NTown - Feb. 2015 by The Norman Transcript

TOWN

Feb. 13, 2015

past — Present — future

Norman Mardi Gras Parade

• Jack White makes some history ... and guacamole • Head hunting for headliners: Inside the NMF selection process • NTown's Top picks • 30 seasons of survival • 2nd Friday Art Walk guide

from the editor’s desk H

• Facebook: facebook.com/ transcriptntown • Twitter: @TranscriptNTown • Instagram: @TranscriptNTown

TOWN

you're in the groove it can be a bit of a buzz kill. I've had to force myself to practice patience, even working with acrylic paint which dries exponentially faster than oil paint. • There's no undo button. Every stroke is a test. You have to be in the moment, planning ahead but focused on the present. • It will get on your clothes. It will stay. All of my pants now resemble tri-toned, seven-digit odometer cars from the 1980s. Nail polish remover works, kind of, but my best advice would be to follow the advice I didn't take: Paint in something you don't care about ruining. I thought I could be careful about it, but my inadvertent conversion to the Jackson Pollock pants collection says otherwise. • Canvases can be reused. Like anything, you get better with repetition and find cool ideas via just messing around. So far, it's been a successful experiment. I don't think I'll be quitting my day job anytime soon, but it's a start and sometimes taking the first step is the hardest part of the race. So, if there's an artistic outlet on your bucket list, don't hesitate. Don't think about the destination so much. Just start walking. In the words of Pablo Picasso, "Only put off until tomorrow what you are willing to die having left undone."

Publisher Mark Millsap

Cover Design Anthony Kimball

Production Manager Rob Rasor

Executive Editor Andy Rieger

Advertising Rebekah Collins Robin Escarcega Kimberly Lehenbauer Ryan Dillard

Writers Mack Burke Doug Hill Mary Newport Scott Strandberg

Editor Mack Burke

what’s

SIDE

• Online: normanscript.com/ ntown

ello Norman, After a short lifetime as an appreciator of the visual arts, last month I finally decided to take my passion for doodling during meetings to the next level. Inspiration from artistic story sources and encouragement from Firehouse Art Center Executive Director Douglas Shaw Elder combined with coincidental signs to lead me to the inescapable conclusion that there's no reason not to. It's hard not to be inspired when you're exposed to so many muses and if inspiration calls you can either pick up the phone or go crazy. So, under the direction of Firehouse Art Center instructor Thomas Stotts I picked up a rainbow of acrylic shades and started experimenting. I had, and relatively speaking, still have no idea what I'm doing. I quickly learned that what I had given due appreciation before was due a lot more than I ever knew. To sum up, painting is hard. Here's a short list of what I've learned so far. • Paint is expensive. I admit I used to scoff at the price tags on paintings. Really, I thought people were just pulling numbers out of a hat and slapping on extra zeros as casually as they threw paint on the canvas. As it turns out, depending on the size of a painting, they might be barely breaking even, especially when you consider how long it takes to produce anything worthy of hanging anywhere but an outhouse. • It takes patience. To build layers in paint you have to let them dry before adding on. That seems obvious but when

Q&A with Warren Theatre owner Bill Warren

Jack White's OU trip makes waves

Bring on the riot: How NMF got its headliners

9-10

Album & book reviews

Campus Corner nightlife

Norman Mardi Gras: Past, Present, Future

NTown's Top 10

2nd Friday Art Walk guide

Photographers Kyle Phillips Jay Chilton Mack Burke

N-town is a monthly publication of The Norman Transcript, 215 E. Comanche St, Norman, OK 73070. (Phone: 405.321.1800). Letters or editorial contributions should be sent to: N-town, P.O. Drawer 1058, Norman, OK, 73070 or emailed to mburke@normantranscript.com. N-town is not responsible for unsolicited submissions. Reproduction or use of editorial or graphic content in any manner, without permissions is prohibited. Address advertising inquiries to Debbi Knoll, 405-366-3554 or dknoll@normantranscript.com. N-town can be found online at normantranscript.com/ntown.

The Warren Theatre is a palatial monument to the popularity of cinema and throwback to 4

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what the movie-going experience used to be. Since opening in 2008, the theatre has beckoned thousands of movie goers and in 2012 expanded to include a World Class IMAX. It managed to withstand the May 20, 2013 EF-5 tornado and remains one of the most popular and successful cinemas in the country. NTown got a chance to catch up with movie house mastermind Bill Warren to talk about the secrets behind the Warren Theatre's success, the future of film and why people still can't get enough. ———— NTown: How did you get this idea to build this grand movie palace in Moore, Oklahoma? Warren: I have always liked the theaters of the old days and I have a lot of respect for the biglisting theater companies out there. Most of them are big companies, are public and have a lot of stock holders and a lot of people they have to answer to. I'm lucky that I don't have a lot of people to answer to. My whole idea was to build a theater that kind of reminded you of the days when movie theaters were like a big palace. I'm talking about the grandeur, the marble along with the latest technology. The public is very smart and they recognize quality when they see it and they appreciate that. The Warren Theater has proven that. NTown: Talk a little bit about the success you guys had with "American Sniper." More people went to see the movie at your theater than any other theater in the country over the Jan. 31 weekend, is that right?

By Mack Burke

with Warren Theatre owner Bill Warren

Warren: Yes. For several weeks. Warren: Since I was 16 and I'm 66 now. NTown: Is that a common occurrence for you guys? Do you often have top numbers like that? Warren: It's one of the top-grossing theaters in the country. When we opened the IMAX theater, it was the number 1 IMAX gross in the world. A lot of times, it's still number 1 in the country. I think it's the accommodation of service and quality.

NTown: After the big tornado, I heard several stories about how well you handled everything and kept people safe. How did you do that? How do you prepare yourself for that real possibility in Oklahoma? Warren: Honestly, I give 99 percent of the credit to my staff. The buildings we are not only luxurious, but practically built with concrete. It was able to withstand the damage the tornado put on it. It saved a lot of lives. NTown: On the topic of movie theaters in general, the Moore Warren theater has done so well while other theaters are struggling. People have so many options now, even in their living room. The Warren seems to offer a whole experience and I think people like that. Do you think that could be the reason why the Warren is doing well and others are struggling? Warren: I think we are doing well, but there are plenty of other theaters that are also doing fine. I'm a believer that if we don't have good sound and picture, why should you get out of your lazy chair. There's that quality and service again to make the value of a night out. NTown: How long have you been in the movie game?

NTown: Started at the popcorn counter and moved your way up kind of situation? Warren: 75 cents an hour. NTown: So you have always loved movies? Warren: I like the business, I have a lot of friends in the business and I have a lot of respect for our competitors too. There are a lot of good people in the theater business. I guess I'm probably more fortunate because I can afford to go out and spend more money than if my company were public and had a board of directors to answer to in terms of other theaters out there. NTown: What's your top 5 all time favorite movies? Warren: I'm not sure if I have that. Obviously, the Godfather would be one of them, Gone with the Wind is a classic, I'm kind of all over the place. I don't really have a top 5. There are a bunch of great movies over the years. I still try to see one movie a week. NTown: I assume you watch it at the Warren? Warren: I do. I have a movie theater in my house but it's not the same so I go to the theater. NTown: I don't know if you guys were one of the theaters who didn't show The Interview. But that whole scenario, I had a theory long before they started showing it, that it was almost like the plot of The Producers. They had to do all this stuff to make it a hit. Do you have any thoughts of your own or a conspiracy theory?

Photo Provided Built in 2008, the Moore Warren Theatre boasts 17 screens and more than 3,000 seats, making it an attractive movie going destination and one of the top grossing cinemas nation wide.

think about it? Warren: I think it was pretty simple. I think that theaters, honestly, run businesses and want to keep their patrons safe. So when big companies decided not to show the movie for safety concerns, I understand that. I think most people realize there wasn't a real threat, but once again, you can't risk your patrons' safety and at that point, I understand why some companies decided to not release it to the theaters. Of course, later, it did play in a few theaters but I don't think it got much business. NTown: So more of a patron safety issue rather than a Freedom of Speech issue. Warren: From what I understand, yes, more of a patron safety issue. NTown: Harkening back to when you were growing up, you were around to experience the old-school 3D. From what I understand, that was drastically different than the new 3-D, which seems to have more sticking power. What do you

Warren: I think new 3-D is popular at the IMAX but the popularity of a normal 3-day run is not nearly as popular as it was 2 years ago. I think we will eventually see the 3-D effect without the glasses. I think we are rapidly coming towards that in terms of Bill Warren faster film rate and other things that could change the dynamics of stuff. I think you can have 3D-like images without the glasses. NTown: That's kind of crazy. How would that even work? Mirrors or something? Warren: I don't know enough to tell you, but that's my prediction. There are a lot of things that

you can do with digital projection, which all the theaters have now, versus film projection. NTown: What do you prefer? 3-D or 2-D? Are you a nostalgic movie-goer? Warren: 3-D is OK but I don't like to wear the glasses. I think a lot of people feel that way. NTown: In the summer, you have these big blockbusters and around Thanksgiving and Christmas, you got these movies that people look forward to. But as they say, January and February are kind of tough times because movie companies kind of save their hits for certain times of year. During those times, have you ever considered reaching out and finding independent films to show? Warren: All theaters can show independent films if they are available and there is a demand for them. But, the release patterns have changed See Q&A, Page 21

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SOONER THEATRE AD - 3 COL. X 5 INCHES

Just sayin’

History in the raw • Jack White gives explosive performance despite irksome tour rider leak By Mack Burke

When a heavy hitter like Jack White comes to Norman, it’s a big deal. On the heels of a show at the legendary Madison Square Garden in New York, the eminent rock revivalist made the 1,500 mile journey to play at McCasland Fieldhouse on Feb. 2. How does somebody shift gears from playing one of the most recognizable stadium landmarks in the country to a venue that, nationally speaking, most people have probably never heard of? Well, money might be the easy answer. After all, OU paid him an $80,000 fee. An easy answer, but not the right one for the multi-millionaire musician, producer, actor, record store owner, Swiss Army knife. According to White’s tour rider, a document made public through the Freedom of Information Act and published by the OU Daily (much to the chagrin of White and his touring company) the university also ponied up his requisite performance accouterments, which included the following stipulations: • “This is a NO BANANA TOUR. (Seriously.) We don’t want to see bananas anywhere in the building.” • Eight champagne flutes, eight wine glasses, and eight highball glasses, all of them “real glass.” • There needs to be one pound of “freshly sliced,

high-quality prosciutto and aged salami with a sharp knife.” • “NO FLUORESCENT LIGHTING” in the artist and VIP areas. • No photos of White inside or directly outside the venue. • A New York strip steak, cooked medium, that needs to be made or picked up just before the show ends. • Homemade guacamole to be prepared with a very specific recipe The social media and internet hive mind made a big stink about the guacamole. And while those may seem like outlandish requests, as far as performers go that scores pretty low on the megalomaniacal diva scale. It doesn’t come close to Van Halen’s M&M stipulations and everywhere he plays is willing to make those concessions. So, again, it must be something else. Exposure? That’s a joke, really. That’s what bands get until they don’t need it anymore, but for the sake of argument ... If someone hasn’t heard of Jack White at this point, they’re just not matching the name with songs they’ve heard countless times. Every stadium around the world chants “Seven Nation Army,” which went from smash hit to cross cultural phenomenon at the World Cup in South Africa. “We’re going to be friends” is instantly recogniz-

Photo Provided Jack White performs "Seven Nation Army" during an encore Feb. 2 to a capacity crowd at McCasland Fielhouse.

able after appearing in the opening credits of cult classic “Napoleon Dynamite.” He played Elvis in “Walk Hard: The Dewey Cox Story,” a brief scene, but still. He dated Renee Zellweger for a stint, so even People Magazine readers, a weird spot in this Venn diagram, have heard of him. The list goes on, so ... that’s not it either. The man is enigmatic. So too are his reasons. Reasons for screaming feedback, affected accents, overdriven antique acoustics and the high side of the whammy pedal octave. There are reasons for all of it. But as for why he came to Norman, Oklahoma of all places, there

can be only one. History. McCasland Fieldhouse played host to OU’s hardwood warriors for years. It also played host to Jimi Hendrix, Sinatra and Elvis. That’s what brought him here. It was evident through his passion and even more so when he paid homage to Woody Guthrie and Wanda Jackson by teasing a couple of bars here and there. It makes sense for a guy who made a name for himself playing a plastic Airline guitar bought from Montgomery Ward and a Sears Silvertone amplifier from the 1960s. Shiny and new? Not for him. A raucous concrete box packed to the rafters isn’t for

everybody. And neither is he. After the show, I overheard rumblings that the show was unpolished. That it “sounded like a garage band.” That it “sucked.” But there’s the rub. Was it a failure of performance or a failure of expectation? Do you think Hendrix sounded tight and well rehearsed during his now locally mythic McCasland performance? Did he ever? The answer is no. Yet, he is celebrated. He should be, of course. And, so should Jack White. That’s right, I just compared Jack White to guitar’s figurative messiah, and if you See WHITE, Page 22

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Bring on the riot

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Photo Provided Ra Riot brings its brand of indie rock to the main stage of Norman Music Festival 8, coming to downtown Norman April 23-25.

â&#x20AC;˘ NMF sheds light on selection process that landed Ra Ra Riot and Lee Bains III By Mack Burke

Norman Music Festival 8 is coming. But before 70,000 plus music fans descend on downtown during the April 23 weekend, Norman Music Alliance treasurer and NMF chair Bree Montoya and the rest of the NMF planning committee have their plates full. They're still seeking volunteers. They're still raising money. They're still filling the concert bill. But for all there's left to do, they may have the hardest part behind them. In early February, the NMF announced festival headliners Ra Ra Riot and Lee Bains III & The Glory Fires. Ra Ra Riot continues the festival's indie-rock

theme with a softer, string-laden approach. Lee Bains III & The Glory Fires balance Riot's somewhat ironic sweetness with a driven and distorted blues rock revivalism. That balance didn't happen by accident. It all started around a table where the NMF planning committee started tossing out ideas. "It's really just us getting together and listening to different types of music. That's kind of the process. We all have our different talents and tastes. The team comes together and we all present our different ideas and kind of get a feel for what type of vibe we want to portray for the year," Montoya said. This year's vibe is shaping up to be an "electric indie rock" affair.

"I think Ra Ra Riot exemplifies that with their performances. They're kind of an electric indie rock outfit. They're something different," Montoya said. "Lee Bains III & The Glory Fires are a rock meets bluegrass, meets Red Dirt. They represent two completely different tastes." Put another way, Ra Ra Riot is for people who wear skinny jeans and Lee Bains is for people who don't. "We try to bring the ears of the community to the table. Then, we get down to a select hand full of artists and it's time to reach out to the agents and see if they're available, interested, within the See NMF, Page 21

album reviews

By Doug Hill

Artist: John Calvin Abney Album: "Better Luck John Calvin Abney’s new album “Better Luck” (Bullets in the Chamber Folk, 2015) is more about good talent than good fortune. The title track demonstrates his ability to learn from life’s romantic calamities and turn them into a perfect underthree minute song. He may not always be lucky in love but the 20-something musician knows how to turn those heartaches into winning music. Based in Tulsa, Abney’s well known in Norman as a frequent accompanist for other singer/songwriters. This is his first LP and it is proof positive that he’s more than a sideman. On this disc he’s his own sideman playing no less than eleven different instruments including Hammond B3 organ and glockenspiel. That’s in addition to all lead vocals and various guitars. He is particularly soulful wielding blues harp as stunning punctuation on several tunes. But it would be unlike Abney to go it alone and eschew collaborators because in the central Oklahoma music scene he’s a gangster of love. Contributing to the project are longtime partners John Moreland, Kyle Reid, Peter Labberton, Jacob

By Doug Hill

Winik and Desirae Roses. On track one “Stepladder” Abney comes out swinging with an up tempo song that shows his rock chops in spades. His vocals roll strongly with the electric guitar punches. Next up “Scarecrow” with its snare drum tattoo and acoustic guitar is a folk march into a stony field of incompatibility. The lyrical imagery is unlikely but manages to dovetail well into the vast canon of let-me-go songs. “Cut the Rope” reminds that our red dirt frames of reference are too often down and dirty. The words “Load your daddies’ gun” aint no joke in these parts son. “James and Julie” is the kind of story song once popular on AM top forty radio. Abney’s composition is more poetic than most of those. It’s a sweet lover’s ballad and includes one of the searing harmonica passages noted above. Abney’s piano on “Museums” brings to mind home town hero Leon Russell. The song is fully rounded and among the album’s best. It’s unknown how much of a crap shoot making “Better Luck” was for Abney personally. What’s known is that in tumbling dice terminology these eleven songs are a definite “six-five no jive.”

Artist: Nick Lutsko Album: "Etc." Often album cover art has no obvious relation whatsoever to the music inside. In the case of Nick Lutsko’s new disc titled Etc. it’s a clue to what some may consider his creative schizophrenia. The Chattanooga singer/ songwriter’s freshman LP “Heart of Mold” released less than two years ago was a fairly conventional collection of alternative folk songs about dogs, girls and funerals. It has an abundance of banjo, whistling and hand claps. “Etc.” is a stunning departure that conjures a surreal vision of Pee Wee Herman hosting The Beatles at his Playhouse. It shouldn’t be a surprise from an artist who counts Captain Beefheart and Frank Zappa among influences. All eleven songs were written and performed by Lutsko. None of them bear resemblance to the others musically or lyrically which may account for the record’s title. A common thread is that they’re all from Lutsko’s manic and unrestrained imagination. Word pictures such as “…She stabbed me with a cigarette while kissing a crucifix…” from “All Shook Up” suggest a multi-dimensional nightmare. Its

quick rock tempo adds to the jittery onslaught. And the very next 9 track is “Dreaming of Medusa.” This song however with soft vocal chorus, relatively accessible lyrics and gently strummed acoustic guitar cleaves closest to the previously folky Lutsko. “Geranium Thief” recalls a few of The Beatles’ occasional silly ditties from their psychedelic days. In an otherwise admirable album its ponderous musical progressions and ostentatiously weird lyrics border on the 2.13.15 annoying. “Cherry Red Medicine” also conjures Fab Four flashes with staccato cadences alá 1969’s “Come Together.” “(You Aren’t So) Beautiful” is a clever poke at the juxtaposition that sometimes occurs between people’s pretty pictures in social media and the ugly things they write. “Morning Star” would suggest a peaceful glimmering and point of navigation from deep space. It’s actually a soulful intergalactic storm and vocal shout for freedom. A pacific oasis is discovered only in the tune’s last few seconds of comforting acoustic guitar. The overall impression Lutsko leaves from the disc is one of artistic fearlessness. The question it begs is what he’ll do next.

book reviews By Mary Newport

By Mary Newport

"The Look of Love" Sarah Jio 2014

Never Have I Ever: My Life (So Far) Without A Date Kate Heaney 2014

Jane Williams has either a rare gift or a serious problem, depending on who you ask. Her doctor says she has a potentially fatal brain tumor, one that causes episodes where her vision goes gray and pressure grips her head in a crushing vice. However, a mysterious woman with eyes the same strange green as Jane's tells a different story. She says Jane has a precious gift – the ability to look at two people and see if their love is true. If Jane chooses to believe in her gift, she has one year to identify the six types of love in the people around her, or she will forever lose the ability to find love in her own life. 10 The book tells the story of six relationships — well, seven relationships. Or perhaps ten, or twelve. The course of true love never did run smooth, and Jane walks in a cloud of emotion as hearts break, affairs are discovered, relationships mend and second chances are given or taken away. The story hops from heart to heart and bed to bed — much like some of the characters in it – showing the hard choices and unexpected twists love sometimes engenders. “The Look of Love” hits readers with the force of a thousand Lifetime movies. Every cliché possible is employed, from cancer and adultery to tragic pasts and coincidences that can only be fate. Relationships aren't just difficult 2.13.15 in Sarah Jio's world; they're full-on tragedies of epic proportions, with betrayals, confessions, brushes with death and innocent bystanders who become ruined casualties on the battlefield of love. Maudlin though it may be, it's still effective. Even hardened cynics may have a few weepy moments. When the book isn't eliciting tears with all the subtlety of an onion to the face, it's playing up saccharine sweetness and sentiments so deeply soulful readers may have to put down the book and roll their eyes. Love at first sight is as common as a handshake, soulmates always find their way to each other and it's completely normal to look deeply into a recent acquaintance's eyes, spill your darkest secret and know you'll get only unconditional acceptance in return. Those who can't get enough candy-coated romance novels might enjoy it, but everyone else is bound to get a toothache. The book has a redeeming quality in its unexpected endings. Every crazy, mixed-up relationship is wrapped up in the end – but while some of them go exactly as readers would expect, others manage intriguing twists that surprise but stay true to the narrative. Jio does an excellent job playing on the unpredictably of humanity. Sometimes humans fly in the face of logic to follow their hearts; sometimes they don't. Sometimes love conquers all — but even in the sappiest novel of the year, sometimes it doesn't. There are a few wild flights of fancy, but many of the endings are solid and satisfying in a way the rest of this cotton-candy novel is not. Read if: You believe true love conquers all, or ought to. Don't read if: You always go into a relationship — or a novel — with your eyes wide open.

Everyone says there are plenty of fish in the sea. What they don’t tell you is what to do when none of them will bite. At 25 years old, Katie Heaney has never had a boyfriend. From her very first crush — Cody Williams, beloved of every female at Twin Cities Catholic elementary school — to her very latest date, Katie has trouble getting a handle, or even a hand, on men. In “Never Have I Ever,” she traces her nearly non-existent love life from grade school to the modern day, alternately laughing at herself and bemoaning her fate as an apparently undateable girl. The book starts off exactly how you would expect. It’s dorky and cringe-inducing as crush after crush crashes and burns. It’s funny if you’re into schadenfreude, but a little painful if you have some degree of empathy. Then, as Katie transitions from a clueless kid to a bewildered teen and a stillconfused adult, the story blossoms into something more. She sheds her helplessness and starts biting back, sniping and sassing the societal conventions that try to make her an object of pity. This is no feminist manifesto; the narrative remains light and fluffy all the way through. But amid the giggles and the first-date woes, Katie packs some weighty, womanly punches. She dismisses the whole idea of labeling virgins — “These words insinuate a preciousness do not feel. My vagina, while nice and useful, is not an orchid.” She scoffs at people who think getting laid is a cure for stress, sex is any kind of female obligation or inexperienced women have some sort of checklist to fulfill. She has some sympathy for the misguided, since she was once taken in too, but now she knows better. “Hypothetical penises don’t make the rules,” Katie says. “I make the rules. I love the rules.” It’s a bit like being cornered by a chatty friend-of-a-friend at a cocktail party. She’s spilling her innermost secrets and you’re feeling a little awkward, but she’s too tipsy to catch it and you’re too polite to brush her off. A little while later, though, you realize they couldn’t pry you away with a crow bar. This is good stuff! And by the end of the night, you and chatty Katie are the best of pals. The book is a witty girl-power powwow full of insight and hindsight. Women — and men who like them — will wince, snort and cheer their way through as Katie illustrates a series of not-quite-sexual encounters, almost-boyfriends and crushes who literally have no idea she exists. By turns warm and waggish, then acerbic and defiantly honest, the story woos you into thinking about the unspoken rules of dating and the assumptions behind them. It's the perfect read for anyone who's ever had a bad date, a good date that turned into a bad relationship or just a sense of confusion when dealing with the opposite sex. Read if: You are — or ever have been — struggling on the path to love. Don’t read if: You say “women belong in the kitchen” and aren't joking.

CAUGHT

on camera Norman night life Photos by Nick Powers

Bungalouski live at The Deli on Campus Corner.

Ally Lack and Lacey O'Neal — Chimy's

Karla Cabella, Macc Calton, Courtney Fletcher — Logie's

Aarti Amin, Spencer Smith, Taylor Devost — Chimy's

Grant Weaver, Patrick Hughes and Katy Brooks — Diamond Dawgz

Think you've got a picture worthy of our pages? Tweet us your photos @TranscriptNTown for a chance to appear in next month's edition!

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Norman Mardi Gras Parade past — Present — future

By Mack Burke

ver the last 20 years, the Norman Mardi Gras Parade has amassed a lot of history and a lot of memories. The annual celebration draws people to downtown for a circular parade of trailer floats, beads and bold costumes. This year’s parade promises more of the same. “It’s a chance for the community to get together and have fun,” parade director Aimee Rook said. “That’s what it’s all about.” Now a staple of Norman’s entertainment landscape, the festival began for that very reason.

past 2.13.15

The parade was founded by Jeanne Flanigan in 1994. The former Flanigan’s Costume Shop owner had just come into control of the Norman Christmas Parade and saw that Norman needed, well, something more. There were so many groups who wanted to get involved, so she expanded into a second parade. “I felt like there was a real need in Norman to show off the talents of many of the people who weren’t necessarily in a club where they would be in the Norman Christmas Parade,” Flanigan said. “Also, I felt like people need a little cheering up in February and March because it can get a little dreary. The idea was to help people lose the winter blues.” During her tenure as parade director, Flanigan got to see it all. From giant parachutes and trash bag tornadoes to children sprinting down Main Street on stilts. She’s seen people throw beads, stuffed animals and dog bones. In short, there’s never been a shortage of the delightfully talented and weird. “It’s really so much fun to see what people come up with,” she said. “We had a couple of stilt walkers at the original parade that stayed for almost 10 years. Of course, as kids get older they graduate from high school and move on,

but these were two girls ... Both of them started out with stilts made from 2X4s. Here are these two young girls walking around the block on these 2X4s ... They came up with new costumes that were tall and wonderful and came up with ingenious things.” That tradition of creativity and community continues today. “You know, talents like that, you don’t see everywhere. It’s been great to have all of these different talented people and artists come up with wonderful things year after year.”

present New entries are always making their way into the mix, but the Krewe of Bogus has been at it since 1995. This year, the Krewe unveils it’s Louis Armstrong themed float to match this year’s parade theme: What a wonderful world. The Krewe has done all kinds of floats over the years, from “Yellow Submarine” to the New York skyline, but it all started in New Orleans. “My husband and I went to Mardi Gras (in New Orleans) the first year the parade started in Norman and we came back with all these beads. We didn’t catch the first parade, but the second year, we threw out all the beads we caught in New Orleans,” Bogus Krewe leader Jill Wells said. “That’s how we started.” There are a lot of misconceptions about Mardi Gras and most of them originate on Bourbon Street. But, Wells explains, it’s more about family than anything else. “People think about Mardi Gras and they think about Bourbon Street and people flipping up their shirts, but really, in New Orleans, that’s considered gauche.” The Norman Mardi Gras Parade encompasses more of what Wells believes Mardi Gras is about. Her Krewe includes close friends, as well as her sister Kathy Wells and daughter Julia Wells, who still helps with a lot of the artwork. “It’s a family thing. We hang out in the

neighborhoods with the families and the real people.” The group’s name is a play on the crew of Bacchus, the Roman god of wine. The Krewe works hard to get it’s float together, a process that takes weeks of planning and hundreds of hand made flowers, but they clearly know how to have a good time. “The plan is to have your float theme ready by Easter. Then, you get started on it, so when Mardi Gras comes around you’re ready to go,” sister Kathy Wells said. “It never happens that way, of course. It’s like shopping for next Christmas right after Christmas. Some people actually do that.” For the Krewe of Bogus and everyone else involved in the parade, it’s really just about coming together and having fun. The parade’s circular route gives everyone a chance to see it all without having to leave their car miles away. “The parade starts at 7. People should show up at about 6:30 to get a good spot,” Wells said. “It’s a lot of hard work. It’s good for about thirty minutes of the most fun you’ll have in your whole life. Just, being the star, throwing the beads.” The Krewe of Bogus is known for throwing Moon Pies, but they also boast the best beads. “I don’t order the little short beads. I go to New Orleans and get them.” This year will be no different, as Wells and the gang join their creative counterparts on Feb. 14 in downtown Norman, bringing a little bit of New Orleans with them.

future In its 21st year, the parade marches on under the leadership of director Aimee Rook. Rook also heads up Groovefest and has her hand in community projects and artistic ventures all over Norman. See MARDI GRAS, Page 14

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Mack Burke / NTown The Krewe of Bogus works on their Louis Armstrong and Valentine's Day themed entry into the 2015 Norman Mardi Gras Parade.

Mardi Gras: (from page 13) "My background is in art therapy, and I really consider the arts to be community art therapy," Rook said. "So, this event and all other arts events in town are healing for participants and spectators. Sharing the joy of creation with family, friends and coworkers working together to let the good times roll down Main Street is really our intention."

After two decades, the parade has become embedded in the community fabric. It's become a force of nature. "It's really a pleasure to see all the people who have joined in over the years," Flanigan said. "Aimee Rook is wonderful. She's really taken it to another level ... she really brings all of her awareness of how people can appreciate making art and looking at art and putting it together. She's really brought it to another level."

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The tradition of the circular parade, which originated at one of the first Mardi Gras parades in France, marches on. There's no end in sight and that's something Flanigan, Rook and everyone involved take pride in. "I think there's always an opportunity for people to walk down the street and just for an hour and for the people in the parade and for the people watching, to lose the winter blues, just to laugh and enjoy themselves and have a wonderful memory."

Bad tribesmen make for good T.V. • 'Survivor' still draws massive ratings and cast of season 30 may the most cutthroat yet By Scott Strandberg

For the entire 21st century, “Survivor” has dominated the reality television market. With two seasons per calendar year, the show’s 30th season is set to debut on CBS on February 25. Though “Survivor” doesn’t pull in the 20+ million viewers per episode that it used to back in 2000, it still draws well over 10 million viewers, and is one of the most popular shows in American TV history. Watching 16-to-20 strangers spend 39 days living on an island with scarce food — and only the most basic of shelter — is likely a concept that will never outstay its welcome. The contestants must live together in relative harmony, while also back-stabbing their way to the million-dollar grand prize. Part of the beauty of “Survivor” as a game is that there is no blueprint for an archetypical winner. Throughout the show’s 29 seasons, winners have included men and women of all ages, races, religions and sexual orientations. Furthermore, the winner’s gameplay in each season shares just one common thread — the ability to adapt to the wholly unique game that develops around them. Our state has only been repre-

sented twice on “Survivor,” but both Oklahomans featured on the show left a lasting impression. Ada native Brandon Quinton was a bright spot of the show’s third season. Though Brandon finished in 8th place, he injected some life into a season otherwise lacking in personality. In season nine, Scout Cloud Lee of Stillwater made it all the way to the final three before being eliminated. With the show’s historic 30th season — entitled “Worlds Apart” — about to begin, producer Jeff Probst decided to inject an all-new twist in the game. The 18 contestants will be split into three tribes based on social class: White Collar (lawyers, executives), Blue Collar (cops, construction workers), and No Collar (waiters, artists). Each tribe will live isolated from the others — in camps they build from scratch — except for the challenges, that is. Every three days, the tribes will compete as teams against each other in two types of challenges. Reward challenges award the winning team with food and/or supplies, while immunity challenges keep the entire team safe from being kicked off the island. For teams that lose the immunity challenge, they must head to Tribal Council, where they will vote one of their own out of the game.

REYNOLDS FORD

Over the years, the series has integrated game-changing elements that keep the players on their toes. The ‘tribe swap’ trades players between the teams, beginning the game anew with entirely different tribe dynamics. Hidden ‘immunity idols’ are placed around the island; if a player finds an idol, they can hold it in secret until they feel at risk, at which point they can protect themselves by playing it at Tribal Council. The best seasons of “Survivor” hinge on interpersonal dynamics, rather than the simple spectacle of the physical challenges. Last season — San Juan del Sur — got off to a slow start. However, eventual winner Natalie Anderson — a 28-yearold physical therapist from New

York City — dominated the game’s later stages with brilliant strategic plays that captivated viewers, and largely saved the season. Probst himself has said that “Worlds Apart” will be one of the best seasons in “Survivor” history. For what it’s worth, Probst is known for being bluntly honest regarding the potential of each season. For example, he was openly critical of his own casting decisions when the first half of last season dragged on uneventfully. If Probst says it’s going to be something special, he’s probably not exaggerating. A quick look at the cast profiles on CBS.com for “Worlds Apart” confirms that this season should See SURVIVOR, Page 21

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movie reviews Hidden gems on

'Stories We Tell' (2012) Sarah Polley is best known for her prominent roles in 16 Hollywood hits like “Dawn of the Dead” and “Go.” In addition, Polley racked up an extensive resume acting in independent films over the years, before turning her attention behind the camera. 2.13.15 “Stories We Tell” is Polley’s third full-length film as a director, but her first foray into the world of documentary features. (Her directorial debut, “Away From Her,” earned Polley an Oscar nomination for best adapted screenplay.) Here, she turns the camera on her own family, with the goal of compiling a portrait of her late mother — who, at one point in the film, is referred to as “a woman of secrets, artfully hidden.” Polley tweaks and teases the conventions of documentary film in inventive fashion. Throughout the film, she interweaves home movies — both real and staged — with interviews of family members and her mother’s acquaintances. Polley’s own point of view is fully integrated as well, making “Stories We Tell” rather unique in its up-front subjectivity.

By Scott Strandberg

In this age of digital media, Netflix Instant Play is entering nearly everyone’s homes. The streaming service is now a part of nearly 35 million American households, a number which is growing by the day. With that in mind, this column serves to highlight films you may have overlooked on Netflix. Everyone sees the big ads for "World War Z" and "Pain & Gain" when they log in to the

Aside from the interview segments, Polley’s father — Michael — narrates the tale to perfection. Michael wrote the narration himself, and his mild British accent rolls over the words as if dancing with them. Additionally, the home-video angle lends an even more personal touch to “Stories We Tell.” The reenactments are so convincing that it’s frequently difficult to discern which home movies are real, and which are staged. It may seem like a vanity project to create a feature film about one’s own family, but Polley has a legitimately fascinating story to tell — and a wonderfully expressive cast of characters to tell it. Her mother’s background unfolds like a mystery, told by those who knew her best. Instead of telling the tale from one viewpoint — as is suggested to Polley in the film by one interviewee — she gathers a wide array of storytellers, each of whom has his or her own slant on the central story. The core of “Stories We Tell” is a tale that’s certainly worth telling in any manner. Yet, the film is so much more than just the story itself. It’s a self-aware piece of deeply personal art; a supremely talented entertainer pulling back the facade of her own narrative. The fact that it is an entirely engrossing and highly enjoyable viewing experience is merely icing on the cake. Polley has not been active — either in front of, or behind the camera — since the release of “Stories We Tell,” choosing to focus

service, so I’ll recommend films each month that may not pop up on the Instant Play home screen. There won’t be any negative reviews here, just suggestions that could come in handy on that random Wednesday evening when nothing is on TV. Follow Scott on Twitter @scottstrandberg

on raising her two children and pursuing political activism in her native Canada. Her return to film will be a much-anticipated pleasure. “Stories We Tell” is rated PG-13 for thematic elements involving sexuality, brief strong language and smoking.

'BASEketball' (1998) “BASEketball” opens with an NFL Films-esque look at the escalation of violence and vulgarity in modern professional sports, “forcing owners to recruit heavily from prisons, mental institutions and Texas.” If that line elicited a chuckle, you’re going to have a great time with “BASEketball.” Much as the film’s title blends together the names of two sports, the movie itself mixes two rather distinct styles of comedy. Writer/ director David Zucker (“The Naked Gun,” “Airplane!”) brings his signature combination of slapstick and parody, while stars Trey Parker and Matt Stone — the creators of “South Park” — add their vulgar satire. The pairing is pure gold, resulting in an inexplicably overlooked comedy.

Parker and Stone play Coop and Remer, two deadbeat losers who create a “baseball rules” take on shooting hoops in their driveway. Through a hysterical whirlwind series of events, Coop and Remer find themselves as the public figureheads of an increasingly popular national sport, with the requisite shady billionaires pulling the strings behind the scenes. With so much star power — both behind the camera and in front of it — it’s rather amazing that “BASEketball” was such a box-office bomb. The supporting cast includes legends like Robert Vaughn (“The Man from U.N.C.L.E.”) and Ernest Borgnine (“The Wild Bunch”). Even Jenny McCarthy is surprisingly tolerable. Still, the film managed a paltry $7 million take at the box office. Some of the funniest moments involve real-life sportscasters Bob Costas and Al Michaels, who comprise the commentary team that calls every game. Michaels gets big laughs with his descriptions of the sport’s bizarre promotions, smoothly delivering lines like, “This game is made all the more special because it’s free-range chicken night,” or “What an unfortunate thing to happen on dozen egg night!” For his part, Costas has possibly the best line in the entire movie — too good to spoil. “BASEketball” certainly has its share of jokes that miss the mark, and a few segments that push the boundaries of good taste. However, Zucker is one of the best in the business at toeing that line, and “BASEketball” rarely devolves into

vulgarity for vulgarity’s sake — unlike, say, “The Hangover” series. It may seem a bit strange to enthusiastically recommend a critically panned gross-out comedy from nearly two decades ago. However, “BASEketball” is so funny that it’s kind of a shame so few people saw it. Also, for what it’s worth, the movie has aged far better than many other 90’s comedies. A sports-drama spoof with a “South Park” twist, “BASEketball” works far better than it really had any right to. “BASEketball” is rated R for strong language and crude sexrelated humor.

'It's Such a Beautiful Day' (2012) Don Hertzfeldt’s 2012 animated feature “It’s Such a Beautiful Day” is bizarrely wonderful — and wholly original — in such a manner that makes a difficult task out of reviewing it. It is equal parts dazzling and confounding, off-putting and entrancing. Even with a running time of just 62 minutes, Hertzfeldt’s film etches itself deep into the mind of the viewer. A seemingly simple cartoon about Bill the stick man explodes into a remarkably philosophical and existential examination of living — and dying — with severe mental illness. Hertzfeldt’s work has been showered with nearly unanimous critical and audience acclaim, yet his work receives little mainstream

awareness. (Perhaps his greatest claim to fame in pop culture is that he directed the longest ‘couch gag’ in the 27-year history of “The Simpsons.”) The 38-year-old’s accolades seem nearly impossible for a man of his young age — two Grand Jury awards at the Sundance Film Festival, an Oscar nomination, the list goes on and on. “It’s Such a Beautiful Day” is actually a trilogy of short films, produced between 2006 and 2011, spliced together so seamlessly that the three ‘chapters’ flow together with ease. Bill’s life seems rather ordinary at first, but the droll humor that dominates the first act slowly gives way to an alluringly tragic series of ever-darker vignettes. We soon realize that Bill is far from healthy, and a look into his family history suggests that hope is a feeling people like Bill don’t get too familiar with. The visuals are a combination of hand-drawn stick figures and experimental photography. Every frame was meticulously crafted by Hertzfeldt within an antique animation camera in his home studio. Let there be no mistake, “It’s Such a Beautiful Day” isn’t exactly the most accessible film out there. Some viewers will likely feel confused or alienated by Hertzfeldt’s unique aesthetic, and turn it off after five minutes. Yet, those willing to go along with Bill the stick man on this journey through his splintering psyche will be richly rewarded with a grandiose, sweeping finale — one which ponders with a level head whether Bill is better off alive or dead. The film’s awe-inspiring climax solidifies “It’s Such a Beautiful Day” as a vital, electric piece of independent art. The inherent monotony of eternity — whether real or imagined — is a far scarier thought than the simple shutting off of the lights. This is a sentiment Hertzfeldt delivers with great care; almost gently. “It’s Such a Beautiful Day” is not rated.

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Check Checkout outNTown’s NTown’stop topten ten events eventsfor forFebruary! February!

••Mardi Mardi Gras Gras Parade Parade

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When: When:7-8:30 7-8:30p.m., p.m.,Feb. Feb.1414 Where: Where:Downtown DowntownNorman Norman • The • The21st 21stannual annualNorman NormanMardi MardiGras GrasParade Paradewill willflflood ood the thestreets streetsofofdowntown downtownwith withcolorful colorfulflfloats, oats,creativcreativityityand andmusic. music.The Thecircular circularparade paraderoute routestarts startsatat Jones JonesAve. Ave.and andMain MainSt., St.,heads headseast easttotoCrawford CrawfordAve., Ave., Commanche CommancheSt.St.and andthen thenback backtotoJones JonesAve. Ave.An Anaward award ceremony ceremonywill willbebeatat8:30 8:30p.m. p.m.atatThe TheDepot. Depot.

• NMF's Stupid Cupid Pub Crawl When: 7 p.m. - midnight, Feb. 13 Where: Downtown Norman NMF is holding its annual Stupid Cupid Pub Crawl.Tickets are $10 and can be bought at any of the participating bars:The Bluebonnet Bar, Bison Witches,

Red Brick Bar,The Garage,The Brewhouse and Opolis.The crawl ends at Opolis, where Beau Jennings will play an album release show starting at 9 p.m.

• Winter Wind: Dan Weber When: 7 p.m., Feb. 15 Where: The Depot Dan Weber, award winning songwriter, gifted storyteller and inspired performer, comes to Norman for a Sunday, Feb. 15, Winter Wind Concert in The

Depot, 200 S. Jones.Tickets for the 7:00 pm concert are $20.

• 'Abstract Abstract' When: 6-10 p.m., Feb. 13 Where: Mainsite Contemporary Art

MAINSITE Contemporary Art is debuting two new exhibitions — "Abstract Abstract" and John Bruce’s "Evanescent Iridescence." The exhibitions will run through

• Valentine's Day Pep Talk Show When: 9:30 p.m., Feb. 13 Where: Othello's

March 14 with an artist/curator talk and closing reception 6 p.m., March 13. Abstract Abstract is a collection of small-scale abstract works, curated by Tim Stark.

Robot Saves City presents a night of comedic date stories from comedians Cameron Buchholtz, Bradchad Porter, Zach Smith, Josh Lathe, Harper Bottorff and Geri

Richlin, followed by Tarot Card V-Day predictions from Zaun McCormick and James Nghiem. Musical guests Caleb McGee and Nick Haywood.

• "The Addams Family" When: Feb. 20-22 Where: Sooner Theatre

• North American Saxophone Alliance Conference When: Feb. 20-Feb. 22 Where: Catlett Music Center

The new musical features an in love with a sweet, smart young original story, and it's every man from a respectable family — father's nightmare. Wednesday a man her parents have never met. Addams, the ultimate princess of darkness, has grown up and fallen

The opening concert Feb. 20 will present concerto soloists and the University of Oklahoma Wind Symphony. A night of chamber music will take place

The Sutton Concert Series styles under the jazz umbrella presents a night of jazz featuring presented by OU students. the OU Jazz Bands.The two-hour concert will feature different

Artist Oscar Brousse Jacobson arrived at the University of Oklahoma in 1915, and the Fred Jones Jr. Museum of Art commemorates the centennial of his appointment at OU with a retrospective of his influential

• Sutton Concert Series: OU Jazz Bands When: 8 - 10 p.m., Feb. 24 Where: Catlett Music Center

• 'A World Unconquered ...' When: Feb. 26 – Sept. 6 Where: Fred Jones Jr. Museum of Art

career. Jacobson completed in excess of 600 works of art during his fifty-year career and looked to the landscapes of Colorado, New Mexico, and Oklahoma for inspiration.

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Feb. 21.The final gala concerto concert, featuring the Norman Philharmonic, will be 3 p.m., Feb. 22.

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•Family Workshop: Wild Artist When: 9 a.m. - noon, Feb. 28 Where: Sam Noble Museum

Slither, wiggle, trot and waddle. Discover the ways that animals leave their mark on the art world then watch an OKC Zoo animal create a masterpiece before your eyes. Finish off the workshop practicing the new techniques

in painting with your family to make art like the animals do. For registration information, snomnh.ou.edu.

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• MAINSITE Contemporary Art: Home of the Norman Arts Council (122 E. Main St.) is pleased to debut two new exhibits. Abstract Abstract is a group exhibition championing contemporary abstraction … gone small. It includes both local and national artists, including Josh Aster, Chris Kuhn, Lester Monzon, Brad Stevens, curator Tim Stark and more. Also on the walls will be Evanescent Iridescence, a solo show by Chickasha artist John Bruce featuring an array of paitings and altarpieces inspired by color, texture and the Southwest. Norman Arts Council Individual Artist Ellen Moershel is featured in the Library Gallery, while students from Scissortail School of Art will have pieces on display in the Water Closet Gallery. • The Firehouse Art Center (444 S. Flood Ave.) closes out an exhibi20 tion by former art educator and professional painter Paul Walsh. His Painting on the Edge of Woodland and Prairie consists of forty recent regional landscapes that depict rural, south central Oklahoma. • The Depot Gallery (200 S. Jones Ave.) ushers out People, Plants and Places, an exhibition of paintings and sculptures by John Wolfe. Recently featured on OETA’s Gallery, his sculptures are assemblages of found objects combined with terra cotta clay heads and hands created for each specific piece. His paintings celebrate familiar scenes of everyday life. • Dreamer Concepts: A Community Art Space (428 E. Main St.) is partnering with Marc Vinciguerra, a French sculptor and painter who will 2.13.15 be completing a monumental sculpture triptych of the human figure as part of Dreamer Concept’s Artist In Residence program. Get to know Marc and more about the partnership! • Leadership Norman is hosting a drive for Variety Care at 2nd Friday!

Help us fill the Variety Care baby pantry with supplies. Cash donations or baby goods (diapers, blankets, onesies, formula, etc.) can be dropped off at MAINSITE,Dreamer Concepts and The Depot during Art Walk. Also, to raise funds, Leadership Norman will be raffling off a Rick Sinnett work of art at MAINSITE! • Norman Music Festival is holding its annual Stupid Cupid Pub Crawl, benefitting the festival scheduled for April 23-25. It takes place from 7 p.m. to midnight. Tickets are $10 and can be bought at any of the participating bars: The Bluebonnet Bar, Bison Witches, Red Brick Bar, The Garage, The Brewhouse, Opolis and S&B Burger Joint. • The Social Club (209 E. Main St.) has artist Leana Fischer, who uses nature — especially animals — as a source of inspiration, imagining their personalities with crisp, sophisticated illustrations. Drinks and treats will also be on hand! • STASH (412 E. Main St.) creates quite the atmosphere for the February Art Walk. Hand drawn artwork by artist Emerson Ruthart will be on display. Local authors Dr. John Otto and his son Payton, will be available for a book signing during the evening. They recently co-authored the popular children’s book, Marvin’s Shining Star. There’s also music from Americana folk band, Audra and the Whippoorwills, who will perform throughout the evening. Big Truck Tacos will be out on the lot, weather permitting. • Dope Chapel (115 S. Crawford Ave.) is excited to bring in Ricardo Vicente Jose Ruiz in from Corpus Christi for an exhibition of over 150 of his watercolor works. • Shevaun Williams & Associates (221 E. Main St.) is hosting a Norman Addiction Information & Counseling event. In addition to a Wine and Palatte session (reservations required), acoustic guitarists Rick Fowble and Brandon Johnson will performing. • Artifactory (313 E. Main St.) is a new shop and studio here in Downtown Norman. Make them feel welcome, and check out the art, vintage goods and art class offerings. • BOLD Multimedia (215 W. Main St.) features Joshua Davis’ new Heartbreaker series just in time for Valentine’s Day. They’ll have a live DJ and more happening too, so bring a date (or don’t)! • Scissortail School of Art (123 E. Main St.) is open with mask-making in preparation for the Mardi Gras Parade happening at 7 p.m. the following night in Downtown Norman. Whitney Womack and Casidy Abbot will also have handmade art, jewelry and goods for sale. • Ashtanga Yoga Studio & Third Eye Gallery (120 E. Tonhawa St.) welcomes Keegan Hulsey, an interdisciplinary artist whose symbolist work centers on spiritual and socio-political subject matter, and his new exhibit In Perspective

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• Sandalwood & Sage (322 & 324 E. Main St.) celebrates its 7th Annual Art Rock. Arabesque will perform while they roll out their newest and latest goods from the Tucson Gem & Mineral Shows. • Norman Insurance Emporium (527 E. Main St.) will have work by Norman artist Phyllis Stubblefield on display. They’ll also have snacks and drinks on site. • Coredination Pilates (128 E. Main) is featuring the blown glass of artist Kyle Cooper for your viewing pleasure! • The 419 Art Room (131 E. Gray St.) is open with new works by resident artists for your perusing. • Bigfoot Creative (315 E. Main St.) is showcasing a variety of local artists and more! • Gray Owl Coffee (223 E. Gray St.) has HEART on display, new watercolors on paper by Roshni Robert, breaking from her illustrative work most people know her for. The exhibit focuses on color and shape assembled into a variety of abstractions. • D.M. Wealth Management (201 E. Main St.) welcomes back Chickasaw artist Larry Carter, whose paintings are investigations into Native American themes. Musical guest Frank Lawrence will join in on the festivities, weather permitting. • Gallery 123 (123 E. Main St.) invites everyone UP to see what’s new in the gallery! • Robinson’s Repurposed (325 E. Main) has items given an artistic touch by makers from all over town. • Norman Arts Council and Norman Music Festival present the 2nd Friday Concert Series for the month of February. Oklahoma’s own Beau Jennings is celebrating the release of his new, Will Rogers-inspired albumThe Verdigris with us, and he’s got special guests Samantha Crain, Sherree Chamberlain and Tyson Meade in tow. The f21 and up ree show starts at 9 p.m. at Opolis (113 N. Crawford Ave.) • Norman Arts Council and Guestroom Records (125 E. Main St.) are collaborating to bring you Random Noise, an eclectic series bringing you even more free music during the art walk. This month comes to life with the theaterical rock sound of SK Love, along with Norman emo punk rockers Limp Wizurdz. Show starts at 7:15 p.m. • Michelangelo’s Coffee & Wine Bar (207 E. Main St.) comes to life with a free show by the Sophia & Grace Babb-led alt-folk band Annie Oakley • The Bluebonnet Bar (321 E. Main St.) hosts Dan Martin Band out of Tulsa. The show starts at 10 p.m. • Red Brick Bar (311 E. Main St.) has the amazing Bat-Or performing at 7 p.m. • The Main Street Event Center (300 E. Main St.) hosts a performance by the Norman Community Choral Choir from 7 to 7:45 p.m.

White: (from page 7) now. Look at American Sniper and 50 Shades of Gray. Releases are spreading out more today. It's kind of the public who determines what we show. You'll see a lot of independent movies that are shown on the East Coast, West Coast, t and then depending on how they do, they could go mainstream throughout the country. Theaters don't really control that, it's the public. NTown: If it's down to 2 movies that are similar in capacity to draw a crowd, do you make the final decision? w Warren: Well, hopefully you can show both. But my film buyer would make that decision and go through the process.

NTown: On the topic of being able to show both the movies, how many screens do you have? Warren: Seventeen screens and I'm not sure what the seating capacity is now that we built on, but it's easily over 3000 seating capacity in the whole building now. NTown: What's next for you now? I hear you opened a theater in Broken Arrow. What are your intentions moving forward?

really have a game-plan yet. Obviously, Moore has been a great fit for us, the state government has been great to us, the reception in the OKC metro area has been very good and we are very thankful for that. NTown: Last question — How much popcorn do you think you have eaten in your whole life? Warren: Probably too much. Probably a lot, because I love to eat popcorn while I'm watching a movie.

Warren: We have no desire to be a big theater company or to be the biggest theater company. We have every desire to be the best theater company. I have no plans for the next theater, it just depends on what opportunities we have out there. We get approached a lot but we don't

Survivor: (from page 15) be a blast to watch. Probst and company have w seemingly compiled one of the biggest groups of

immoral backstabbers in the history of the series — and I mean that in the best way possible. “Survivor” isn’t nearly as interesting when everyone’s e getting along. For the uninitiated who would like to give “Sur-

NMF: (from page 8) price range. Obviously, since it's a free festival, it's a nonprofit entity. So, we only have access to y limited funds." Those funds come from fundraisers like the Feb. 13 Stupid Cupid Pub Crawl, a grant from the Norman Arts Council, sponsorships from private companies like Fowler Auto Group, Budweiser and Eyne Media, as well as a portion of the hotel motel tax. Sustaining base members and day-of merch sales complete the circle. So, the money comes from a lot of angles. Even OU football plays a part in making the Norman Music Festival happen. "Whenever Notre Dame came in, that was a big weekend. That's the intent. We want to bring people to Norman and see what we have to offer," Montoya said. For seven years, the NMF has helped achieve that goal. Recognized by the Huffington Post as Oklahoma's premier must-see event, the festival has grown into an unlikely monster. The Normanborn and raised Montoya, said when she was growing up she never would have believed that someday Main Street would play host to nationally touring bands and flocks of fans.

vivor” a try, I have two seasons to recommend. Season 6: The Amazon is the most purely fun season, with lots of big laughs and a goofy cast of lovable characters. Season 20: Heroes vs Villains is the most dramatic season, with a cast full of charismatic people deviously twisting knives in each other’s backs. (Every episode from every season is available on Amazon Prime Video and on the CBS App.)

Her lifelong infatuation with music from the likes of Pink Floyd, Tiesto, Ministry and Willie Nelson coupled with shrewd accounting acumen led her to the reins of one of the biggest nonprofit festivals in the region. As a full-time job in its own right, that can make for a challenge. There are a bunch of hidden challenges, too. Like getting every business on Main Street to sign off ... every year. Montoya and the gang have to basically go door to door and get the go ahead from the majority of Main Street businesses. "There's a few that don't," Montoya said. "There's some old school folks that have been around for a long time and, as with all things, whether it's personal, business or otherwise, there's always a small group that don't agree with what you're doing." Still, the masses have spoken and the largely beloved festival continues to draw huge crowds and big business. And, while it brings in nationally recognized names, it also serves a role in promoting Norman, not just from a tourism angle. For its size, Norman is a veritable oasis of musical talent. Montoya and the NMF planning committee know they're lucky to have such a resource and consider it their duty to help promote Norman.

Even if you’ve never seen an episode of “Survivor,” there are plenty of reasons to tune in for the season premiere on February 25. “Survivor” is unlike any other reality show in the world. There’s nothing quite like the combination of exotic locales, athletic and mental challenges, and a bunch of very real people playing against each other in a cutthroat game for a million dollars.

"A lot of the local bands apply through the open call process. That's currently in progress right now. We love to promote Norman. We have lots of talent here and we love to showcase that." Montoya said. "To give the people the opportunity to play gives them huge exposure." That process, and the at large booking process continues. As of press time, Montoya was reluctant to reveal any other lineup announcements, but was willing to offer a hint about one of the festival's newest targets. "You might eat it with beans," she said. NMF public relations representative Michelle Bui said "I'm excited to see the growth the festival has every year. We have a few more surprises for everyone for NMF 8, and we can't wait to release more of the lineup and tell everyone what we've been working on." Now, that remains a mystery, but Montoya believes one thing is for certain. "No matter what you like, you'll find it at the Norman Music Festival. You'll definitley find something you'll enjoy. On Saturday we'll have four outdoor stages and they'll be something that everybody likes, somewhere." Montoya said. Nearly 100,000 people can't be wrong.

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Photo Provided Jack White and his band take a bow after his Feb. 2 show at McCasland Fieldhouse.

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White: (from page 7) formances, well, you’d hear a lot of similarities. Some expected clean, nuclear power. What they got what was raw uranium. In a musical landscape where autotune and digital compression have polished away all imperfection, he embraces it. He paints outside the lines and that makes people uncomfortable. Before the show, one of his crew members asked the audience to embrace the moment, to put away their phones and “be here.” That probably made people uncomfortable, too. Real life can be uncomfortable. It gets loud. Sometimes it gets ugly. It’s not perfect and never will be. For the people that knew what they were getting into, the show was what it was supposed to be. A man searing his guitar with humanity. It was blue collar. Like he couldn’t stop until he was devoid of sweat. He was digging graves for everyone and kicking us in one at a time, burying any notion that he came for anything but the music and the mystique of a building whose walls once felt the crushingly loud power of Jimi’s untuneable Stratocaster blasting through a wall of Marshall stacks. And, even though White was disheartened by his tour rider being leaked, he managed to drown it all out with the equivalent decibel energy of an exploding star, kicking out new tracks and old school jams as far back as “Ball and a Biscuit.” By the time the ringing in our ears had subsided, we learned that it might not happen again. At least not anytime soon. After coming down

hard on The OU Daily’s unwelcome publicity and releasing a statement nixing any future OU shows for all the artists under the Monotone Inc. umbrella, his touring company followed up with this: To the students and staff of University of Oklahoma: Jack White would love to thank all the concert attendees at his performance at the University of Oklahoma. The crowd was incredible and Mr. White played an extensive two and a half hour show for them. The students who helped organize the event were wonderful. Playing in, and for, the people of Oklahoma is one of Jack White’s favorite tour stops. At no time did Jack White or White's management say that we would never play there again, that is untrue. The incidents with the OU Daily student newspaper reporting the financial terms of the show, the private tour rider information, along with unsolicited photographers from their staff were unfortunate, unprofessional, and very unwelcoming. The show was one of many on this tour directed at playing for university students in their own environment. And the band were all completely thrilled with the performance and the crowd. Incidentally, the most important function of a rider is that it lays out optimal technical specifications to ensure the audience has the best experience possible. For that, Jack hires a team of very qualified touring professionals who write the rider and attempt to execute a professional and pleasant experience for all involved. Part of that is making sure that the tour personnel of about 30 people plus the local venue staff are fed. Contrary to what

some believe, Jack doesn't write the rider nor make demands about his favorite snacks that must be in his dressing room. We're not even sure he likes guacamole but we do know that the folks who work hard to put on the show do enjoy it. (By the way, now that's it out there, we recommend you try Lalo's guacamole recipe. It's delicious.) We hope those present for Mr. White's performance are able to maintain their good memories from the experience and he looks forward to seeing them again soon. ———— At one point White addressed his discontent on the mic, saying “If you’re a lawyer, just because it’s legal doesn’t make it right. If you’re taking journalism classes ... just because you can type it on your computer doesn’t make it right.” I can’t throw journalism under the bus. People have a right to know things, especially when it’s public information anyway, but maybe he has a point. Maybe the show was supposed to be about him and the crowd, in that building, on that night. White said “I’m a poor boy from Detroit who doesn’t know what he’s talking about.” Maybe he doesn’t, but you never got the sense that he was anything but himself, unscripted and unleashed. He came for the music and the history. He made some of both. Mack Burke mackburke@gmail.com Follow me @TranscriptNTown