his connection to Tulsa, and other artistic pursuits. Seeley, who’s been in television and film, also performed the role of Prince Eric in Broadway’s “The Little Mermaid” and did the North and Latin American tours of “High School Musical: The Concert.” “Jersey Boys” is the story of Frankie Valli and The Four Seasons, chronicling their rise to becoming one of the biggest American pop music sensations of all time. The musical returns to the Tulsa Performing Arts Center May 24-29.

The Tulsa Voice: Did you have any connection to “Jersey Boys” before you were cast?

34 // ARTS & CULTURE

Drew Seeley: No connection.

I was just living in LA and the creative team came from New York to see if there were any actors that would fit the part. I went in and it was like a ten-hour audition day and it got whittled down from like 50 people to just me and another guy. Then I didn't hear anything for over a year so I assumed it was dead in the water.

Then I got a phone call out of nowhere asking if I could come to New York for a call back. Later that day they called to offer me the role on the tour.

TTV: Did you try out for Bob originally?

DS: I wasn’t trying out for Bob, but I was trying out for the Vegas Company originally. Then they offered the tour. I'm kind of happy it happened the way it did.

We get to travel around and see

the whole country. We even went to Japan this past summer to perform in Tokyo for two weeks.

It's a lot of fun.

TTV: What were the Tokyo fans like? Any big differences from the U.S.?

DS: The crowds are very reserved.

We thought we were bombing the whole show, but at the very end we got a standing ovation and we were like, "I guess they really enjoyed it!"

Even in different parts of the country, city-to-city, certain jokes will land, but in the next city it will be totally reversed. We feed off the audience’s reaction in each city and it makes the show unique everywhere we go.

TTV: What do you think it is about the “Jersey Boys” story that resonates with audiences?

DS: Well, I think they come for the music because they know that they will love the songs already.

What usually hooks people in is that the story is so good. It's so unbelievable that these guys lasted 40 years and sold as many records as they did considering all the garbage they went through. It’s cool because we've had a couple of people come back to see the show hundreds of times.

TTV: What did you think of Clint Eastwood’s film adaptation?

DS: You can do different things with different mediums. The movie is great because you can use close-ups to get those more intimate moments, but I feel like the stage version has a live concert feel and energy that you just can't replicate when you're watching it on your TV at home. The show was originally conceived as a stage May 18 – 31, 2016 // THE TULSA VOICE

musical and I still feel like that's the best way to experience what “Jersey Boys” is about.

TTV: Have you messed up anything in the run so far?

DS: One time I was supposed to sit on a bench after a speech and I totally missed it and sprawled out on the floor. I just popped back up to stay in the scene. It's embarrassing in one sense, but then who cares? It happened and it's kind of fun. I sort of embrace the mistakes and use them.

TTV: What do you enjoy most about playing Bob? DS: I love the songs that he gets to sing, like “Cry for Me” and “What a Night.” I get to sing lead, which is awesome because for the most part Frankie sings all the songs anyone knows. I also relate to Bob as a person. I'm more of an introvert. Even though I'm an actor, I don't need to always be in the spotlight. Also, in real life, I'm a songwriter. I've been writing music for almost 20 years now and that's his bag.

TTV: You’ve acted in several feature films and had the lead role in a comedy on TV. What's it been like transitioning from TV/film to theater?

DS: Well, I love them both and I haven't given up on film and TV. I've never done theater for this amount of time and it's been a really amazing experience. The difference with film and TV is you get one or two takes and then it's on film forever and you think of things later that you wish you had done. The preparation is different.

The difference with theater is the show must go on—if you forget your lines, oh well! You can't go back and fix it then but you can the next night. It's all the same, though. Acting is acting. My favorite actors are the ones that can transition and do both, like Hugh Jackman.

TTV: Talk about your music career. Are you still writing music?

DS: I've had a chance to try so many things and I still am writing music on the road. It's just not my focus at this moment. So yeah, I’m THE TULSA VOICE // May 18 – 31, 2016

still writing things and pitching things for bands every now and then. I put out an album a few years ago and once I get off this tour I'll probably put together something else. I love doing all of it. I love working and creating whether it's acting or music.

TTV: Was your dream at an early age to be a performer?

DS: Yeah! My dad plays piano by ear and sings in a Bach choir and my mom was a choreographer. They got my sister and I into dancing and acting when we were very young. They were very encouraging and not super-pushy.

It was what we learned at an early age and fell in love with. Probably since age thirteen or fourteen, I couldn't see myself doing anything else.

TTV: Have you been through Tulsa before?

DS: I've wanted to go for a while because Hanson helped me propose to my wife three years ago. A friend of mine from high school was working with their management company. It's my wife's all-time favorite band, so somehow I got to them and they made a video that I played when I proposed to her. They signed off with, "We sign off on this guy Drew, he's cool, you should say yes." I was always very grateful to Hanson. Then over the couple years after that we became friends somehow and we were both in the music video for “Get the Girl Back.” I did a commercial for their Mmmhops beer line. They're cool in my book.

TTV: What's your dream musical to be cast in? You can say “Hamilton.”

DS: I'm not going to say “Hamilton” because everyone else is going to say that. Man, that is so, so hard. Well, one of the first musicals I saw that really made me fall in love with theater was “Crazy for You” because I used to tap dance a lot back then and I'm a huge fan of Gershwin music. If I ever get my chops up I would love to take on the Bobby Childs role at some point in my life. But I'd take “Hamilton.” They can persuade me [laughs]. a

UPCOMING MAY

(June continued)

13-21 MOTHERS AND SONS

American Theatre Company

13-21 BYE BYE BIRDIE

ABRAHAM.IN.MOTION

Shadley Arts

Effervescent Productions

Choregus Productions

1 TULSA ROCK QUARTET Brown Bag It, PAC Trust

2 (SORTA) LOVE SONGS

I FALL TO PIECES Celebrity Attractions

Celebrity Attractions

JUNE

10-11 JANET RUTLAND: 11-12 MAMMA MIA!

24-29 JERSEY BOYS

MAD MEN OF SWING

10-11 ENTR’ACTE

Theatre Tulsa Family

20 KYLE ABRAHAM/

9 JEFF SHADLEY & THE

12 AMAZING FAMILY MAGIC SHOW

by Steve Lancaster Top Hat Magic & Fun Shop

15-19 FOREVER PLAID Tulsa Repertory Musicals

Robert Young

2-5 THE SECRET GARDEN

Sand Springs Community Theatre

3-5 MY YIDDISHE MAMAS — THE EARLY YEARS

Spinning Plates Productions

3-12 SHREK: THE MUSICAL Tulsa Project Theatre

ARTS & CULTURE // 35

thehaps

Mayfest Thurs., May 19 through Sun., May 22 Deco District, tulsamayfest.org Over 100 artists display and sell their work at Mayfest, which also boasts four stages of live music, tons of food, and activities for kids. New this year, four past Mayfest poster artists will create new works based on a basket of surprise items in the Inspired live competition, based on Food Network’s “Chopped.”

Headlining musicians include Michael Glabicki of Rusted Root, William Clark Green, and Band of Heathens. Dozens of local acts will also perform, including klondike5, Sam & The Stylees, Steve Liddell, Johnny Badseed and the Rotten Apples, Eric Himan, Brujoroots, and Count Tutu.

Blue Dome Arts Festival Fri., May 20 through Sun., May 22 Blue Dome District, bluedomearts.org The “Locals Only” answer to Mayfest features around 250 local visual artists. From paintings, carvings, and photographs to apparel, glass work and artcars, local talent is on full display. Blue Dome’s stage (which is always surrounded by some of T-Town’s best food trucks) will feature over two-dozen performances, including Dustin Pittsley Band, Zach Short Group, Adrienne Gilley, and FM Pilots.

Hop Jam Sun., May 22, Brady Arts District Concert is free, Unlimited Craft Beer tickets are $35-$150, thehopjam.com The Hanson brothers’ beer and music festival has blown up in its third year, featuring over 100 beers from 60 breweries, including 15 from Oklahoma, and breweries from 20 states and 10 countries participating. No, unfortunately Hanson isn’t going to play this year, but they’re making up for it with a lineup that includes Edward Sharpe and the Magnetic Zeros, Albert Hammond Jr., X Ambassadors, John Moreland, Chase Kerby + The Villains, and RVRB, the winner of Hop Jam’s annual opening band contest.

Cartoon Life: Editing The New Yorker Thurs., May 19, 6 p.m.

Philbrook Museum of Art booksmarttulsa.com New Yorker cartoon editor Bob Mankoff nearly finished a PhD in psychology before he decided cartooning is his true calling. Since his first cartoon was published in the New Yorker in 1977, the magazine has published hundreds of his distinctive dot-style illustrations.

Mankoff has served as cartoon editor since 1997.

POP: Alice Walker + Kendrick Lamar Sun., May 22, 4 p.m.

Enso, facebook.com/MUSED918 MUSED., a local nonprofit dedicated to putting poetry into people’s everyday lives, continues their Poetry-On-Poetry reading and writing series with an afternoon with works

by Alice Walker and Kendrick Lamar. After readings, participants are encouraged to write poems of their own, inspired by the works of Walker and Lamar.

For the most up-to-date listings, Visit thetulsavoice.com/calendar 36 // ARTS & CULTURE

May 18 – 31, 2016 // THE TULSA VOICE

thehaps

BEST OF THE REST EVENTS Movie In the Park: Purple Rain // 5/19, 8:30 p.m., Guthrie Green, guthriegreen.com

Tulsa International Balloon Festival Thurs., May 26 through Mon., May 30 Tulsa Downtown Airpark, $5-$10 tulsaibf.com A replacement for Gatesway Balloon Festival, which ran for 20 years, Tulsa IBF is Oklahoma’s largest ballooning festival and one of the largest in the country. The festival also includes six stages of live music, and a huge carnival with rides, games and more.

Rocklahoma Fri., May 27 through Sun., May 29 Catch the Fever Festival Grounds, Pryor, Tickets start at $162, Rocklahoma.com The 10th anniversary of the state’s hardest rocking festival will feature performances from Rob Zombie, Scorpions, 3 Doors Down, Disturbed, Megadeth, The Sword, Sebastian Bach, and many more.

2nd Annual Skunk Run Sat., May 28, 8 a.m.

Guthrie Green guthriegreen.com The mission of the Skunk Run is to bring people together to help mend wounds to our nation caused by racial division. Participants will run through Black Wall Street and the area devastated by the massacre of 1921. At the end of the race, the Celebration of Reconciliation will begin at Guthrie Green.

Route 66 PatriotFest Sat., May 28 Webster High School, Route 66, route66patriotfest.com Route 66 PatriotFest features a classic car and motorcycle show, military exhibits, live music, arts, crafts, and activities for kids.

Starting at 8 a.m., classic cars will cruise through Tulsa on the Mother Road, starting at the east Route 66 Gateway near East Central High School and ending at the west gateway in the historic Red Fork area of West Tulsa.

Maple Ridge Memorial Day 5K and BBQ Cook-Off Mon., May 30, $15-$40 Maple Park, fleetfeettulsa.com The Maple Ridge neighborhood’s Memorial Day 5K takes runners by some of Tulsa’s most historic homes, and is the oldest continuous neighborhood 5K in town. A one-mile fun run begins at 8 a.m., the 5K at 8:30 a.m., and bike and trike races for kids 12 and under begins at 9:30 a.m.

After the races there will be a BBQ competition with meats provided by Burn Co., whose pitmasters will hold a meat carving demonstration. There will also be live music throughout the event, food and local beers, and family-friendly activities.

THE TULSA VOICE // May 18 – 31, 2016

PERFORMING ARTS I Wish You Actually Liked Me... // A family reunion turns into a showdown as contrasting perspectives and memories collide in this original play by local playwright and novelist Emile Adams. The sharply written play, a healthy dose of reality, is the final production of Heller Theatre Company’s 2015-16 season. // 5/19, Henthorne PAC, $12-$15, hellertheatreco.com Kyle Abraham - Abraham.

In.Motion // One of today’s most provocative new choreographers, Kyle Abraham was born into early hip-hop culture of the 1970s and grounded in an artistic upbringing in classical cello, piano, and visual arts. His work puts an emphasis on human behavior to create an avenue for personal investigation. Abraham.In.Motion is a representation of dancers from various disciplines and diverse backgrounds who combine to create unique juxtapositions and evolutions. Presented by Choregus Productions. // 5/20, 8 p.m., Tulsa Performing Arts Center - Chapman Music Hall, $52, tulsapac.com/index.asp Jersey Boys // Back by popular demand, Jersey Boys is the Tony and Olivier Award-winning musical about Rock and Roll Hall of Famers Frankie Valli and The Four Seasons, a story of four blue-collar kids who became one of the greatest successes in pop music. Jersey Boys features many of the group’s singalong hits, including “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” “Can’t Take My Eyes Off You,” and more. // 5/24-5/29, 8 p.m., Tulsa Performing Arts Center Chapman Music Hall, $36-$87, tulsapac.com/index.asp

COMEDY Laughing Matter // 5/19, 8 p.m., Comedy Parlor, $10, comedyparlor.com Hot Mic Comedy // 5/20, 8 p.m., Comedy Parlor, $10, comedyparlor.com

Sunday Night Stand Up // 5/22, 8 p.m., Comedy Parlor, $5, comedyparlor.com Shrine Stand Up Comedy Night // 5/24, The Venue Shrine, tulsashrine.com

By George! // 5/26, 8 p.m., Comedy Parlor, $10, comedyparlor.com Unusual Suspects // 5/27, 10 p.m., Comedy Parlor, $10, comedyparlor.com T-Town Famous // 5/27, 8 p.m., Comedy Parlor, $10, comedyparlor.com Hammered! A Drunk Improv Show // 5/28, 10 p.m., Comedy Parlor, $10, comedyparlor.com News Junkie // 5/28, 8 p.m., Comedy Parlor, $10, comedyparlor. com Sunday Night Stand Up // 5/29, 8 p.m., Comedy Parlor, $5, comedyparlor.com BT, Jamal Doman // 5/18-5/21, Loony Bin, $2-$12, loonybincomedy.com/Tulsa Wayne Brady // 5/22-5/6, The Joint, $45-$55, Drew Thomas // 5/25-5/28, Loony Bin, $2-$12, loonybincomedy. com/Tulsa

SPORTS Tulsa Roughnecks FC vs Swope Park Rangers // 5/21, 7:30 p.m., ONEOK Field, $10-$45 Tulsa Drillers vs Frisco RoughRidgers // 5/24, 7 p.m., ONEOK Field, $2-$35 Tulsa Drillers vs Frisco RoughRidgers // 5/25, 7 p.m., ONEOK Field, $5-$35 Tulsa Drillers vs Frisco RoughRidgers // 5/26, 7 p.m., ONEOK Field, $5-$35 Tulsa Drillers vs Midland RockHounds // 5/27, 7 p.m., ONEOK Field, $5-$35 Tulsa Drillers vs Midland RockHounds // 5/28, 7 p.m., ONEOK Field, $5-$35 Tulsa Drillers vs Midland RockHounds // 5/29, 7 p.m., ONEOK Field, $5-$35

Everybody and Their Dog // 5/21, 8 p.m., Comedy Parlor, $10, comedyparlor.com ARTS & CULTURE // 37

musicnotes

Serving the songs

‘On a Night Like This’ will celebrate Bob Dylan and the arrival of his archives

by BOBBY DEAN ORCUTT

B

ack in November, Steve Ripley received a call from Stanton Doyle, senior program officer of the George Kaiser Family Foundation (GKFF).

Doyle had an idea: he wanted to start an annual concert event tied to the arrival of the Bob Dylan archive, recently acquired by GKFF and the University of Tulsa. Ripley, a former member of Dylan’s touring band, was the clear choice to help bring this idea to fruition.

“To be truthful, I didn’t like the idea and said no,” Ripley told me.

Despite his initial lack of enthusiasm, the idea of having a core band with a few guests stuck with Ripley.

“I haven’t played a gig in a long time. I sit on the farm and work on the Leon Russell archives with the State of Oklahoma Historical Society. I keep myself busy, as busy as I want to be, anyhow. But, you know I did play with Bob and I do love Bob and there is a tangible link, so I thought about it for a few weeks.”

Ripley first met Bob Dylan in 1981 through iconic Tulsa-born drummer Jim Keltner, who performed with George Harrison, John Lennon, Neil Young, and Joe Cocker, in addition to Dylan.

Ripley had long joked that he’d give everything he owned to meet Dylan, and one day he had his opportunity. “[Keltner] calls me up and says Bob wants him to bring a guitar player, do I want to go, and of course I did,” Ripley said. “We got there and immediately Bob was just as friendly as could be, started talking Oklahoma, Leon Russell, JJ Cale and that was it. A day turned into a week, week turned into a month and all these years later, here we are.”

Ripley is careful to clarify that, although he has worked and

38 // MUSIC

Red Dirt Rangers | KELLY KERR

John Fullbright | VICKI FARMER

performed with him, he does not claim to “know” Dylan on a personal level. “With the band the rule of thumb is you don’t talk about Bob,” he said. “And you certainly don’t do a tribute.”

After being assured by Doyle that this event would be sanctioned and approved by Dylan, Ripley gave the idea more consideration.

“It hit me. Steve Pryor, Tulsa blues legend, my old time buddy was just right to kick this thing off.”

After that revelation things began to just fall into place. A house band comprised of some of the most celebrated musicians in the world came together, including Grammy nominated Okie John Fullbright, Fats Kaplan, Terry ‘Buffalo’ Ware, Davey Faragher

JD McPherson | JO CHATTMAN

and Pete Thomas, both current members of Elvis Costello’s band, Daniel Walker, Jimmy Karstein, the McCrary Sisters, and, of course, Steve Ripley.

Tragically, a few days after my initial interview with Ripley, Pryor died shortly after a motorcycle accident. When I followed up with Ripley, he had this to say: “Steve Pryor was a Tulsa treasure and an iconic fixture of the Tulsa music scene. His guitar playing was oft-times fierce, but his soul was gentle. A loving heart fueled them both. The Tulsa music community now mourns the loss of one of its very best. There will be no ‘stand in’ or replacement for Steve. His ‘opening slot’ will simply stand as a small tribute offered up in his honor.”

It was important to Ripley that the show include only musicians that truly wanted to be there. The goal was never to have an event full of names, it was to have fun.

John Fullbright will pull double duty as a member of the house band and featured guest. Other guests include John Moreland (who Ripley calls a “dry genius”), JD McPherson, Kristi Rose, Red Dirt pioneer Jimmy LaFave, The Red Dirt Rangers, Hanson, SiriusXM radio host and singer Elizabeth Cook, and the always entertaining John Calvin Abney.

The concert poster also mentions “special guests,” a tease that invites no small amount of speculation, considering the pedigree of the line-up and the artist at the center of the event.

Calling this show a “tribute” is understandable, but Ripley hates the word. “It rubs me raw.” He’d prefer it be seen as a celebration of Dylan’s art and staggering impact and a celebration for Tulsa and the arrival of Dylan’s archive.

“The importance of the archive finding a home in Tulsa cannot be understated,” Ripley said.

Ripley recalls an encounter he had with Dylan a number of years ago backstage at a show in Tulsa.

What began with a simple hello, how are you, turned poignant as Dylan answered in a way only he could. “He just got quiet and kinda stared off and said something that has always stuck with me.

‘We’re just out here to serve these songs.’” And that is what Steve Ripley intends to do on Friday, May 20 at Cain’s Ballroom. a

On A Night Like This: A Celebration Of All Things Bob Dylan May 20, doors at 7 p.m., show at 8 p.m.

Tickets $30-35 cainsballroom.com May 18 – 31, 2016 // THE TULSA VOICE

THE TULSA VOICE // May 18 – 31, 2016

MUSIC // 39

musiclistings Wed // May 18 Hunt Club – Modlin’s Mayhem Osage Casino Tulsa - Event Center – *Peter Frampton – ($25) The Colony – Tom Skinner’s Science Project VFW Post 577 - Centennial Lounge – Thoughtcrime, Vatican Assassins

Thurs // May 19 MODERN LUXURY LIVING IN DOWNTOWN TULSA IS HERE.

5 O’Clock Somewhere Bar – Darrel Cole Cabin Creek – Bill Holden Event Center –INThe BeachDOWNTOWN Boys – ($30-$50) THE NEXT CHAPTER TULSA LIVING Hunt Club •–Geothermal All About a• Bubble Energy Efficient • Rooftop Terrace • 2 & 3 Bedroom • 2 Car Garage Riffs – Scott Ellison, Darren Ray • Custom Interiors Soundpony – The 9th Street Stompers The Colony – Honky Tonk Happy Hour w/ Jacob Tovar The Joint – *Dwight Yoakam – ($45-$65) The Vault – Live Jazz w/ Jordan Hehl & Friends The Venue Shrine – Afton Music Series – ($13-$15) VFW Post 577 - Centennial Lounge – Hector Ultreras Woody’s Corner Bar – Joe Rentie & Joe Spring

Fri // May 20

CONTACT

JoAnna Blackstock 918.260.2838

5 O’Clock Somewhere Bar – Hook American Legion Post 308 – Double “00” Buck Cabin Creek – River’s Edge jblackstock@cctulsa.com Cain’s Ballroom – *On a Night Like This Celebration of All Things Bob Dylan – ($30-$35) Cimarron Bar – Amped CJ Moloney’sBlackstock – Tyler Brant, Brad Hargrove JoAnna 918.260.2838 | Chinowth & Cohen REALTORS | jblackstock@cctulsa.com Ed’s Hurricane Lounge – Scott Musick, Danny Baker Band, Danny Timms Event Center – The Beach Boys – ($30-$50) Gypsy Coffee House – Andrew Michael Hunt Club – Dante and the Hawks Sophisticated Mercury Lounge – Brandon Jenkins Osage Casino - NINE18 Bar – Back Roads Band Elegant Pepper’s Grill - South – The Jennifer Marriott Band Riffs – Replay, Darren Ray Soul City – Ray Bonneville Soundpony – We Make Shapes, Daniels The Shady Tree – Medicine Train The Venue Shrine – *BC and the Big Rig, Taddy Porter – ($5) Vanguard – Wednesday 13, The Relapse Symphony, For the Wolf, Kick Tree – ($15-$20) 918-810-5402 VFW Post 577 - Centennial Lounge – Muskogee www.voulezvousboudoir.com Wildcard Band Woody’s Corner Bar – DJ Mikey Bee

Women’s Portraits

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40 // MUSIC

5 O’Clock Somewhere Bar – The Jumpshots Fifteen Below Bar and Grill – Summer Sound Off w/ 10 DJs including DJ P, Darku J, Johnnie Bananas and more Cabin Creek – Great Big Biscuit Gypsy Coffee House – Super Darren 65 Hunt Club – Groove Pilots Lefty’s On Greenwood – Scott Ellison Band Mercury Lounge – The New Offenders Osage Casino - NINE18 Bar – Back Roads Band Riffs – Replay, Darren Ray Soul City – *Mark Gibson CD Release Soundpony – Happy Hour Show - Bella Trout, Nobody Particular The Colony – Count Tutu The Venue Shrine – The Schwag - Grateful Dead Tribute – ($10)

VFW Post 577 - Centennial Lounge – Trouble Comin’ Woody’s Corner Bar – 2 A.M.

Sun // May 22

Brady Arts District – *The Hop Jam – (Concert is free, Unlimited Craft Beer Passes are $35-$150) Oklahoma Jazz Hall of Fame – Tulsa Jam’bassadors – ($5-$20) Soundpony – Happy Hour Show - Girl’s Club, The Daddyo’s The Colony – Paul Benjaman’s Sunday Nite Thing The Colony – Singer/Songwriter Night Vanguard – Meghann Wright & The Sure Thing – ($10-$12)

Mon // May 23 Fifteen Below Bar and Grill – Concrete Mondays w/ DarkuJ Cain’s Ballroom – *Leon Bridges – (SOLD OUT) Soundpony – The Cloth The Colony – Singer/Songwriter Night Vanguard – Meghann Wright & The Sure Thing – ($10-$12) Yeti – Cypher 120

Tues // May 24 Cain’s Ballroom – STRFKR, Com Truise, Fake Drugs – ($17-$32) Cimarron Bar – Tyler Brant Gypsy Coffee House – Tuesday Night Open Mic – 6 p.m.

Oklahoma Jazz Hall of Fame – Depot Jazz and Blues Jams Riffs – The Tiptons Smitty’s 118 Tavern – Scott Ellison Band Soundpony – Nothing for Breakfast The Colony – Tuesdays with Maury Tin Dog Saloon – Dan Martin Vanguard – The Dear Hunter, O’ Brother, Rare Futures – ($20-$50) Yeti – Yeti Writer’s Night

Wed // May 25 Cain’s Ballroom – *Old 97’s, Heartless Bastards, BJ Barham – ($23-$38) Cimarron Bar – The Heather Buckley Band Soundpony – La Panther Happens The Colony – Tom Skinner’s Science Project Vanguard – A War Within Divisions – ($8-$10)

Thurs // May 26 5 O’Clock Somewhere Bar – Darrel Cole Cabin Creek – Carl Acuff Cain’s Ballroom – *A$AP FERG, Tory Lanez, MadeinTYO – ($27-$125) Crow Creek Tavern – Tyler Brant Elwood’s – Hosty Duo Hunt Club – *Ego Culture IDL Ballroom – Gladiator Riffs – Empire, Scott Eastman Soundpony – Antron and the Earslips, Old Powder New Gun, Benjamin Lyman, Coloradio The Colony – An Evening with Jared Tyler The Vault – Live Jazz w/ Jordan Hehl & Friends VFW Post 577 - Centennial Lounge – Jimmy Blythe & Jacob Flint Woody’s Corner Bar – Ben Neikirk

Fri // May 27

Cain’s Ballroom – Battle of the Bands 2016 – ($10) Gypsy Coffee House – Marilyn McCulloch Hunt Club – The Addiction Mercury Lounge – The Freightshakers Osage Casino - NINE18 Bar – The Jumpshots Pepper’s Grill - South – Dean DeMerritt Jazz Tribe Riffs – Urban Addiction, The Hi-Fidelics Soul City – Good Assassin, And Then There Were Two Soundpony – DarkuJ The Colony – The Blazin’ Flatlanders The Shady Tree – Trouble Comin’ Vanguard – Split Lip Rayfield – ($10-$13) VFW Post 577 - Centennial Lounge – Rusty Gold Band Woody’s Corner Bar – DJ Spin

Sat // May 28 5 O’Clock Somewhere Bar – The Jumpshots Cabin Creek – Redland Cain’s Ballroom – The Turkey Mountain Troubadours, The Fabulous Hardcastle Brothers – ($20-$23) Elwood’s – Beau Tyler Gypsy Coffee House – Hector Ultreras Hunt Club – Dusty Pearls Mercury Lounge – The Lonesome Heroes Osage Casino - NINE18 Bar – The Jumpshots Riffs – FM Live, Travis Kidd Soul City – Lauren Barth & Ali Harter Soundpony – Happy Hour Show - Gnarley Davidson, Young Bull, Merlin Mason Soundpony – DJ Sweet Baby Jaysus The Colony – Brad James Band The Venue Shrine – Portal Immortal - Tribute to The Eagles – ($10) Vanguard – That 90s Party – ($10-$20) VFW Post 577 - Centennial Lounge – 999 Megabites Woody’s Corner Bar – Life of the Party Yeti – *Another Run, NeoRomantics, American Shadows

Sun // May 29

Downtown Lounge – Prophets of Addiction Soundpony – Green Corn Rebellion, Antron and the Earslips The Colony – Paul Benjaman’s Sunday Nite Thing The Venue Shrine – Toni Estes – ($20)

Mon // May 30 Oklahoma Jazz Hall of Fame – Salute to Our Veterans w/ Joe Wilkinson – ($5-$20, free for veterans) Soundpony – Winter, Sports, Cucumber and the Suntans The Colony – Singer/Songwriter Night The Joint – Lee Brice – ($35) Yeti – Cypher 120

Tues // May 31 Gypsy Coffee House – Tuesday Night Open Mic – 6 p.m.

Oklahoma Jazz Hall of Fame – Depot Jazz and Blues Jams Riffs – Runnin’ On Empty The Colony – Tuesdays with Maury Yeti – Yeti Writer’s Night

5 O’Clock Somewhere Bar – Hook American Legion Post 308 – Whiskey Bent Cabin Creek – Redland May 18 – 31, 2016 // THE TULSA VOICE

THE TULSA VOICE // May 18 – 31, 2016

MUSIC // 41

ladyparts

Comedian Marcia Belsky | MINDY TUCKER

Headless women

Comic Marcia Belsky and Hollywood’s gender problem

by CLAIRE EDWARDS

W

hen she first started doing stand-up, Marcia Belsky’s shtick was being the “Jew from Oklahoma.”

Born in Albany, New York, Belsky and her family relocated to Tulsa when she was four years old.

“Tulsa’s much more liberal than other places in Oklahoma, but when I was in elementary school, all these evangelical Christian parents were telling their kids to tell me that I was going to hell because I didn’t believe in Jesus,” Belsky, now 25, said.

“That was some of the formative stuff…and that’s really when I got into comedy. I would sit at home and watch so much comedy, and realize ‘oh, right, I’m not the crazy one.’”

Seeking a liberal mecca after high school, Belsky moved to Portland for college. There, at age 19, she attempted her first openmic night.

Owing in equal parts to her education, finding a community of comics in New York after college, and to her lineage of strong, assertive women, Belsky eventually found her voice as a comic and a feminist.

“I had this idea that, to be listened to by men, I had to completely non-gender my jokes,” she recalled. “I hardly ever talked about being a woman, hardly ever talked

42 // FILM & TV

about women’s issues … In most comedic communities, to be truly accepted in the boys’ club, you basically have to be this perfect little sister—that they want to fuck.”

As she matured, so did her stand up, which led to a job writing for feminist satire site Reductress. She began her performance group “Free the Mind,” and adopted an unapologetic, hyperbolic feminist persona on her Facebook page and Twitter account. The message of these projects comes down with all the subtlety of a sledgehammer: “KILL ALL MEN.” “I was thinking, if this is what they think feminists are, why not just give them what they want?

We’ve seen this angry feminist character before, but she is usually being made fun of with the underlying joke being ‘and that’s why feminism is stupid.’”

But Belsky’s idea was to turn this trope on its head, with an over-the-top character illustrating a woman’s right to be angry. And, by going full-throttle, ball-cutting “feminazi,” Belsky beats misogynistic trolls to the punch.

“Sexist men can’t say anything because, when they’re like, ‘it’s fucked up to say kill all men,’ I’m like, ‘oh, if you feel oppressed, it’ll only take you about 6,000 years for you to get some of your basic rights back.’”

Recently, Belsky has drawn national attention with her Tumblr blog, “Headless Women of Hollywood,” which she created after noticing a disturbing trend in the portrayal of women in advertisements and movie posters—namely, that they are missing their heads.

In the website’s mission statement, Belsky pins down what makes this phenomenon so problematic: “By decapitating the woman, she becomes an unquestionably passive object to the male gaze. The question of her consent is removed completely alongside her head, and her purpose becomes solely that of being looked at by men. Her value is that only of her sexual appeal to men, and not of her personhood.”

Seeing this collation of women consistently robbed of their personhood in advertising, it becomes easier to comprehend why there are so few substantial speaking roles for women in film.

An April 2016 study by Polygraph found that, out of 2000 films examined, 1500 featured dialogue spoken primarily by male characters (60%+), while there were only 170 films with dialogue spoken primarily by female characters.

“Women, people of color, and gay people are taught to look at a straight white man and relate to his story,” Belsky said. “But

straight white men are taught that if a movie’s about black people, it’s for black people. If a movie’s about women, it’s for women. And why would they care about that?”

The limited range of female roles in male-driven comedies doesn’t help, either.

“There’s still this idea that, if you’re a woman and you don’t want to be there as part of the sexual appeal or the brunt of a joke for men, then they don’t have a part for you.”

Belsky is not without hope that the landscape is changing. She reels off a list of prominent and up-and-coming female comedians: Amy Schumer, Abbi Jacobson, Ilana Glazer, Liza Treyger, Samantha Bee, Kate Berlant. But for her, it isn’t just about the women who have already made it. It’s about fostering a community of women so that others can make it, too.

“We’re all conscious of the stereotype that women can’t get along [and] are inherently competitive with one another—as opposed to it being something that’s been bred in us for years and years.”

Belsky said she’s found the opposite—real effort by the community of female comedians to support one another.

“The only comparison I have,” she laughs, almost apologetically, “is that we’re bros with each other.” a May 18 – 31, 2016 // THE TULSA VOICE

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THE TULSA VOICE // May 18 – 31, 2016

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FILM & TV // 43

filmphiles

Melissa McCarthy, Kate Mckinnon, Kristen Wiig and Leslie Jones in “Ghostbusters” | COURTESY

2016 Summer movie preview A round-up of the good, the bad, and the who-knows-what of summer film

by JOE O’SHANSKY

May 20th The Nice Guys It sort of sucks to lead with the most anticipated movie on the list. But I am a lifelong Shane Black fan (“Kiss Kiss Bang Bang,” people), and it’s always a good sign when a trailer for a comedy makes you laugh more than do some entire comedies.

Ryan Gosling plays a P.I. investigating the suicide of a porn star in 1977 L.A. He becomes unlikely comrades with a like-minded, amiable criminal (Russell Crowe).

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

44 // FILM & TV

That’s familiar ground for Black: violent, hilarious, grammatically correct crime-noir.

I’ll take all of that he’s got.

May 27th X-Men: Apocalypse Bryan Singer redeemed himself of “Superman Returns” with his best superhero film, “X-Men: Days of Future Past”—following the arguably best X-Men film, period, Matt Vaughn’s “X-Men: First Class.”

But “X3” and “X-Men Origins: Wolverine” still exist. In other words, this entire franchise is a mixed bag of Fox not really giving a shit as long as they can hold onto the rights to Marvel’s characters.

The X-Men—and Women— team up again, now in the ‘80s, to fight the first Mutant, the millennia-old Apocalypse (the ubiquitous Oscar Isaac), who is bent on destroying the Earth.

It looks like Singer is channeling Baz Luhrmann, which could become a bad drinking game. There’s always hope.

June 10th The Conjuring 2 Director James Wan (“Saw”, “Insidious”) made a career out of the supernatural and macabre, to the point that he seemed burned out. At least, I was.

After the palate-cleansing actioner “Furious 7,” Wan returns to the horror genre with this sequel to his best film, 2013’s “The Conjuring,” which was a near-perfect distillation of his slow-burn, creepy style that finally stuck the landing (and was, ironically, the best Christian-themed film that year). Based on the “true” stories of real-life paranormal investigators, Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), “The Conjuring 2” aims for anthology territory as they travel to England to investigate the Enfield ghost, Britain’s version of Amityville.

Warcraft Duncan Jones’ films “Moon” and “Source Code” were indie sci-fi darlings. Now, the son of Bowie is at the helm of this expensive blockbuster based on

the long-loved, and ongoing, PC videogame property.

On the planet Azeroth, warring tribes of humans and orcs must find a way to survive when their worlds are conjoined by the Dark Portal, setting their leaders (Travis Fimmel and Toby Kebbell) on a path that could end in either peace or total annihilation for all.

From the looks of the trailer, it’s a mega-budget pixel orgy that (aside from Jones’ presence) leaves me utterly clueless as to how good it might be. I’m guessing gamers feel similarly.

June 24th Independence Day: Resurgence There’s no Will Smith in this 20 years-too-late sequel to the 1996 sci-fi hit. But everybody knows Judd Hirsch and Jeff Goldblum were the real stars anyway.

Two decades after humanity sent the alien hordes packing, they’re back with bigger ships and they’re pissed. Educated guess: we win again. Mayhem-addicted director Roland Emmerich is responsible.

May 18 – 31, 2016 // THE TULSA VOICE

July 1st The BFG After the historical trifecta of “War Horse,” “Lincoln,” and “Bridge of Spies,” legendary director Steven Spielberg returns to fantasy with this adaptation of the classic Roald Dahl children’s novel.

(To clear up any confusion, “BFG” stands for “Big Friendly Giant.”)

The BFG in-question (Mark Rylance) befriends Sophie (Ruby Barnhill), a British orphan, in order to save the realm from a cadre of evil giants (voiced by the likes of Bill Hader and Jemaine Clement) who are bent on eating all the people—especially kids.

I guess I’ll see you there, with literally everyone else.

considering his love of “Trek,” bodes well for the real geeks.

August 5th Suicide Squad Marvel vs. DC is a long-running rivalry. Marvel has the clear advantage at faithfully— in the creative sense—adapting their superhero franchises to the big screen. They’re just more fun.

DC is their gothy older brother.

“Suicide Squad” seems to break that conventional wisdom.

Wikipedia boilerplate: A group of criminal superheroes are conscripted by a secret government agency to perform covert missions in exchange for their freedom.

Adapted and directed by David Ayer (“Training Day”), the film adopts a scuzzy sense of humor bereft of most DC fare. Jared Leto might be terrible as The Joker. But you still get Will Smith as Deadshot. After all, summer can’t happen without him.

August 11th Sausage Party Starring Seth Rogen, Kristen Wiig, Jonah Hill, Bill Hader, Danny McBride and Paul Rudd—a.k.a., everyone funny—this animated satire from the stoned minds of Rogen and Evan Goldberg (“Superbad”) posits a society of personified grocery store foodstuffs who discover, after their joy upon being chosen, the horrific fate of food. Which is pretty effed up when you think about it. a

July 15th Ghostbusters Kristin Wiig and Melissa McCarthy play paranormal reality writers who join forces with a nuclear physicist and a “sassy” (seriously, watch the trailer) subway attendant to defeat a supernatural force out to destroy Manhattan.

I want this movie to be good.

A “Ghostbusters” reboot with the creative team behind the hilarious “Bridesmaids” sounds perfect on paper. The MRA dickholes who balk at talented women in general—and those who retrofit beloved guy movies specifically— can (and should) stop reading this and seek therapy.

That said, the trailer isn’t funny.

I hope that’s just because it’s a badly cut trailer. Wish in one hand, though…

July 22nd Star Trek Beyond I loved JJ Abrams 2009 “Star Trek” reboot, warts and all. I loathed his follow-up, “It’s Not Really Khan But It Is.” The sweet spot for both of those films (and Abrams’ films in general) is the cast.

Finally on their “five-year mission,” the crew is back, stranded on a remote planet, battling unknown aliens, after the destruction (again) of the Enterprise XXL. “Fast & Furious” director Justin Lin steps in for Abrams. Simon Pegg (reprising his role as Scotty) doubles as screenwriter, which, THE TULSA VOICE // May 18 – 31, 2016

Off the Creek Turnpike just minutes from 169

WarrenTheatres.com

FILM & TV // 45

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

WALLACE, or Sir Wallace, is a six-month old domestic shorthair.

This little prince loves bird watching and sunbathing by the window.

A keen observer of anything critter, Wallace would be proud to show you his kingdom and subjects at the cat colony. Perhaps, be you worthy, he would accept your offer.

MAVERICK is a threeyear-old Saint Bernard mix with a big heart and a big brain.

A very quick learner.

Maverick is friendl y, outgoing, and active.

He can’t wait to go on walks and meet new people. In fact, he’d love to have a chance to meet you and take a stroll through the neighborhood.

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.

JERRY is four years old and one cool Siamese cat. He will follow you around and he likes to be petted and brushed.

J erry spends most of his time relaxing and watching peopl e play, but every once in a whil e he’ll join in on the fun. He’d be h appy to become a part of your famil y.

SABLE is a sweet oneyear-old Great Pyrenees mix. She is shy and needs an openhearted owner willing to put in the time necessary to build trust. Once she is comfortable around you, she’ll be her natural playful self. Sable loves to play and does well with other dogs. She is crate-trained and housebroken.

SHERA is a one-year and eight months-old boxer mix. Full of life, she loves to run and explore. Even though she’s lively, she knows all her basic commands and won’t jump up on you. She loves to walk and to see the world, as well as good old-fashioned R&R. SheRa is waiting for your affection.

Place the numbers 1 through 9 in the empty squares so that each row, each column and each 3x3 box contains the same number only once.

NOVICE

46 // ETC.

MASTER

May 18 – 31, 2016 // THE TULSA VOICE

ACROSS 1 Sportscaster’s anecdotes 6 Angelic instrument 10 Angelic attire 15 Beauty shop offering, briefly 19 Sans company 20 “A Jug of Wine ...” poet 21 “Snowy” avian 22 Antioxidant-rich berry 23 Afghani paving unit?

25 Music of Yes or Genesis, in the Czech Republic?

27 Weedy lots, e.g.

28 Chimney passages 30 Security holder, in law 31 Have a bug 32 Metronome output 33 “Six-pack” muscles 34 Org. with auditors 35 Challenge for a rafter 39 1914 battle locale 40 Triple Word Score earner 41 Came alive 42 Expensive wrap in Belarus?

44 Ad ___ committee 47 Changed course, at sea 48 “Lord of the Rings” tree-creature 49 Have markers out 50 Chip away at 52 O’Hare’s airport code 53 Buddies in South Korea?

57 Not so hot 58 Be short of 60 Tallest hoopster, usually (Abbr.)

61 Applied 3-In-One to 62 IV solution 63 Hindu airs 65 Ulsters, e.g.

66 Greek physician of old 67 Higher-ranked 69 Social stratum 70 High end of the Mohs scale 71 Red-coated cheese 74 ’Hoods 75 Peregrinate in Italy?

77 “Dead man’s hand” card 78 Reason to award a badge 79 Soccer fan’s cry 80 “J. Edgar” org.

81 Balderdash 83 Long, long time 84 Backgammon piece in Ireland?

88 Mount the soapbox 89 Slicker’s place 90 Hardly macho 91 Threatening looks 92 Menu phrase 95 Long-eared beast of burden 96 Fern’s beginning 97 Source of syrup 98 Like the Marx Brothers 100 Tea go-with 101 Top-drawing actor, say 106 Jordanian frigate?

108 Moor one’s ship in Turkey?

110 “Cool!”

111 Proctor’s instruction 112 Gumbo need 113 Basket made on a rebound 114 Ponte Vecchio’s river 115 Uses a garden tool

116 April victim 117 “Au poivre” serving DOWN 1 It may be upside-down 2 “Love the skin you’re in” brand 3 Brain area 4 Cross to bear 5 Changed clips, say 6 Monopoly piece 7 “1,000 Oceans” singer Tori 8 Sought office 9 Leans toward 10 Considers 11 Fairy tale baddies 12 Lingerie buys 13 Brain scan, for short 14 Five o’clock shadow 15 ___-mutuel betting 16 “Microcosm” bacterium 17 10K entrant 18 Karaoke equipment 24 Hindu honorifics 26 Relax, as a grip 29 Lean and long 32 Xhosa’s language group 33 Roger of Fox News 35 Fabric made from cellulose 36 In the loop 37 Evidence of a point-blank gunshot, in Switzerland?

38 ’50s political nickname 39 Juvenile court defendant 40 Hauled 42 Bumps into 43 Some pledge drive gifts 44 Prepare to take a spin in Senegal?

45 Valhalla bigwig 46 Sign over 50 List-ending abbr.

51 Appomattox signatory 53 “The Lion King” villain 54 Ready to fall out 55 Sporty Mazda 56 Take in, say 59 ___ Lama 62 Castle material 64 Heroic deed 65 Oasis visitor 66 “Aladdin” apparition 67 Point a finger at 68 Treat you can eat inside-out 69 Cheese akin to cheddar 70 Short and plump 72 Like some accents 73 Internet fads 75 Ballgame blowouts 76 Good to have around 81 Short shorts 82 “... man ___ mouse?”

84 Dump, with “of” 85 Audi and BMW, for two 86 High time?

87 Recovered from, as a malady 89 “Brian’s Song” star James 91 “Beowulf” or “Iliad” 92 Appliance brand 93 1905 Debussy classic 94 Don Draper, e.g.

96 “Eek!” inducer 97 Calyx part 99 “Censor” of Rome 100 Pirate’s take 101 Philippine native 102 “Funny or Die” clip 103 Medical kit item 104 Bocelli delivery 105 Chessboard row 107 1-800-Flowers alternative 109 Original “King Kong” studio

Universal sUnday Crossword CaPiTal PUnisHMenT

By Fred Piscop

© 2016 Universal Uclick

89

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