The Tulsa Voice | Vol. 3 No. 7

YOUR GUIDE TO OKLAHOMA’S WEIRDEST, RISKIEST, ROWDIEST FILM & MUSIC FESTIVAL M A R . 1 6 - A P R I L 5 , 2 0 1 6 // V O L . 3 N O . 7

F E AT U R I N G

The curious mind of CRISPIN HELLION GLOVER The infamous Sherman Oaks

BANDS, DJS, V I RT U A L R E A L I T Y P23

Bob Dylan’s legacy finds a home in Tulsa | P10

FRIDAY NOON - 9:00 P.M. April 08 DOWNTOWN OKMULGEE

ON THE SQUARE

Activities

Check out osuit.edu/orangefest for a list of all Friday activities and locations.

5K Glo Run Live Entertainment Food Trucks Chalk Walk Art Show - Featuring John Hammer

5K Glo Run Get Your Glow on & Register today! $15 registration fee includes glow-in-the-dark T-shirt and glo stick while supplies last.

osuit.edu/orangefest

2 // CONTENTS

March 16 – April 5, 2016 // THE TULSA VOICE

A G N I V A H E R WE’

PARTY! 6

1 0 2 6 , 7 1 H C R A M MARCH M ADNESS

pop up sports bar!

ALL DAY!

Hella good Beer & food!

GUINNESS GIG RIG? CHEC K! FOOD TO KEEP YOU FUELED? DOUBLE CHECK!

BIG SCRE ENS, HOT SHOT GAMES, & BANGIN’ NEW BEERS FR OM MARS HALL!

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LIVE THE HO NIGHT Y F B F O ES TUN

f e e b d e n Cor test! con ROM IONS F CREAT CHEFS & E L P SAM ST ’S FLYE UR FAV! TULSA YO R O F E VOT

OPEN AT 10AM MCNELLIE’S 13TH ST. PATRICK’S DAY

THE TULSA VOICE // March 16 – April 5, 2016

CONTENTS // 3

4 // CONTENTS

March 16 – April 5, 2016 // THE TULSA VOICE

contents TULSA OVERGROUND

Mar. 16 – April 5, 2016 // vol. 3 no. 7 N E W S & C O M MEN TA RY 8 // R ural neglect

Your guide to Oklahoma’s weirdest, riskiest, rowdiest film & music festival

Denver Nicks, ordinary Joe

Oklahoma’s attraction to Trump and Sanders bottomline

10 // Dylan on Brady with ghosts Barry Friedman, on the Bard

The curious mind of Crispin Hellion Glover

Welcoming Bob Dylan home, er... to Tulsa

P24

viewsfromtheplains

GENRE BENDERS Antibirth, Booger Red and Mekko P26

Experimental oddities plus Ben Steinbauer’s The Superlative Light

FOOD & DRINK 18 // H ope’s comeback

P27

Megan Shepherd, conversant

A bunch of bands that’ll make your ears bleed (IN A GOOD WAY)

Hope Egan returns with Red Thistle Catering Co.

P28

citybites

THE INFAMOUS SHERMAN OAKS

20 // S láinte and the water of life

P30

Liz Blood, whiskyphile

Whisky tasting with Balvenie’s Andrew Weir

5 QUESTIONS WITH TODD LINCOLN P31

d o w n t h e h at c h

VIRTUAL INSANITY P32

A RT & C U T L U RE

ST PATRICK’S DAY EVENTS | P16 COVER COLLAGE BY HANNAH SHEPHERD

Leaps and lessons

@HannahAndHerScissors

Upcoming programs at Tulsa Ballet and Portico Dans Theatre share the art and craft of dance

MAKE YOUR VOICE HEARD Send all letters, complaints, compliments & haikus to:

ALICIA CHESSER // 34

voices@ langdonpublishing.com 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

MUSIC & TV facebook.com/thetulsavoice twitter.com/thetulsavoice instagram.com/thetulsavoice

Sports ambles through unexpected success 44 // A circus of characters

1603 S. Boulder Ave. Tulsa, OK 74119 P: 918.585.9924 F: 918.585.9926 PUBLISHER Jim Langdon PRESIDENT Juley Roffers VP COMMUNICATIONS Susie Miller CONTROLLER Mary McKisick ADMIN. ASSISTANT Rachel Webb RECEPTION Gloria Brooks, Gene White

The Tulsa Voice’s distribution is audited annually by Circulation Verification Council THE TULSA VOICE // March 16 – April 5, 2016

Mitch Gilliam, music minister

musicnotes

AD SALES MANAGER Josh Kampf CONTRIBUTORS Beau Adams, Alicia Chesser, Claire Edwards, Josh Emanuel, Barry Friedman, Mitch Gilliam, Landry Harlan, Denver Nicks, Joe O’Shansky, Hannah Shepherd, Megan Shepherd, Evan Taylor

40 // C hill all the time

Landry Harlan, tv critic

A sharp retelling of the OJ Simpson trial popradar

R E G U L A R S // 7 yourvoice // 36 ar tgallery // 38 thehaps 42 musiclistings // 45 thefuzz // 46 astrology // 47 crossword CONTENTS // 5

editor’sletter

I

first heard about the Tulsa Overground Film Festival when I was 15 years old. It was the festival’s first year, and Tulsa World film critic Dennis King had written a feature on its two founders, Todd Lincoln and Jeremy Lamberton, who posed for the story’s accompanying photo in goofy costumes outside of the now-shuttered Fox 4 Theater at 51st and Harvard.

For a 15 year-old budding film nerd who wanted to both watch and make all the movies, Tulsa was a lonely, frustrating city. There was no revived Circle Cinema, no arthouse series at AMC Southroads, no Mayor’s Film & Music Office or TulsaFMAC, no film studies program at TU. Whatever DIY

THE TULSA VOICE

BEST OF TULSA READERS’ CHOICE 2016

film culture did exist at the time was outside of my limited south Tulsa purview. I was alone in the desert, surviving on a Roger Ebert compendium, a VCR and a Hollywood Video membership (RIP).

I associated homegrown film “culture,” such as it was, with the random Hollywood production that filmed in or near Tulsa every five or ten years—“The Outsiders,” “Rumble Fish,” “Twister,” “UHF.” Overground changed my perception of Tulsa. Those early years were exciting and electric.

Todd and Jeremy curated the festival’s programs with a punk rock sense of humor and anarchy that wasn’t everyone’s bag—one particularly memorable video was

nothing more than a single shot of a hot dog being flushed down a toilet.

Like many young festivals, Overground went through the growing pains of shuffled dates, venue changes, and the advent of YouTube. Even as they suspended the festival for several years to focus on their respective film careers, the co-founders stayed committed to their baby, and eventually revived it in 2014.

Eighteen years after reading that initial World article, I’m very pleased to share with you the details of this year’s Tulsa Overground Film & Music Festival (page 23), which takes place at four venues over four nights, with over one hundred short films, five

features, 30 bands, a virtual reality room, and a two-night appearance by walking work of art Crispin Hellion Glover.

Overground is the biggest it’s ever been, and the riskiest. Todd and Jeremy haven’t diluted their sensibilities—the line-up is still punk rock, dangerous, experimental, and unpredictable. I hope Tulsa supports it. a

JOSHUA KLINE MANAGING EDITOR

Tulsa's Gift Store with All Things Oklahoma & More!

vote f or u s

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facebook.com/idaredtulsa • Mon-wed 10am-7pm thur-Sat 10am-9pm, Sun 12pm-4pm March 16 – April 5, 2016 // THE TULSA VOICE

yourvoice

Mayor Bartlett, why are we being ignored?

Mayor Dewey Bartlett used duplicity to deceive North Tulsa citizens by attempting to form an African American Affairs Commission (AAAC) without including the very citizens who requested the creation of the Commission.

In that request, the community asked that the AAAC would include organizational representation from institutions whose mission or purpose is to serve the African American community.

These organizations are to be chosen by the community.

The African American community is being ignored by the City of Tulsa Mayor’s Office. Currently, the Native American, Hispanic, and Status of Women Affairs commissions have all been in existence for over 90 years collectively. There has never been any representation for the African American community.

Initial requests concerning the creation of an African American Affairs Commission began early in March of 2015 with the Human Rights Department. Requests for a meeting with the Human Rights Department were unanswered.

On June 15, 2015, we reached out to the Mayor’s office concerning our request. On June 25, 2015, we were finally granted a meeting to take place on August 7, 2015. During this meeting Mayor Bartlett stated that, “The only way he would create an AAAC is with the understanding that it would ultimately be combined with the Native American and Hispanic Commissions into one ethnic commission. The Hispanic Affairs Commission was created 36 years ago and has operated independently. The Indian Affairs Commission was created 25 years ago and has operated independently. Now that an African American Affairs Commission has been requested all of the commissions will be combined…why is that? Requests to be at the table in the writing of the ordinance language creating the commission have been ignored. We have requested to see the draft language of the ordinance before it is sent to the City Council for a final vote, again this request has been ignored. The community leaders (myself, Representative Regina Goodwin, Mike Reed and Margaret Love) that have led this effort are being totally excluded THE TULSA VOICE // March 16 – April 5, 2016

from the process of creating this commission. These commissions serve the communities they represent, not elected officials.

After two peaceful protests at City Hall and letters of recommendation in favor of creating an AAAC from the other commissions, we were unofficially informed that an AAAC will be created. However, Mayor Bart-

lett is attempting to create an AAAC without the input and involvement of the citizens who requested it. We are totally being left out of the process and we are not being allowed to serve on the commission. All we want is to give the African American community a voice of action directly to City Hall and Tulsa County. We cannot have

a healthy community if we are not at the table when decisions are being made concerning us.

We are tired of being ignored!!

The time for action is now. The African American community deserves it!

Unity is strength, division is weakness. ~ Swahili Proverb Vanessa Hall-Harper, Community Activist

THE TULSA VOICE

BEST OF TULSA READERS’ CHOICE 2016

v o te fo r u s

NEWS & COMMENTARY // 7

bottomline

Rural neglect Oklahoma’s attraction to Trump and Sanders

by DENVER NICKS

A

side from their whiteness and maleness, Donald Trump and Bernie Sanders don’t have much in common. One is a billionaire whose personal brand and chief selling point—winning—is founded upon ostentatious displays of wealth, the other a lifelong activist who claims with a straight face to have never worn a tuxedo. But in the weird cross timbers of Oklahoma this unlikely pair shares another commonality—compared to rivals in their respective party primaries, they both had their best showings in rural areas, by far.

With the sizable evangelical contingent in Oklahoma GOP, it’s no surprise that Ted Cruz won the day among the Republicans. In Oklahoma, Bernie Sanders bucked a national trend and beat Hillary Clinton in a deeply red state. He did this by winning Democratic voters throughout the state but he was most successful in counties that are sparsely populated and where the ravages of poverty run deepest. This holds true even in far-flung places like Cimarron County in the panhandle, where he won 68-22, and which is much poorer than neighboring Texas County, where he didn’t do as well.

As it happens, Donald Trump’s electoral map in Oklahoma looks roughly similar, his performance like a rampaging storm system growing stronger west to east, along the same trajectory that poverty grows worse in the state.

In other words, Bernie did best in Trump country, and vice versa.

Clearly, Donald Trump and Bernie Sanders, so different in style and many policy positions, speak to issues that resonate with similar kinds of people in similar sorts of

8 // NEWS & COMMENTARY

Legofied Donald Trump and Bernie Sanders | MADELINE CRAWFORD

communities. These two candidates are opposite sides of the same coin, and taken together the voters casting ballots for them— roughly 300,000 total in the Oklahoma primaries—represent a considerable political force. Liberals instinctively turn their noses up at Trump and his supporters, dismissing them as stupid racists, while conservatives cast Sanders as a socialist impossibly out of step with the American mainstream.

Both perspectives are wrong, and the political establishment holds to them at its own peril.

The people who support Trump and Sanders are angry about many of the same things: trade imbalances that have hobbled American manufacturing and eliminated working class jobs, an economic order that favors banking over building stuff and encourages wage stagnation, and a political order increasingly dominated by an oligarchy that is

wholly out of touch with the reality of life in working class America.

These people are not insane. For years the political class has spoken mostly glowingly about the neoliberal economic policies of the past 20 years, always with the caveat that, in the understated words of candidate John McCain in 2008, “free trade is not a positive for everyone,” as though acknowledging the existence of people screwed by free trade deals is sufficient to allay their anger. For political elites, taking life-sustaining jobs from working families in exchange for cheap smartphones is “not a positive.” That’s a euphemism if ever there was one.

The rural communities across Oklahoma where both candidates did best are places where these effects are felt most acutely. A factory up and leaving for Mexico in a town the size of Pryor affects the community more than a factory closing in a city the size

of Pittsburgh. Though many of Oklahoma’s small towns are fine places to live and remain strong communities, there’s no denying that rural Oklahoma is a shell of its former self, vacant buildings dotting Main Streets from the panhandle to Pushmataha County. The experts will say, as they always do, that the economic forces at work are longstanding, multifarious and complex, and they are, but at some point such explanations ring, if not false, just hollow. The simple fact is that people angry about having been neglected have been neglected, and the sooner this country’s political class addresses that reality the better. Because this election cycle is just the beginning.

The Left ridicules Trump and company as dumb and racist, but beyond the headlines and clickbait the bulk of Trump’s speeches aren’t about rounding up Mexicans and keeping out Muslims.

They are, in broad terms, about the downsides of neoliberalism, which is not to say the danger of his white-supremacist-supported candidacy isn’t real. Adolf Hitler wasn’t elected on a platform of racism and genocide, he was elected on a platform of national unity and socialism in a country plundered by the international community and ravaged by the global economy. The grievances at play among working class Americans today are no less palpable, and the danger here is very real indeed. a Denver Nicks is a Tulsa native and a reporter for TIME magazine. He’s the author of Private: Bradley Manning, Wikileaks and the Biggest Exposure of Official Secrets in American History.

March 16 – April 5, 2016 // THE TULSA VOICE

This Vision Focuses on the Right Priorities A Vision for SAFETY, STREETS

and

TRANSIT

• 160 more police officers will provide more patrols and manpower to increase safety in neighborhoods and gather intelligence to proactively prevent crime.

• 65 new firefighters will staff the busiest fire stations, and add a new fire station in east Tulsa. New personnel also will enhance the 911 center to increase emergency response.

• Permanent funding will provide for street maintenance, and increased rapid bus transit along Peoria Avenue and Route 66.

Mar. 20th Bible Lesson: MATTER

See More at

Vote YES VisionTulsa.com on April 5 Paid for by Citizens for Tulsa

16178 Vision Tulsa Qtr pg.indd 1

THE TULSA VOICE // March 16 – April 5, 2016

depend on it!

Mar. 27th Bible Lesson: REALITY

Church & Sunday School • 10:30am Wednesday Meeting • 6:00pm

CRIMINAL LAW & FAMILY LAW Free consultation Office or Phone

918-720-1625 • stuartericsonlaw.com

OKLAHOMA STUDY OF NATIVE AMERICAN PAIN RISK RESEARCH PARTICIPANTS NEEDED

PARKLANDS

• 12 miles of new shoreline will be added, along with two new lakes connected by the Arkansas River.

• The expansion of Tulsa’s Turkey Mountain will add urban wilderness.

• Strategic development will stop strip malls and Walmarts along the Arkansas River corridor.

All of your

freedoms

924 S. Boulder

• Economists project 1,850 jobs will be added to the economy every year as a result of the Arkansas River development.

• This plan addresses the teacher shortage by partnering with local school districts to recruit and retain quality teachers for our schools.

• An Air National Guard Training Center would bring the state-of-the-art F-35 flight simulators here, and house the fighters in Tulsa at the 138th Fighter Wing. and

Plead OR Fight?

FIRST CHURCH OF CHRIST, SCIENTIST

A Vision for ECONOMIC DEVELOPMENT, TEACHER RETENTION

A Vision for more SHORELINE, WILDERNESS

Should You

Perfection underlies REALITY. - M. B. Eddy

$200 compensation ($100/day)

INVESTIGATORS: Drs. Jamie Rhudy & Joanna Shadlow CONTACT: The University of Tulsa Psychophysiology Research Laboratory 918-631-2175 or 918-631-3565

A novel research study is being conducted at The University of Tulsa to identify potential markers of risk for chronic pain in healthy (currently painfree) Non-Hispanic White and Native American individuals.

This study is safe, non-invasive, and does not involve medication. Participants must be able to attend 2 laboratory sessions (4-5.5 hours/day) in which physiological and behavioral reactions to different stimuli are recorded. This is a University of Tulsa and Cherokee Nation IRB approved research study.

3/14/16 4:49 PM

NEWS & COMMENTARY // 9

viewsfrom theplains

Bob Dylan’s notebooks in the Bob Dylan archive | COURTESY THE UNIVERSITY OF TULSA

Dylan on Brady with ghosts Take care of all your memories. For you cannot relive them.

by BARRY FRIEDMAN

I

n July of 1973, I was working at a place called Edelman Studios in New York City, a company that packaged sales and convention material for JC Penney, near West 4th Street (the street featured on Bob Dylan’s second album The Freewheelin’ Bob Dylan).

The work was mindless—repetitive boxing and labeling—but it was a glorious summer job during a glorious summer in Greenwich Village, walking distance from New York University, Washington Square Park, the second best pizza place in the city (Stromboli’s on University Place), and next door to an antique store run by twin Russian girls.

There’s a woman I long to touch and I’m missing her so much but she’s drifting like a satellite. There’s a neon light ablaze in this green smoky haze, laughter down on Elizabeth Street.I

There wasn’t revolution in the air, as Dylan, who will be 75 in May, would write in “Tangled Up in Blue,” but there was unraveling.

It was the summer of the Watergate Hearings—a time when, as Merle Haggard sang, “Nixon 10 // NEWS & COMMENTARY

lied to us all on TV.” They were broadcast live, the hearings, both on television and radio, and Hank and Gladys Edelman, the owners, as well as most of the older employees, listened throughout the workday. I was 16 and listening to other things.

While preachers preach of evil fates Teachers teach that knowledge waits Can lead to hundred-dollar plates Goodness hides behind its gates But even the president of the United States Sometimes must have to stand nakedII

“Would you make that crap lower? The country’s falling apart,” Hank Edelman demanded, as Bob Dylan’s “It’s Alright, Ma (I’m Only Bleeding)” from his 1965 album, Bringing It All Back Home, blasted from my portable stereo.

“Crap? It’s Dylan.”

“I know who it is. I was listening to Dylan when you were still a baby. Are YOU listening to this?” he asked, pointing to the radio.

Out of one ear, yes. It was testimony by Alexander Butterfield,

Nixon’s deputy assistant, who, at that very moment, was confirming to the Senate Watergate Committee that the president had taped all White House meetings.

“Hank, I already know. It’s right here,” I said “pointing to my cassette player.

I turned it up.

While some on principles baptized To strict party platform ties Social clubs in drag disguise Outsiders they can freely criticize Tell nothing except who to idolize And then say God bless himII

“Ach,” he said, before slamming the door, “leave me alone.”

I overheard someone else, “You call that a singer?”

In a voice that came from you and me.III

Those lyrics, by the way, about presidents and parties and venality, were written in 1965, 51 years ago.

It could have been written after a Trump rally.

Yeah, he’s a singer … and a prophet.

There was, through the decades, always a new Dylan coming along—Bruce Springsteen, Phil Ochs, Townes Van Zandt, Loudon Wainwright, John Prine, David Bromberg—but then Dylan released Blood on the Tracks in 1975 and nobody ever talked again about the next Dylan.

We drove that car as far as we could Abandoned it out west Split up on a dark sad night Both agreeing it was bestIV

We didn’t need another. The new Dylan was the old Dylan.

I remember buying the album on Asp Avenue in Norman and reading Pete Hamill’s liner notes1 on the back of my sealed copy as I walked past the Boomer Theatre.

But of all the poets, Dylan is the one who has most clearly taken the rolled sea and put it in a glass.

Tulsa now has that glass.2 The Kaiser Foundation says a permanent exhibit space March 16 – April 5, 2016 // THE TULSA VOICE

for The Archive will be designated near the Woody Guthrie Center in Tulsa’s Brady Arts District, which houses a museum dedicated to American folksinger and Oklahoma native Woody Guthrie.

The former oil capital of the world, on the spot of the worst race riot in American history, will house the legacy of a man who wrote about Hattie Carroll, Maggie’s Farm, slavery, politics, the masters and forgiveness of war, the chimes of freedom, hard rains, and a nation’s ghosts. And that is a curious, wonderful thing, for the greatest musical influence of the 20th Century, save perhaps for the Beatles, is allowing his legacy, his reclusive exclusivity to be studied, picked apart, mulled over in—say this to yourself a few times, slowly—Tulsa, Oklahoma.

Unlike, Faulkner, whose archives are at the University of Mississippi, and Thomas Jefferson’s, whose collection is kept at the University of Virginia, both as they should be, there is no reason for Dylan’s recordings, writings, memorabilia to be scattered among repositories in Tulsa any more than Jim Thorpe’s remains need to be in eastern Pennsylvania, but that’s the choreography of commerce.

Someone with enough money wanted history here.3 They settled on a price of somewhere between $15 million and $20 million, which was a fraction of the appraised value. The parties would not elaborate on the details of the transaction, except to say that Kaiser wrote the bigger check. The first batch of items arrived from New York earlier this winter.

Good on Kaiser for bringing it here. And good on Dylan for allowing it.4 “I’m glad that my archives, which have been collected all these years, have finally found a home and are to be included with the works of Woody Guthrie and especially alongside all the valuable artifacts from the Native American Nations. To me it makes a lot of sense and it’s a great honor,” Dylan said in a statement.

THE TULSA VOICE // March 16 – April 5, 2016

In Tulsa, our attractions—from the serious (Gilcrease) to the silly (the Golden Driller) to the historical (Route 66)—are organic; they move from the inside out. But the Dylan exhibit is a new paradigm, for this time, it’s not of or about us.

Clearly, Woody Guthrie was the key—Dylan was greatly influenced by him— which, incidentally, may be a lesson to all those who always find something about which to bitch (whether it’s cost, effect on parking, or how Tulsa’s past and DNA are being obliterated) every time a new downtown development is announced. Without people who see the possibilities in abandoned buildings and parking lots, there’s no Guthrie Center, obviously, but there’s also no Philbrook Downtown, no urban lofts, no food carts, no free movies on Tuesdays on a lawn, and no music in the cafes at night. There’s no energy. And without that, nobody’s coming to Tulsa to see the mouth harp Dylan used on “Like a Rolling Stone” or a wallet he owned in 1965 with Otis Redding’s phone number inside.5 The life and times of Robert Zimmerman, who grew up in Hibbing, Minnesota and became Bob Dylan in Greenwich Village, New York, will be housed in a building near a museum named for a man who never lived in Tulsa and on a street in a district named for a Brady from another time and place.

The palimpsest is pure Dylan.

I had to rearrange their faces and give them all another name.V a 1) Bobsboots.com: Pete Hamill essay from the original back cover of Blood On The Tracks 2) News9.com: Bob Dylan’s Archives Coming To Tulsa 3) Chronicle.com: How the U. of Tulsa Landed Bob Dylan’s ‘Secret Archive’ 4) News9.com: Bob Dylan’s Archives Coming To Tulsa 5) Nytimes.com: Bob Dylan’s Secret Archive I) From “Where Are You Tonight? (Journey Through Dark Heat)” Copyright ©1978

by Special Rider Music II) From “It’s Alright, Ma (I’m only Bleeding)” Copyright ©1965 by Warner Brothers, Inc. III) From “American Pie” Copyright ©1971

by Universal Publishing Group IV) From “Tangled Up in Blue” Copyright ©1974 by Ram’s Horn Music V) From “Desolation Row” Copyright ©1965 by Warner Brother, Inc. NEWS & COMMENTARY // 11

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March 16 – April 5, 2016 // THE TULSA VOICE

VOTING IS ALMOST OVER. MAKE YOUR VOICE HEARD. THE TULSA VOICE

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Tulsa Symphony presents…

HEARING PORTRAITS MARCH 18, 2016 7:00 PM For the third and final performance of the series, Tulsa Opera Studio Artist mezzo-soprano, Rachel Horton, will join TSO musicians in Richard Danielpour’s Portraits, a setting of four poems by Maya Angelou. The program concludes with Dvorák’s masterful Piano Quintet No. 2 in A major, op.81.

VISIT TULSASYMPHONY.ORG FOR MORE INFORMATION AND TO PURCHASE TICKETS OR CALL 918-584-3645

JOE CUNNINGHAM: BEYOND QUILTS April 1 – May 22 , 2016 Opening Reception: April 1, 6:00 - 9:00 PM Creative Design Workshop: April 2 - 4, 9:30 AM - 4:00 PM Join us for music, wine and conversation in a classically casual atmosphere.

Doors open at 6:30 PM for wine and appetizers and the music begins at 7 PM. The FlyLoft is located at 117 N Boston Ave, across from Hey Mambo.

14 // BRADY ARTS DISTRICT GUIDE

Image: (above) Bed, After Rauschenberg, Joe Cunningham Brady Craft Alliance, Inc., dba 108 | Contemporary, is a charitable organization under Section 501(c)(3) of the Internal Revenue Code.

March 16 – April 5, 2016 // THE TULSA VOICE

woodyguthriecenter.org

Rose Garden by Pattie Boyd

BEHIND THE LENS WITH PATTIE BOYD AND HENRY DILTZ

TUESDAY, APRIL 5 at 7 PM, Circle Cinema

MAKE A MOVE

James Taylor by Henry Diltz

HOUSING LISTINGS Dwelling spaces for purchase or rent can be found in the Spaces Guide at TheTulsaVoice.com

AN EVENING WITH JUDY COLLINS

SUNDAY, APRIL 24 at 8 PM,

Tulsa Performing Arts Center

Both events have a limited number of VIP seat that include artist meet and greet receptions.

All proceeds from each event fund the Center's education initiatives. address 102 EAST BRADY STREET, TULSA, OK

74103

phone 918.574.2710

email INFO@WOODYGUTHRIECENTER.ORG

APR. 1 from 6-9 PM

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THANK YOU FOR NOMINATING US! BEST FREE ENTERTAINMENT FIRST FRIDAY: BRADY ARTS DISTRICT BEST PLACE TO TAKE OUT-OF-TOWNERS

Season Starts April 2016 www.guthriegreen.com | #guthriegreen | THE TULSA VOICE

BEST OF TULSA READERS’ CHOICE 2016

BEST PLACE TO FEEL LIKE YOU’RE NOT IN TULSA BEST STREET CORNER BOSTON AVE AND M.B. BRADY ST BEST STREET CORNER MAIN ST AND M.B. BRADY ST

TheBradyArtsDistrict.com @BradyArtsDist

A Certified Oklahoma Cultural District

THE TULSA VOICE // March 16 – April 5, 2016

Thank you for nominating us in these categories!

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Best venue for performing arts Best free entertainment Best all ages venue Best large music venue Best place for a cheap thrill Best place for a tinder date Best place to feel like you’re not in Tulsa

Best place to take out-of-towners Best place to take a selfie Best place to strike a yoga pose Best place for a picnic Best public park Best place to go with your dog Best place to people watch Best farmers market BRADY ARTS DISTRICT GUIDE // 15

BILLIARDS

& BAR

PARTIES, PARADES & PUBS St. Patrick’s Day Parade

2nd St and Detroit Ave, 1 p.m.

This inaugural family-friendly celebration just west of the Blue Dome District street party will benefit homeless veterans.

POOL with BENEFITS

McNellie’s St. Paddy’s Day Street Party

1st St and Elgin Ave, 10 a.m. to 2 a.m. | mcnellies.com McNellie’s annual party will feature the first-ever Corned Beef Competition from noon to 2 p.m., a pop-up sports bar, games, new beers from Marshall Brewing and music from Wink Burcham, Jacob Tovar, Stone Trio, Pilgrim, and a family jam with Paul Benjaman Band on the Guinness Gig Rig.

3415 S. Peoria Avenue (918)742-9500 (No Tie Required)

Arnie’s Bar 60th Annual St. Patrick’s Day Celebration

2nd St and Elgin Ave, 11 a.m. to 2 a.m. | arniesbar.com Arnie’s St. Pat’s party is a Tulsa tradition. The tent in front of the bar will be bumping the day’s most jig-worthy lineup, featuring Larkin, Cairde na Gael, Kilkenny Road, Tulsa Honors Orchestra, Celtic Cheer, and Hell’s Fringe Border Band. Arnie’s will also be the place to find some of your favorite food trucks, including Andolini’s, Dog House, Lone Wolf, Masa, and Mr. Nice Guys.

2016

st. patrick’s day

Punk Patrick’s Day

Vanguard, 8 p.m., $8-$10 | thevanguardtulsa.com Fun fact: St. Patrick was into moshing. Like, really into moshing. Celebrate his legacy with Worse Than Before, Redneck Nosferatu, and Gutter Villain.

St. Pat’s at Baker Street at

Hell's fringe bOrder band

C

C

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Baker Street Pub & Grill | bakerstreetpub.com Baker Street will have the green beer flowing, as well as live music from the Tulsa Metro Pipe Band and Imzadi, and, most crucially, they’ll put Lucky Charms in your Guinness. Really.

Shamrock Pub Crawl

The Brady Arts District, Sat., March 19, starting at 3 p.m.

Keep the party going with games, drink specials, food, and frivolity at Caz’s, Soundpony, Yeti, The Hunt Club, Bar 46, Inner Circle, Classic Cigars, and the Rusty Crane. It could be your last chance to drink green beer until next year. a March 16 – April 5, 2016 // THE TULSA VOICE

IRISH I WAS AT BAKER STREET PUB & GRILL

ST.THURS.PATRICK’S DAY MARCH 17 OPEN AT 11AM GREEN BEER BAGPIPERS LUCKY CHARMS ‘N GUINNESS live music by

IMZADI

BAKER STREET PUB - TULSA

starting at 9pm

6620 S. Memorial Dr. 918.286.2227 bakerstreetpub.com

Not Irish On St. Patrick’s Day?

Enjoy Celebrating Your Own Heritage, Too… Left Hand Milk Stout Nitro

Westmalle Trappistes

Bohemia Amber

Marshall Brewing Revival Red

Spaten Optimator

Sam Smith Nut Brown Ale

At Ranch Acres, you’ll find Guinness has lots of international friends in our store…famed beers brewed in countries around the world.

Come select one representing your native land and join the celebration on March 17th. The Irish will understand and celebrate with you.

THE TULSA VOICE // March 16 – April 5, 2016

For nearly six decades, we have proudly presented Tulsa’s premier selection of wine, beer and spirits.

Thank you.

3324 E 31st St #A • 918-747-1171

Wine Capital of Tulsa for Over 57 Years

FOOD & DRINK // 17

citybites

Hope’s comeback After a bumpy year, Tulsa restaurateur Hope Egan returns with Red Thistle Catering Co. 8 17 E . T H I R D S T. 9 18 . 2 3 1. 4 5 9 2 T U L S A W I N E .C O M

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Women’s Portraits

Sophisticated Elegant

918-810-5402 www.voulezvousboudoir.com 18 // FOOD & DRINK

by MEGAN SHEPHERD

H

ope Egan is a charming interview. Funny and affable, with frizzled red curls, she carries conversation with the effortless wit of a bartender. It makes sense, considering her long, storied past and many posts in the Tulsa restaurant landscape. Her inventive tastes, sharp cocktails, and cunning service know-how have been a beloved fixture in the Tulsa food scene for more than 28 years.

THE NEXT CHAPTER IN TULSA DOWNTOWN LIVING In years past, you might’ve caught her at such Tulsa favorites as Camarelli’s, Lucky’s and Ciao. In 2005, she started cooking professionally and selling her creations at the Cherry Street Farmers Market under the name “Hope’s Table.”

In 2013, she conceptualized and was a founding partner of Tallgrass Prairie Table, downtown’s popular farm-to-table restaurant.

In 2015, after designing and executing Tallgrass’s sister concept, The Bramble, Hope left daily operations of the company.

Now she’s introducing Tulsa to her newest creation, Red Thistle JoAnna Blackstock Catering Co. “I feel like I’ve come full circle back to where I need to be,” she says.

As a boutique catering outfit specializing in from-scratch dishes made from locally and sustainably sourced ingredients, Red Thistle plates what Hope describes as “delicious food, simply prepared and elegantly plated.” Red Thistle is the product of the same slowfood fandom that primed Tallgrass and The Bramble, served in a more intimate setting.

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March 16 – April 5, 2016 // THE TULSA VOICE

Red Thistle’s offerings marry the sophistication of culinary-minded cuisine with the sensibilities of fresh, carefully prepared ingredients. Food from purveyors like Blakely Family Farms, Tria Yang, Middle Mountain Dairy, and Yer Vang Moua’s Farm are made into fanciful creations like farm beet tare tare, grilled pork belly with pickled porter peach, local heirloom salad with mint vinaigrette, and blackberry shortcake with vanilla mascarpone. Most dishes fall somewhere between modern American and Mediterranean, with seasonality driving the menus.

Beginning in April, Hope will post up alongside the other Saturday morning Cherry Street Farmers Market vendors to sell Red Thistle specialties—prepared and packaged seasonal meals, soups and spreads, baked goods, and even a few specialty cocktail mixers.

Perhaps most exciting about Hope’s new endeavor is her Saturday Night Supper Club. Once a month, Hope will cater intimate dinners in the home of a private host or hostess, with seats available to the general public. The BYOB dinners will serve between 15 and 30 mixed guests, with the themes and menus developed according to host and chef ’s whim.

Throughout our interview, the question on my mind—and probably everyone else’s who heard about her departure from Tallgrass last year—wasn’t just, what happened? But, how are you? I followed Hope’s lead during our time together, thinking it uncouth to bring it up, and was surprised when she herself mentioned the unfavorable publicity that rained down on her last year. But Hope describes her 2015 with a reassuring sense of optimism.

“This last year has really been a gift. It’s been a year of transition, of personal growth.”

As she tells it, 2014 brought a personal unraveling. With the mounting stress of work, family, and deteriorating health, it wasn’t long before the bottom fell out; she was booked on a DUI arrest on December 29th, 2014.

She swirls her iced tea around, calmly composes herself, and describes a particularly painful, THE TULSA VOICE // March 16 – April 5, 2016

humiliating, stress-soaked blip in an otherwise full, flourishing life: major screw ups (that became majorly public), the shelving of family life, and the pain of untreated mental illness.

“I didn’t cook my family dinner once in a year,” she recalls. “I fell apart.”

Witnessing her candor is both moving and uncomfortable. As I listen to her talk, I’m struck by a few things: one, the bravery with which she speaks of what transpired over the past year, and two, the humility it takes to share it with a journalist.

In light of what’s happened, I wonder whether or not Hope feels like a victim. But listening to her describe growing edges, and balancing her mistakes with all that’s happened since, she seems more comfortable with the term “advocate.”

“I think there’s a double standard with women in the business,” she explains, recalling the swiftness with which the media took up her story and describing the tendency for women’s mistakes to receive harsher criticism in the public eye than their male counterparts. Hope says she knows plenty of male restaurant owners who’ve made similar mistakes, but who have not-so-narrowly avoided criticism for them. Rather, the mistakes were often swept under the rug, or hmmm’d at without so much as a wayward glance.

Hope remains optimistic about what’s ahead, and says that one day, she might like to use her story to help advocate for women dealing with mental illness.

“I’ve been learning how to take care of myself, how to make my family a priority. I’ve been able to cook everyday. It’s been very liberating. Self-care, transformation, work… last year was about finding out how I could do all three and achieve some balance.”

And Red Thistle, it seems, is the center of that balance.

“I’m really excited to feed people again.” a

Tobacco is still a problem in Oklahoma.

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For information on how to book Red Thistle for a supper club, party, or event, visit www.redthistlecateringtulsa.com.

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FOOD & DRINK // 19

downthehatch

Balvenie Doublewood in a Glencairn glass | GREG BOLLINGER

Slàinte and the water of life Tasting whisky with Balvenie’s Andrew Weir

by LIZ BLOOD

F

orty of us sat at tables at MixCo Bar for a William Grant Scotch whisky tasting, listening to Balvenie brand ambassador Andrew Weir explain in a thick Scottish accent that the traditional Gaelic “Uisge Beatha” (“oosh-ka-bay”) means “water of life.”

“Whisky is a journey,” he said as we sipped Glenfiddich Bourbon Barrel Reserve 14 Year Old. “It’s about conversation. Water divides the people of the world, whisky brings them together.”

Heads around the room nodded in agreement. A few people raised their glasses.

“Make it yours,” he said, encouraging us to notice what we notice. “I could tell you that you’re tasting notes of mustard and you’ll start believing it. But I don’t want to tell you what to taste.”

In his hour-and-a-half presentation, Weir moved us through five whiskies. Early on, he reminded us of the simplicity of the spirit.

“We make whisky by distilling beer the same way brandy is made from distilling wine.”

Calling scotch distilled beer certainly diminishes its intimidation factor. Common misconceptions

20 // FOOD & DRINK

include that one will taste BandAids, oil, saltwater-crusted nautical rope, and other grimy, loamy, dug-out basement flavors. And you might—if you buy the plastic bottle rotgut or an intentionally peaty product—but not in these.

The Glenfiddich Bourbon Barrel Reserve 14 Year Old has been aged entirely in bourbon barrels from the U.S. Its distinguishing feature is that it is finished in a new, virgin oak American cask that hasn’t previously held anything.

“This is a nod to your bourbon.

That’s why it has such a sweetness.”

Weir encouraged us to add water to our whiskies. I was glad to hear it. More than once, I’ve added water to a great whisky only to be shamed by someone in the room who tells me I’m ruining an expensive drink.

To you sir, I say, take this: “There is a layer of ethanol that the water breaks through,” Weir explained. “Alcohol is a barrier to flavor. All of those honey and apple and mustard notes? You can’t get to them because alcohol is in the way.”

Next we moved on to the old friend of the single malt drinker: the Balvenie Doublewood 12 Year

Old. This whisky is the reason I showed up to the tasting in the first place.

The Doublewood gets its name from a process called “re-racking,” which means it’s aged in bourbon barrels first, then finished, or re-racked, in sherry casks for nine months.

This was the first-ever whisky in the world to be finished in barrels in which it did not begin.

Next was the Balvenie 15 Year Old Single Barrel Sherry Cask, which Weir calls the “Yo-Yo Ma of whisky.” It was exceptional.

And, at 47.8 percent alcohol, pretty damn strong. Flavor notes include rich, spicy chocolate, toffee, cloves, cinnamon, and tobacco leaf. “This is truly handcrafted,” he said. “Not like your Starbucks latte this morning was handcrafted.”

Lastly, we tried the Balvenie Portwood 21 Year Old. This isn’t a bottle I can afford, which is why it’s nice MixCo offers these kinds of tastings every two to three months. Described as the Balvenie malt master’s “Sistine Chapel,” the Portwood had an extraordinarily long finish.

To further illustrate the important relationship between water

and whisky, we held the traditional Glencairn glass on the palm of one hand and placed the palm of the other hand on top, then shook it. This caused the palm of the hand on top to become wet with a ring of whisky.

We then rubbed our hands together until they were sticky, meaning the alcohol was gone.

Weir instructed us to cup our hands over our noses and mouths and smell with our mouths open because most taste is informed by smell. I inhaled chocolate-covered raisins—no joke—whereas before I’d only noticed straight nosehair-burning, chest-hair-growing scotch.

The fifth whisky was the Balvenie Tun 1401, Batch 9, which cannot be sold in Oklahoma and so was given to us as a surprise and for free. A guy at my table Googled it on his phone and found it for sale at $650 a bottle.

On another sight he saw it for $1500. In a bar, one dram would cost $50-60. The ticket to the event was $40.

I can’t promise you’ll get unobtainable badass whisky at every tasting, but you will get more than your money’s worth. a March 16 – April 5, 2016 // THE TULSA VOICE

READ IT Online, anytime, anywhere!

PLU S ING? I P12 PROGR ESSIV E POLIC EES I P23 BEST OF TULSA NOMIN P28 TULSA FLUSH ED I

PLUS

R. 1, 2016 FEB. 17 - MA

REQUIEM FOR NEAR BEER | P10 ST. PATRICK’S DAY GUIDE | P16 AXE MAN OF ADMIRAL | P36

. 5 // V O L . 3 N O

MAR. 2 - 15, 2016

// V O L . 3 N O . 6

MAR. 16 - APRIL 5, 2016 // V O L .

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YOU R GUID E TO OKL AHO MA’ S WEI RDE ST, RIS KIE ST, ROW DIES T FILM & MUS IC FES TIV AL F E AT U R I N G

The curi ous CRIS PIN HELL mind of ION GLOV ER The infamo us Sherma n Oaks

BANDS V I RT U A L , D J S , REALITY P23

l F ind ing the bul

Inside Tulsa’s (sort

e

of ) secret loung

by Mark Brown

TRANSITIONING IN TULSA Bob Dyl an’s

legacy

finds a home in Tulsa | P10

Just visit TheTulsaVoice.com for a complete digital edition of The Tulsa Voice including back issues.

Deco District DecoDistrictTulsa.com

514 S. Boston Ave. 918-582-1403 www.elotetulsa.com

Breakfast: 7-9:30am M-F Lunch: 11am-2pm M-F Brunch: 9am-2pm Sat & Sun

We ! 415 S. Boston Ave. 918-583-3111 er Deliv NewAtlasgrill.com

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THE TULSA VOICE // March 16 – April 5, 2016

T

620 S. Cincinnati Ave. 918-948-6761 www.vaulttulsa.com

FOOD & DRINK // 21

SHOWCASE FEATURING

ESTER DRANG + SPORTS + OILHOUSE + LABRYS FASSLER HALL * SAT, APRIL 2, 2016 * 9 PM * $10 AT THE DOOR t h etul s avo i c e.c o m | @t het ul s avo i c e 22 // FEATURED

March 16 – April 5, 2016 // THE TULSA VOICE

Everything is Fine!

TULSA OVERGROUND FILM & MUSIC FESTIVAL RETURNS, BIGGER THAN EVER // BY JOE O’SHANSKY FILM AND BAND PHOTOS COURTESY OF TULSA OVERGROUND

ON MARCH 24-27, THE TULSA OVERGROUND FILM & MUSIC FESTIVAL returns for a rousing four nights of movies, music, DJs, food trucks, and experimental oddities. In the past, Overground was a scrappy, DIY affair featuring a subversive all-genres “punk rock mix-tape” of short films along with a rowdy roster of local bands. This year, after taking 2015 off, the festival has been greatly expanded by its founders, filmmakers Todd Lincoln (“The Apparition”) and Jeremy Lamberton (“Biker Fox”), with portions of the event taking place at Fly Loft, Circle Cinema, The Vanguard, and Soundpony.

The festival will for the first time show feature-length films, including Sterlin Harjo’s acclaimed “Mekko,” true crime docudrama “Booger Red,” and body horror film “Antibirth” (a midnight favorite of January’s Sundance Film Festival).

100+ short films spanning the genre spectrum (animation, documentary, narrative, experimental) will play over the long weekend. Thirty bands will perform between Soundpony and The Vanguard, including headliners BRONCHO, Johnny Polygon and Sports. A Virtual Reality room will offer festivalgoers the chance to experience the latest in VR technology, while a video art gallery entitled “Mirror Phase” will survey video art as a medium from the 70s to the present. The festival will also pay tribute to Tulsa’s classic public access comedy show, “Mazeppa,” with special guest Jim Millaway, aka Sherman Oaks (see Day Drinking on page 30).

But the biggest jewel of this year’s Overground is the two-night exhibition of legendary actor, writer, director and human curiosity Crispin Hellion Glover’s “Big Slide Show” in tandem with showings of his transgressive outsider-art films, “What is it?” and “It is fine! EVERYTHING IS FINE.” Glover has toured with these films for years, and carries the only 35mm prints in existence with him. Tulsans won’t have an opportunity to see these anywhere else, unless they follow him around like The Grateful Dead (which is less unusual than you would think).

Glover will present the slide shows and films in reverse chronology, with the second installments on Thursday, March 24, and the first installments on Friday, March 25. Again, less weird than you’d think. If you’re curious about the counterintuitive scheduling, you can ask Glover about it at each night’s post-film Q&A. For now, turn the page and dive into our guide to all things Overground, including a very offbeat interview with Mr. Glover (page 24).

FOR EVENT LISTINGS AND TICKETS VISIT WWW.TULSAOVERGROUND.COM 23

Crispin Hellion Glover

The curious mind of

The ecCentric iconoclast discusSes his film careEr, his art, and his upcoming Tulsa visit

By Joe O’Shansky

CRISPIN HELLION GLOVER IS A FILM STAR, DIRECTOR, author, and musician. He’s George McFly in “Back to the Future.” Or he’s Layne, the over-protective best friend of a murderer in “The River’s Edge.” He’s Olivia Neutron Bomb, a re-creation of a twice fallen snowflake called Groovin’ Gary, in the cult oddity, “The Beaver Trilogy.” He’s a rat catcher and the Knave of Hearts. His body of work defines the trajectory of a subversive career.

Now, Glover comes to Tulsa Overground with his ongoing directorial passion project, the the first two films of a three-part trilogy, “What is it?” and “It is fine! EVERYTHING IS FINE.” in tandem with the live performance of his multimedia, one-man exhibition, “Crispin Hellion Glover’s Big Slide Show.”

This discussion, conducted through email, has been edited for length and clarity. You can read the uncut interview (which pushes nearly 9,000 words— Glover was generous and loquacious) online at thetulsavoice.com.

THE TULSA VOICE: Having never seen “What is it?” or “It is fine! EVERYTHING IS FINE.,” I have to ask what “it” is.

Kelly Swideiski and John Insinna in “What is it?”

Crispin Hellion Glover in “What is it?”

24

CRISPIN HELLION GLOVER: “What is it?” started production as a short film in 1996. It took 9.5 years from the first day of shooting on the short film to having a 35mm print of the feature film. I wrote it as a short film originally to promote the viability of having a majority of the characters that do not necessarily have Down syndrome to be played by actors with Down syndrome.

I am very careful to make it quite clear that “What is it?” is not a film about Down syndrome, but my psychological reaction to the corporate restraints that have happened in the last 30 or more years in filmmaking. Specifically, anything that can possibly make an audience uncomfortable is necessarily excised or the film will not be corporately funded or distributed. This is damaging to the culture because it is the very moment when an audience member sits back in their chair, looks up at the screen and thinks, “Is this right, what I am watching? Is this wrong, what I am watching? Should I be here? Should the filmmaker have made this? What is it?”—and that is the title of the film. What is it that is taboo in the culture? What does it mean that taboo has been ubiquitously excised in this culture’s media? What does it mean to the culture when it does not properly process taboo in its media? It is a bad thing when questions are not being asked because these kinds of questions are when people are having a truly educational experience. So “What is it?” is a direct reaction to the content of this culture’s media. I would like people to think for themselves.

Steven C. Stewart wrote and is the main actor in part two of the trilogy, “It is fine! EVERYTHING IS FINE.” I put Steve in to the cast of “What is it?” because he had written this screenplay, which I read in 1987. When I turned “What is it?” from a short film into a feature, I realized there were certain the-

matic elements in the film that related to what Steven Stewart’s screenplay dealt with. Steve had been locked in a nursing home for about ten years when his mother died. He had been born with a severe case of cerebral palsy and his speech was very difficult to understand. People that were caring for him in the nursing home would derisively call him an “M.R.,” short for “Mental Retard.” This is not a nice thing to say to anyone, but Steve was of normal intelligence.

When he did get out, he wrote his screenplay. Although it is written in the genre of a U.S. 1970s TV murder mystery/movie of the week/detective thriller, truths of his own existence came through. Because of the dynamic of the genre style he had written it in, truths came through much more clearly than if he had written it as a standard autobiography. It was also very important to Steve that he was playing the bad guy. He wrote about this issue and he wanted it to be understood that a person with a disability, emphasis on person, can have dark thoughts.

About a month after we finished shooting, I got a telephone call one morning that Steve was in the hospital with a collapsed lung again. He was basically asking permission to take himself off life support and he wanted to know if we had enough footage to finish the film. I know that if I had said “No Steve. We do not have enough footage. You need to get better and we have to finish the film,” he would have gotten whatever operation needed to get better and been happy to come back to the set and shoot. As it was, we did have enough footage. It was a sad day and a heavy responsibility to let him know that we would be able to complete the film.

In retrospect, Steven C. Stewart was a great communicator. Steve has had great positive influence on my life and as much as I did like and enjoy Steve when he was alive, I realize now even more how important he was to me. It may sound sappy, but if Steve were here today I would be very happy to tell him how much he ultimately positively has affected my life.

TTV: You’ve been touring with these films for a while. Do homegrown fests like Tulsa Overground get you excited? Do they feed your motivation to make these films?

CHG: Yes, film festivals like Tulsa Overground are very important in getting more thoughtful fare out to audiences that are looking for it, and to be able to interact with people at the festival is important as well.

TTV: Are the films and the accompanying “Big Slide Show” meant to be seen together as a symbiotic performance, or can they be taken on their own?

CHG: The live aspects of the shows are not to be underestimated. This is a large part of how I bring audiences in to the theater and a majority of how I recoup is by what is charged for the live show and what I make from selling the books after the shows.

People sometimes get confused as to what “Crispin Hellion Glover’s Big Slide Show (Parts 1&2)”

Crispin Hellion Glover is, so now I always let it be known that it is a one hour dramatic narration of eight different profusely illustrated books that I have made over the years. The illustrations from the books are projected behind me as I perform the show.

When I first started publishing the books in 1988 people said I should have book readings. But the books are so heavily illustrated and the way the illustrations are used within the books, they help to tell the story, so the only way for the books to make sense was to have visual representations of the images. This is why I knew a slide show was necessary. It took a while but in 1993 I started performing what I now call “Crispin Hellion Glover’s Big Slide Show Part 1.” The content of that show has not changed since I first started performing it. But the performance of the show has become more dramatic as opposed to more of a reading. The books do not change, but the performance of the show, of course, varies slightly from show to show based on the audience’s energy and my energy.

I consider what I am doing to be following in the steps of vaudeville performers. Vaudeville was the main form of entertainment for most of the history of the U.S. It has only relatively recently stopped being the main source of entertainment, but that does not mean this live element mixed with other media is no longer viable. In fact, it is apparent that it is sorely missed.

TTV: You have the only 35mm prints of “What is it?” and “It’s fine! EVERYTHING IS FINE.”—having destroyed all of the digital copies. What motivated you to do that?

CHG: There were no digital copies destroyed. There was a digital intermediate between the 16mm negative that those two films were shot on and then the final medium for presentation are 35mm prints. The 35mm projection systems are the superior projection for these films. My next feature film production was shot on 35mm negative.

TTV: Speaking of celluloid film, are you a purist for 35mm as a filmmaker? Or do you embrace digital?

CHG: There is value in digital technology. There is an aesthetically superior element in 35mm film, but again there is value to digital technology.

TTV: Many of your performances in the ‘80s—in some very successful films—defined your image for a generation (myself included—my favorite was always Layne in “River’s Edge”). How do you feel about those early years? And do you have one role in particular that you look back on fondly? And what kinds of roles get you excited now?

CHG: Some of the performances I like of myself are: Layne in “River’s Edge” Larry Huff in “The Orkly Kid” Dr. Abuse in “Influence” Danny in “Teachers” George McFly in “Back to the Future”

Andy Warhol in “The Doors” The Thin Man in “Charlie’s Angels” Willard in “Willard” Bartleby in “Bartleby” Grendel in “Beowulf” Cousin Dell in “Wild at Heart” Dueling Demi-God Auteur in “What is it?”

TTV: How method did you get as Jingle Dell in “Wild at Heart”? I always wondered.

CHG: Imagination and working with David Lynch was the way of making the character work for “Wild at Heart.”

People often ask about, and throw around the term “method” acting. That term was coined by an acting teacher Lee Strasberg who derived it from the great Stanislavsky who did not use that term. I did learn classical Russian psychological techniques which delve in to the psyche of the character and therefore the actor.

This is still what I prefer to do. The concept of “being the character” or “staying in character” can ultimately be the best way to have a good performance, but the most important thing is to have proper concentration.

If “staying in character” would detract from the concentration it would be best for me to keep the concentration of the psychology in whatever way is best.

If the production is about staying in character and the director wants that from the performers, then there may be nothing better. But if the actor would have to enforce this concept it could be distracting because the actor might be thinking “Oh this person hates me and thinks I am a jerk because I am acting meanly.” Some actors may not have a difficulty with that but I personally do not want to have that possible distraction.

TTV: “What is it?” and “It is fine! EVERYTHING IS FINE.” are the first two parts of a trilogy? How’s the third film coming along?

CHG: I should not go in to too much detail for part three of the “It” trilogy, “IT IS MINE.,” as it will not be the film I shoot next.

The Czech Republic is where I own a chateau built in the 1600s. I have converted its former horse stables in to film shooting stages. Czech is another culture and another language and I need to build up to complex productions like “What is it?” and the existing sequel “It is fine! EVERYTHING IS FINE.” “IT IS MINE.” is an even more complex project than the previous two films put together, so it will be a while yet for that production. I will step outside of the trilogy for a number of films that deal with different thematic elements from the “IT” trilogy.

Bruce Glover in “It is fine! EVERYTHING IS FINE.”

Anna Stave and Steven C. Stewart in “It is fine! EVERYTHING IS FINE.” April Hoghind in “It is fine! EVERYTHING IS FINE.”

TTV: Anything you want Tulsa to know in advance of your visit?

CHG: More information can be seen on CrispinGlover. com. I’m looking forward to seeing everyone at the shows. a 25

Mirror phase

A survey of video art over the last 50 years

BY CLAIRE EDWARDS

Booger Red

Mekko

Antibirth

Unlike conventional filmmaking, video art is often experimental, and produced without concern for commercial viability. “Mirror Phase,” showing at Fly Loft March 25-27 as part of Tulsa Overground, is a survey of video art from the 1970s to present day.

While the survey isn’t a comprehensive history of the medium, all the pieces in the exhibition are united under the themes of portraiture and self-portraiture.

“Mirror phase is a psychoanalytical term that posits children around 6 months of age experience apperception, or the experience of seeing yourself as an object outside of yourself for the first time,” said Ben Dowell, the exhibition’s curator.

“Most of the works in the screening contain diarist and/or psychologically self-reflexive qualities, although, the artists’ approaches to these ideas differ.”

For the uninitiated, the differences between narrative film and video art can be tough to pin down. (Think the difference between the performing arts and performance art.) “Some contemporary video art utilizes tropes from both narrative and documentary filmmaking, but the result is usually not the sum total of its parts,” Dowell explained.

“The result is more or less total control of the project by the artists. I believe this structure of production allows video art to explore more experimental areas.”

For “Mirror Phase,” Dowell sought video work that contains one or more of these qualities: “a formal reflexivity of the medium, a deeply psychological or personal framing of the subject, an attention to durational properties, appropriation, or any number of unconventional approaches.”

Aesthetically, Dowell said the exhibition runs the gamut, ranging from a DIY aesthetic to the experimental use of various contemporary video production technologies.

“I’m excited to show all of the artists, especially in Tulsa where access to this type of work could be difficult.”

MIRROR PHASE | FLY LOFT, 117 N. BOSTON AVE. FRI., MARCH 25, 6 P.M. TO 9:15 P.M. | SAT., MARCH 26, 4:45 P.M. TO 11:30 P.M. | SUN., MARCH 27, 4:45 P.M. TO 11:30 P.M. 26

A preview of Overground’s feature film showcase

by Joe O’Shansky

MEKKO

An ex-prisoner on a quest takes up with Tulsa’s homeless population Friday, March 25, 9:30 p.m.

Fly Loft, 117 N. Boston Ave.

A late but welcome entry to the feature selection at Overground is writer/director Sterlin Harjo’s latest film (and, for my money, his best), “Mekko.”

Venerable actor and former stuntman Rod Rondeaux portrays the stoic Mekko.

Paroled after a 19-year stint in prison, Mekko returns to his hometown only to find it effectively abandoned, the water poisoned by the local lead mine. Without any stakes to pick up, he heads to Tulsa to find his sister.

Instead he falls in with the local homeless community and crosses paths with a psychopathic transient (Zahn McClarnon, most recently seen in “Fargo” season two) who might be a demon incarnate.

Harjo establishes a great vérité immediacy and paints a tangible atmosphere. It’s a character study of a man’s life, and a thriller about how he puts it to good use for those around him. The idea of family has always penetrated Harjo’s work. But, in “Mekko,” he makes the argument that we are all our brothers’ (and sisters’) keepers.

ANTIBIRTH

Robert Schultz in “The Superlative Light”

The stoned adventures of two couch-bound female anti-heroes Saturday, March 26, 9:30 p.m.

Fly Loft, 117 N. Boston Ave.

Sporting a great cast including Natasha Lyonne, Chloë Sevigny, Meg Tilly, and Mark Webber, “Antibirth” follows the stoned adventures of two couch-bound best friends who live in a small-town hell largely populated by addicted ex-Marines.

When Lou (Lyonne) begins suffering from drug-fueled delusions, the gears of her fracturing sanity start to make her believe she’s possessed by a malevolent, supernatural force.

“Antibirth” makes its Tulsa debut at Overground on Saturday, March 26. The positive buzz from its recent midnight Sundance premiere and the experimental pedigree of writer/director Danny Perez make this one of the festival’s more enticing prospects.

Perez started out in music videos and video art, and toured as a projectionist for neo-psychedelic musician Panda Bear. With “Antibirth,” Perez has assembled a strong female cast, and seems intent on imbuing the film with an equilateral emphasis on his characters, and an innovative cinematic experimentalism that hews close to his art film roots.

“I knew I wanted to write something for kind of an anti-hero and subvert female traditional archetypes,” Perez told Deadline. “And I knew I wanted to play around with dualities and create these zones that but up against each other. It’s a little schizophrenic.”

Perez will attend the Overground screening and participate in a Q&A after.

BOOGER RED

Authenticity of documentary meets immediacy of narrative Sunday, March 27, 9:30 p.m.

Fly Loft, 117 N. Boston Ave.

2015 indie docudrama “Booger Red” tells the true story of how seven people from small-town Mineola, Texas, were wrongly convicted of child sex trafficking.

In 2004, Mineola’s local paper, the Mineola Monitor, published a story about The Retreat, a reputed swingers club that had gone previously unnoticed in the God-fearing, old fashioned community. The story sparked a backlash that shut down the club. Several months later, two foster parents, Margie and John Cantrell, went to the police with horrific stories of molestation and sexual abuse at the seedy and infamous establishment, told to them by their new foster children.

Two competing investigations, eventually falling under the microscope of the national media, saw different conclusions in the circumstantial evidence. Despite that, the accused were convicted with record speed, including the titular Booger Red, who earned a life sentence.

The film’s story—originally reported by long-time Texas Monthly journalist, Michael Hall—inspired filmmaker Berndt Mader (“Winnebago Man”) to make a movie with the authenticity of a documentary (using real people from the events) combined with the immediacy of a narrative feature.

With a look towards Iranian auteur Abbas Kairostami’s 1990 film, “Close Up,” Mader says of his film, “[“Close Up”] takes real litigants in a trial situation and has them re-enact the crime…[I thought] that technique of blending fiction and reality might be interesting to do within the Texas justice system.”

Starring Onur Tukel (“Summer of Blood”), Deborah Abbott (“The Leftovers”), and Alex Karpovsky (Ray from “Girls”), the film looks to be a not-nearly-as-lighthearted version of Richard Linklater’s “Bernie,” another small-town true crime story based on a Texas Monthly article.

FOR TICKET INFORMATION AND A FULL SCHEDULE OF FILMS, MUSIC, AND EVENTS, VISIT WWW.TULSAOVERGROUND.COM.

In his shoes

Robert Shults, Ben Steinbauer and ‘The Superlative Light’

BY CLAIRE EDWARDS In a landmark world premiere, Tulsa Overground will present Ben Steinbauer’s “The Superlative Light,” a deconstructed documentary in four parts.

Steinbauer is an Edmond native and director of “Winnebago Man,” the cult documentary about a profane recluse who became an Internet star against his will.

Steinbauer found his latest muse in Robert Shults, a photographer whose most recent project is photographing a laser in the basement of the physics department of the University of Texas Austin, which has been described as “the brightest light in the universe.”

Intrigued by Shults’s work, Steinbauer did some digging to learn more abut the photographer. “[I learned Shults] had been homeless when he moved to Austin,” Steinbauer said. “His first series of photos were artfully rendered, subjective photos of what it felt like to sleep outside. I thought, I gotta meet this guy.”

Steinbauer had the idea of shooting a documentary on Shults in virtual reality.

“Once I started to wrap my head around what those scenes were, such as sleeping under a bridge or being in the basement of the physics department of UT with the brightest light in the universe, I thought this was the perfect way to showcase virtual reality, by filming in these extreme locations that people don’t have experiences with.”

While it may sound like a gimmick, Steinbauer’s reasoning for the format is rooted in compassion. The VR aesthetic offers a bridge from viewer to subject; while a lot of photography of the homeless or of those living in indigent circumstances can seem exploitive and alienating, virtual reality inspires empathy by “plopping the viewer down into locations that you can view from 360 degrees,” he said. “The experience becomes about being in someone else’s shoes.”

After learning the film would be shot in VR as well as traditional 2D, Shults decided he also wanted to shoot the entire production on his still camera. As a result, Steinbauer decided he also needed to be shooting a behind-the-scenes video documenting the making of the 2D film, the VR production, and Shults photographing the production.

“We very quickly had four different perspectives on what would normally be this one short film,” Steinbauer said.

The end result is a deconstruction of the nature of documentary, which will be presented in four parts: • a traditional 2D documentary film • a full-immersion virtual reality presentation that allows the viewer to experience the film in 360 degrees • an exhibition of Robert Shults’s photography • a behind-the-scenes video of the production The Tulsa Overground premiere of “The Superlative Light” marks the first time all four parts of the documentary will be presented together.

“I thought being able to see it through four different perspectives would ultimately make him a more relatable and likable character,” Steinbauer said. “I’m a huge fan of Tulsa Overground, and I love that they’re taking chances on films like mine.”

“THE SUPERLATIVE LIGHT” W/ BEN STEINBAUER FLY LOFT, 117 N. BOSTON AVE. | SAT., MARCH 26, 8:15 P.M. 27

THE PARTY’S IN YOUR EARS A genre cheat sheet for Overground’s music line-up

Johnny Polygon

Helen Kelter Skelter Broncho

BY MITCH GILLIAM THURSDAY MARCH 24TH @ VANGUARD 222 N MAIN ST DOORS OPEN: 6PM • SHOW: 7PM - 2AM SPORTS Jacuzzi rockers summoning chill vibes and playing what the 80s thought the future may sound like.

THE BOURGEOIS 90’s indebted indie rockers, who pay more attention to the “rock” than “indie” part of the genre tag.

SUN VOW Doom gaze and dirge worship. Very pretty, slow and heavy post hardcore.

THE RIOT WAVES Ripping, young skate punks. Superfast and catchy songs set apart by bassist C.J. “fingers” Fennel’s quick hands. He doesn’t like it when people call him “fingers...”

The Daddyos Noun Verb Adjective

THE LUKEWARM Spacey, baritone-voiced, indie-psych youngsters. Sounds like burning your bangs while lighting a bong and then having to look your parents in the eye when they get home.

Nuns

FRIDAY MARCH 25TH @ VANGUARD 222 N MAIN ST DOORS OPEN: 7PM • SHOW: 8PM - 2AM JOHNNY POLYGON Rapping road warrior Johnny Polygon spends three quarters of every year taking his reflective hip-hop and soul to the highways. Half-rapped/ half-sung tracks float between head-nodding bangers and lovelorn ballads.

NUNS Maximalist approach to Beatles-y psych-pop. Sounds like love, loss, and things too bright to be viewed head on.

Who & The Fucks

VERSE & THE VAPORS A lineup of some of Tulsa’s key soul players supports a suit-and-tie-wearing man rapping about pizza & cookies. Mighty musicianship, deadly rhymes.

KLONDIKE5 A crazy-eyed bluegrass collective picking and grinning their way through the classics.

THE CAPITAL WHY’S Youthful and energetic, this indie pop/rock crew takes its cues from Top 40 bombast.

28

The Lukewarm

The Riot Waves

Reigns

Zig Zags

Holy Void

Dead Shakes The Bourgeois

FRIDAY MARCH 25TH @ SOUNDPONY 409 N MAIN ST DOORS OPEN: 7PM • SHOW: 8PM - 2AM • 21+

SATURDAY MARCH 26TH @ SOUNDPONY 409 N MAIN ST DOORS OPEN: 7PM • SHOW: 8PM - 2AM • 21+

CHAINMAIL Defenders of the faith, playing harder than diamonds. True heavy metal.

WHO & THE FUCKS Heavy, catchy, stoned-out-their minds “dumpster surf.”

LA PANTHER HAPPENS Longtime Tulsa nu-wop favorites invoking 60’s girl-

SWAP MEAT Weirdo punk rockers making weirdo punk jams. Surf leads marry

group glamour and the ghost of Lux Interior.

well with pro-wrestler vocals, and the whole thing’s usually over in ten minutes.

COSMOSTANZA Loose pop rockers from our state’s capital. Shades of No Age, Jeff The Brotherhood, and trading in your anime stash for rent money.

GRASS CRACK Dirty punk rock freaks playing actual bluegrass, not crusty folk.

QUEENAGER Churning riffs and scalding lyrics running the gamut from animal

REIGNS Motorheady space rockers, ramping their Harleys right into your Pink Floyd record stash.

rights to suicide by self-interment. They call it “powerslop.” I call it, uh…yeah, “powerslop” works.

SATURDAY MARCH 26TH @ VANGUARD 222 N MAIN ST DOORS OPEN: 7PM • SHOW: 8PM - 2AM BRONCHO Tulsa’s most visible punk/pop/shoegaze/whatever-you-wanna-callit-but-don’t-forget-it’s-rock-n-roll group. Tearing up the nation’s festival circuit while sound-tracking HBO series and Tinder commercials.

SUNDAY MARCH 27TH @ SOUNDPONY 409 N MAIN ST DOORS OPEN: 6PM • SHOW: 7PM - 2AM • 21+ HELEN KELTER SKELTER Norman-based psych-rockers who do a bit of everything, but always make sure to turn on, tune in, and drop out along the way.

du jour. Think the Spits smoking out of a Natty Light can on Cliff Burton’s grave.

NOUN VERB ADJECTIVE Pulling a page from John Waters’ playbook, Noun Verb Adjective is certainly the oddest band in Tulsa’s garage rock scene. Look beyond the muumuus, ill-applied rouge, blood and fireworks, and dig into the group’s blown out indie-freak stylings.

MIKE DEE W/ STONE TRIO Mike Dee is known as the “shy one,” the “nice one,”

HOLY VOID Circle pit approved, D-Beat hardcore in old, cold corpsepaint. For

ZIG ZAGS Killer slime punx from L.A tearing through several decades of heaviness

the “quiet one” of the Oilhouse rap crew. Also, the “rap so fast it’ll catch your hair on fire” one. Performing here with Stone Trio, three of Tulsa’s funkiest/blues-iest/ jazziest virtuosos. Yell “Rage!” ‘til Mike yells “I won’t do what you tell me!”

DEAD SHAKES Garage rock with an emphasis on the “rock.” Dead Shakes keep their sights on hot licks and whatever tequila’s in your well.

TURTLE CREEK CLOGGERS When I first saw this group’s name, I thought this must be Tulsa’s newest bluegrass act. Turns out, they’re actual cloggers—as in, people who wear clogs and use them accordingly.

Fans Of: upping the punx and burning churches.

THE DADDYO’S Nap rock. Garage nod. Sleepy time party pop. This trio injects their lugubrious brand of sugar with ultra catchy melodies.

SKELETON FARM One of the weirder acts in the Tulsa “weirdo-rock” pantheon.

Hints of shoe-gaze, post hardcore, and the weedly-deedly that defined the good grief out of the early 2000s.

LIZARD POLICE I play in this band. Sounds like: nepotism, and wishing you weren’t the music columnist.

29

Jim Millaway and Beau Adams at Hodges Bend | GREG BOLLINGER

SHERMAN OAKS IN THE FLESH Jim MilLaway on Tulsa’s cult clasSic, “MazepPa” // By Beau Adams “MAZEPPA” HIT LOCAL AIRWAVES IN 1970. Tulsans Gailard Sartain and Jim Millaway created and starred in the irreverent, off-kilter, homegrown sketch-comedy show, with Sartain performing a revolving cast of characters, including Dr. Mazeppa Pompazoidi, and Millaway playing the straight man, Sherman Oaks. In 1971, Gary Busey joined the production.

The show ran until 1973, after which Sartain joined the cast of the “Hee Haw” TV show, Millaway went on to work for Roy Clark Productions and Busey headed for Hollywood.

The upcoming Tulsa Overground Film Festival will host a special event paying tribute to Millaway and the legacy of Tulsa’s public access cult classic.

30

The Tulsa Voice: I’m familiar with the LA suburb, but can you give me the origin story behind “Sherman Oaks?”

Jim Millaway: When I was growing up and reading comic books, in the back they had ads where you could send off for things, you know? You could send off for X-ray specs, different collectibles, near pornography, whatever. Well, the address was always Sherman Oaks, California. It was probably just one Novelty Company’s warehouse site, but it seemed like a magical kind of place to me.

TTV: Give me a preview of what people can expect to see from you at the Tulsa Overground Festival.

JM: I have two student films that were done in 1970 and 1971 at The University of Tulsa, so this would be pre-Maz-

eppa. And then there will be some Mazeppa-related clips, some commercials we made for actual businesses at the time, but I can promise you that they don’t look anything like actual commercials that anyone would make these days. It wouldn’t be believable that anyone would even pay anyone to do these things.

TTV: Are those two films unreleased?

JM: Well, yes. They have been seen because they were released at the school film festival, but nobody’s seen them since then.

clueless people who think that they’re doing a really good job. Around here, that never really goes out of style.

TTV: How did you guys get on TV? JM: A bunch of people we knew worked at Channel 6 and they had a promotional program called “Dialing for Dollars.” They would ask a question and you could call in with the answer and win some money. Well, Gailard Sartain, who was working as a cameraman, started doing some comedy bits. They liked it and said that he could do more around some horror movies that they were going to run late at night.

TTV: When I watch the old Mazeppa shows, I still see the humor in them.

TTV: And Gailard was one of your friends?

JM: Part of the reason they hold up is because it’s kind of a regional take on

JM: Oh yeah. Back in the day, there weren’t a lot of places to hang out. So

Co-founder Jeremy Lamberton

we used to go down and hang out at Channel 6 just for something to do. Back then, everything was done in the studio.

They had cameramen and directors that they paid to be there the whole time. So, there were certain blocks of time when they weren’t dong anything. If there was nothing to shoot, everyone was just standing around and it cost the station money. In that respect, Mazeppa didn’t cost the station a penny. We did it at times when nothing else was happening.

TTV: Did you get to do whatever material you wanted?

TTV: You stayed in the business after Mazeppa, right?

JM: I did. I worked for Roy Clark Productions and we did some specials— we did a show with Hank Thompson for about three seasons—and then I went out to LA and worked for a year, then came back here and was a rockin’ DJ on the morning drive for KMOD where I worked with Jeanne Tripplehorn when she was just a kid— I think she was 18. Then, Jeanne and I did another late night show on the local Fox station for about three years.

JM: Oh yeah, they never checked us. It was kind of like we weren’t even there.

Television used to go off the air at midnight, and we were on after midnight.

“Decent thinking people” didn’t stay up past ten ‘o clock. So, if you were up past midnight watching TV—what a thrill, it was illicit.

TTV: Gary Busey. Always kind of touched in the head?

TTV: Did you want to be on TV? Had that ever occurred to you before the offer came up?

TTV: When you were doing Mazeppa, were you “Tulsa Famous?”

JM: Did you want to write for the newspaper? Of course! God, yes! Everybody wanted to be on TV. That hasn’t changed, by the way. Never underestimate the desire of people to be on television.

JM: There’s no offstage for Gary. From the time he wakes up in the morning until the time he goes to sleep at night, he’s “on.” He wears down after about 18 hours, but he’s always “on.”

JM: No. No. It wasn’t until years later that people would come up to me and tell me that they were fans of the show.

We didn’t think anyone was watching.

TTV: No girls were extra-interested in you guys because you were on TV?

TTV: Back in the day there were only three channels, so I imagine it was a big deal to be on TV.

JM: None. No, it was all guys, and they were like comic book guys. I don’t think any girls watched it ever - at all.

JM: Oh yeah, it was. Also, you have to remember that this was pre-SNL, so even though we didn’t consider ourselves young, although we were in our twenties, young people were not on TV that much back then.

TTV: You’re likely going to expose a good deal of young people to your work at the Overground Festival. I think that’s important.

TTV: Did you have an in-studio audience? I remember seeing shots of one.

JM: Kind of. Kids would come in; our friends might come in to watch. One time I remember a Latin Club from Muskogee showed up. There was this broke-dick country show called the Horn Bros. that was on in the morning and there were clips of their audience.

We stole those and made it look like they were there to see our show.

JM: With young people, I would say, look, you only need a handful of people to get something done—to actually create something. And you can create something where there was nothing, but it only takes—let me put it this way: if you had six people working on something you could get just about anything done, whether that’s in Silicon Valley or here at a little comedy club. You’ve just got to find six people with talent and the desire to see something through and, by God, it’s going to happen. a

Co-founder Todd Lincoln

Five Questions with TodD Lincoln, Tulsa Overground co-founder YOU SAID THIS YEAR YOU’VE RECEIVED AND WILL BE SCREENING MORE LOCAL SUBMISSIONS THAN EVER. TELL ME MORE ABOUT THAT. We made submissions free this year, so that probably helped. We’re showing as many as we can while still maintaining the overall feel and quality that we’re known for. This year’s lineup may be the most entertaining, most thought-provoking and most crazy that we’ve ever screened. And for the first time, we also have a special Tulsa Student Short Films Program.

THE LOGISTICS OF THIS FEST ARE DAUNTING FOR A TWO-MAN CREW. WHAT KIND OF SUPPORT SYSTEM DO YOU HAVE? We’re working around the clock on very little sleep. But this year we’re thrilled and very appreciative to have the help and support of the Guthrie Green staff who have taken over some of the technical/ organizational/marketing responsibilities. It’s been huge for us.

We couldn’t have pulled this festival off without their efforts.

Jeremy and I are extremely specific and detailed. There’s definitely a secret sauce element to this festival… but we’re learning to delegate and let go in certain areas. We’ve also had many people reach out offering to help out. Volunteers are essential to the success of a festival. This festival has grown to the point where if we keep doing it as a two-man crew… it will be the death of us.

IS THERE ANYTHING YOU COULDN’T PULL OFF THIS YEAR? There are some awesome filmmakers and bands that couldn’t make it to this Tulsa Overground, but they’re all excited about coming to the next one. We’re heading into unexpected, uncharted territories with the festival.

IS MARCH GOING TO BE YOUR ANNUAL DATE FROM NOW ON, SINCE IT’S A GREAT SPRING COMPLEMENT TO THE FALL’S TULSA AMERICAN FILM FESTIVAL? We like these March dates. There’s been a huge response. We’ll see how it all goes and then decide when we want to do Tulsa Overground next. Hopefully in the near future, we’ll live in a Tulsa where big festivals / events are happening every weekend. That kind of friendly competition will make each festival better and transform Tulsa into a true destination city.

ANY IDEAS FOR NEXT YEAR ALREADY? So many ideas. We always closely study what works and doesn’t work about each year’s festival… and then adjust things accordingly. We have a clear vision for Tulsa Overground and how we want it to organically grow and evolve. // BY JOE O’SHANSKY 31

VIRTUAL INSANITY

A preview of Tulsa Overground’s VR room • BY JOSH EMANUEL LONG THE DREAM OF RECLUSES AND PERVERTS, Virtual Reality technology has never quite been ready for prime time.

Readers of a certain age probably remember early efforts in the field, like the nausea-inducing and neck-straining “Dactyl Nightmare,” which had players pay $5 in exchange for a measly three minutes in a heavy helmet that granted one a view into a low-resolution, choppy world of flying monsters. I don’t think anyone ever bothered to play it more than once, and so the dream died.

Until now.

We are on the cusp of a VR explosion (and perhaps the death of reality) and you can get a taste of it at this year’s Tulsa Overground Film & Music Festival. Given that you must experience this technology to believe it, I took local comedian Katie Van Patten, an admitted VR virgin and skeptic, to Tulsa-based Steelehouse Productions to sample some of the experiences that will be available at the festival later this month.

Mark Steele, founder and executive creative of Steelehouse, ushered us into the company’s VR suite—a small room with a sofa, a monitor, and a variety of headsets.

Before we started, a less-than-enthused Katie gave me her thoughts on VR: “lame and uninteresting.”

Mark helped her into a pair of Oculus DK2 goggles. She was surprised by their compact lightness.

“As is often the case, I was expecting something much bigger,” she deadpanned.

With Katie settled in, Mark booted up “Rexodus,” an experience based on a Steelehouse IP-turned-Dark Horse comic concerning the adventures of space-faring anthropomorphic dinosaurs armed with lava-based weapons.

If I were twelve years old, this would probably be the coolest thing ever. Katie took to it like a champ, saying that the bright colors and kid-friendly content made it a good pick for first-timers.

Mark switched to “Showdown,” a bullet-time ballet of projectiles and explosions from Epic Games. Katie visibly tensed, crossing her arms, as she was dragged down the

3232// FEATURED

We are on the cusp of a VR explosion (and perhaps the death of reality) and you can get a taste of it at this year’s Tulsa Overground Film & Music Festival. street of a sci-fi city to face off against a giant robot while it blasted away at soldiers.

She later admitted that she had to close her eyes. “Once that car flipped over my head I had to, because that robot just kept getting closer.”

Mark then removed the Oculus and had Katie put on a pair of Vive goggles, made by HTC in conjunction with Valve, the company behind the popular Steam platform. Adding to the experience, the Vive comes with controllers for each hand, allowing the player to manipulate objects in the VR world. The first experience was “Tilt Brush,” a 3D painting tool developed by Google.

With assurance of no giant robots or flipping cars, Katie proceeded with enthusiasm. Once she understood the controls, she effortlessly created a world of neon and sparkles cascading around her. When it was time to switch to the next experience, she objected. “I could have kept playing that much longer. It’s just fun doing something so frivolous.”

Unfortunately for Katie, Mark then switched to “theBlu: Encounter,” made

by WEVR. While not intended to be scary, Katie was less than thrilled

with the deep-sea experience that suddenly had her standing on a sunken ship, surrounded by fish and approached by a massive whale.

“That was really freaky, kinda terrifying to be honest. I was sweating as soon as it started. I wanted to turn it off as soon as I saw that whale. Thank god it wasn’t a shark.”

Luckily, it was time to try something else, something truly perverse: “Job Simulator: Office Worker” by Owlchemy Labs. Set in 2050 in a world in which robots have taken over all jobs, this game lets the player experience the fun and excitement of being a cubicle drone. Katie took instantly to its colorful presentation, self-reflexivity and humorous attention to detail. Using the Vive’s controllers, she was fixing computers, pouring coffee and making copies, all while her cute robot boss barked orders.

These experiences and more will be available in Tulsa Overground’s Virtual Reality room, said Richard Mitchell, project lead of Guthrie Green, as well as the upcoming XPO gaming convention.

“This is the year of VR,” he said. “It merges the arts of film and video games, making it very interesting to Overground.”

The goal, he said, is to offer a cross-section of VR content that is available right now.

“I went from zero interest [in VR] to being very curious about the art form,” Katie said, once she returned to reality. “I can see this really taking off. I’ll skip the scary stuff.” a

March 16 – April 5, 2016 // THE TULSA VOICE

The 2016 Phoenix Gala committee members are, back row: Genny Williams, Richard Wise, Ann Halloran and David Lawrence; and front row: Rachel Dayton and Ashley Ward.

TSAS Foundation For Academic Excellence 2016 PHOENIX GALA Every spring, the Tulsa School of Arts & Sciences' Foundation for Academic Excellence hosts its biggest fundraiser for the school…the Phoenix Gala.

This year's theme is “Night at the Roosevelt,” a roaring 20's, Gatsby-style soiree. The gala event will be held Saturday, April 2, from 7 to 10 p.m. at the Dresser Mansion. Information is available at www.TSAS.org.

The Tulsa School for Arts & Sciences is one of only 5 schools n Oklahoma recognized nationally as a Blue Ribbon School. The school—created 15 years ago—is run by teachers, students, parents and board members and operates independently from TPS. This fall, TSAS will move into the historic Roosevelt Elementary School building near Owen Park. The economically diverse student population is now 300 students with 75 seventh graders to be added this fall…offering another middle school option in Tulsa. For information go to www.TSAS.org.

THE TULSA VOICE // March 16 – April 5, 2016

FEATURED // 33

onstage

Tulsa Ballet | COURTESY TULSA BALLET

Leaps and lessons Upcoming programs at Tulsa Ballet and Portico Dans Theatre share the art and craft of dance

by ALICIA CHESSER

T

he art of dance in Tulsa ranges widely in size, scope, intention and inspiration, from individuals making experimental works to renowned institutions presenting the world’s creations. But dance is a craft as well as an art. It doesn’t just happen—it takes time, money, savvy, and practical vision.

Two programs over the next several weeks offer the chance to see the development of this model. And both invite us, as all dance does, to see ourselves through the prism of the moving body.

The first program is courtesy of Tulsa Ballet, which has been bringing the classical and the cutting-edge together since the 1950s.

Tulsa Ballet’s “Masters of Dance” program, March 18-20, features three works that Artistic Director Marcello Angelini says epitomize where the company stands at this moment in its history: Jiri Kylian’s mysterious “Petit Mort,” Yuri Possokhov’s sparkling “Classical Symphony,” and a sexy beast of a ballet by Christopher Bruce called “Rooster,” set to music by the Rolling Stones.

“Masters of Dance represents the masters of choreography that

34 // ARTS & CULTURE

populate our repertory and are influencing the growth of the field,” says Angelini. “People like Kylian, who created a new vocabulary of dance and inspired other great masters like Nacho Duato. People like Christopher Bruce, who revolutionized dance in the UK and, as a result, in the entire European continent. And people like Yuri Possokhov, who has in my opinion found the right recipe to make classical ballet as fresh and exciting as it was 150 years ago.”

These works are vibrant and vital—and they’re helping cement Tulsa Ballet’s reputation as an internationally recognized center of dance. (Among other indices: more than 1200 dancers from around the world auditioned for a spot in the company this year.)

After these performances, Tulsa Ballet will take this same program on tour to Italy, where ballet began in the 15th century, and which nourished Angelini’s own aspirations as a young artist.

“Tulsa is making great strides to become a celebrated entity around the world,” he says. “This is necessary for us in order to grow as a city, as recognition brings tourism, new businesses, it helps retain top

talent, it helps with maintaining local talent in our state, and it improves the economic standing of the community. When we travel outside our community, we make a statement that ballet is what we do, while Tulsa is who we are.”

While Tulsa Ballet makes a large-scale impact both at home and abroad, Portico Dans Theatre focuses on building local creative energy. Portico’s new Choreographic Artists Mentoring Program (C.A.M.P.), pairs teenagers with choreographic advisors who guide them through the process of creating a dance, including budget training, goal-setting, advertising, costuming, music selection, technical cues and choreographic tools.

The young dancemakers’ works will premiere April 8 and 9 at Tulsa Ballet’s Studio K, a theater constructed for the purpose of presenting new work.

When Portico director Jen Alden moved to Tulsa from Oregon nearly a decade ago, she observed that young dancers were unfamiliar with the business side of their art.

“I feel business acumen is such an important aspect of being a professional dancer that I decided

to implement this program within PDT,” she says. “Our mentoring program bridges the gap between the dance studio/performance training [and becoming a] professional artist.”

Alden says the program was inspired by the training offered in the Artist, Inc., program through the Mid-America Arts Alliance and by the mentoring example of Amy McIntosh, the former head of the dance department at ORU, who passed away last spring.

One of the young choreographers taking part in this first year of C.A.M.P. is Griffin Massey, a freshman at Booker T. Washington High School, who says dance is critical to his ability to maintain a healthy lifestyle. He’s creating the “Twos” for “Ones, Twos, Threes”—a duet for a male and a female dancer about a breakup, set to music by Adele.

“I think this is a special program,” Massey says. “[Not everybody] gets to work with an experienced choreographer. We get to sit down with them and give them our ideas and they give us ideas as to what to do, so that our vision comes across onstage, instead of us just hoping it will.” a March 16 – April 5, 2016 // THE TULSA VOICE

UPCOMING MARCH

(April continued)

9 RODGERS &

18-20 MASTERS OF DANCE

HAMMERSTEIN AT THE MOVIES

Tulsa Ballet

22 DUO AMAL

Tulsa Symphony Pops

Choregus Productions

12 JESSICA LANG DANCE

29-4/3 RODGERS AND

HAMMERSTEIN’S CINDERELLA

Celebrity Attractions

APRIL

Choregus Productions

15-30 FIDDLER ON THE ROOF Theatre Tulsa

21-24 WHY TORTURE IS

WRONG, AND THE PEOPLE WHO LOVE THEM

1-10 STEEL MAGNOLIAS The Playhouse Tulsa

Theatre Pops

2-30 JOEY FRISILLO

22 DORIS KEARNS GOODWIN

Landscapes PAC Gallery Exhibit

Tulsa Town Hall

2 DREAMS WORLD

23 STAR TREK: THE

ULTIMATE VOYAGE

Oklahoma Performing Arts

35 Concerts

3 JERUSALEM QUARTET

24 JUDY COLLINS

Chamber Music Tulsa

IN CONCERT

6 BARRON RYAN

Brown Bag It, PAC Trust

6 GENERAL KEITH ALEXANDER

Woody Guthrie Center

4/29 BILLY ELLIOT, THE -5/7 MUSICAL

OSU Business Forums

8 PETER RABBIT TALES PAC Trust

Tulsa Project Theatre

MARCH 29-APRIL 3 • TULSA PAC 918.596.7111 • 800.364.7111 • MyTicketOffice.com GROUPS OF 15 OR MORE SAVE, CALL 918.796.0220 /BwayTulsa

Gilcrease Museum Presents

James MUSICMadison ON EXHIBIT

Tulsa Symphony Orchestra April 3, 2 p.m. • Tom Gilcrease Jr. Auditorium Free with paid admission

Tulsa Symphony Orchestra presents a very American evening with Eric Ewazen’s Roaring Fork performed by the Wind Quintet with John Rush, flute; Lise Glaser, oboe; David Carter, clarinet; Richard Ramey, bassoon; and Bruce Schultz, horn. Also featured is Richard Danielpour’s Portraits performed by Ronnamarie Jensen, violin; Kari Caldwell, cello; David Carter, clarinet; Lyndon Meyer, piano; and Tulsa Opera Studio Artist mezzo-soprano Melissa Fajardo. There will be a few surprise pieces in the afternoon’s concert.

TU is an EEO/AA institution.

This series is generously sponsored by The Albert and Hete Barthelmes Foundation, Inc.

GILCREASE.ORG THE TULSA VOICE // March 16 – April 5, 2016

ARTS & CULTURE // 35

artgallery

Upcoming exhibits and events in Tulsa's arts community 24-Hour Video Race Screenings // Thurs., March 17, 5:30 p.m.

Philbrook Museum of Art, philbrook.org In February, teams gathered for the annual race to write and produce a short video in just 24 hours. Screenings of the entries, as well as an awards ceremony, will be held at Philbrook Museum of Art. The surprise elements required in each video this year are a voodoo doll, the line, “If you squint your eyes and cock your head…,” and the theme, “blast from the past.”

P.S. Gordon: Mrs. Lennox & The Gift of Falling Snow Fri., April 1 through Thurs., April 28, Living Arts, livingarts.org Following the Grain: A Centennial Celebration of Willard Stone | COURTESY

Living Arts is naming P.S. Gordon the recipient of the organization’s first Living Legend Artist Award. The extraordinary coinciding exhibition of Gordon’s work features works never before seen in a public showing. Created in the 1990s, the paintings are portraits of men, each of whom was fighting AIDS, wearing ball gowns. Living Arts established the Living Legend Artist Award, “to honor those who push the art world forward, establishing the reputation of Tulsa as an artistic city, and contributing to the encouragement and inspiration of other artists in our community.”

Landscape: Scene Through My Eyes // Fri., April 1 through Fri., April 29, PAC Gallery, Tulsa PAC, tulsapac.com The PAC presents a show of pastel and oil landscapes by Sand Springs artist Joey Frisillo. “As an artist, I see times when an ordinary scene turns magical with colorful light, strong contrasts or shadows,” Frisillo said. “My show communicates interpretations of these fleeting moments.”

Behind the Lens with Pattie Boyd and Henry Diltz | COURTESY

Following the Grain: A Centennial Celebration of Willard Stone Continues throughout 2016, Gilcrease Museum, gilcrease.org One hundred years ago, Oklahoma sculptor Willard Stone was born on Leap Day. To mark the occasion, Gilcrease presents this exhibition of highlights of Stone’s works and the legacy of his collaborations with the museum. In 1945, Thomas Gilcrease offered Stone a position as the Gilcrease Foundation’s first artist-in-residence. During his three-year appointment, Stone developed a distinct streamlined style of woodcarving influenced by Art Deco and his Oklahoma roots.

The exhibition features more than 30 woodcarvings, as well as drawings, photographs, and correspondence between Gilcrease and Stone.

Jews Rock // Continues through June 24, Sherwin Miller Museum of Jewish Art, jewishmuseum.net This exhibition features photographs of notable Jewish rock stars by photojournalist Janet Macoska, as well as original works by local artists. The museum provided guitar bodies to ten artists and assigned each a Jewish musician to capture in their work.

36 // ARTS & CULTURE

Joe Cunningham: Beyond Quilts // Fri., April 1 through Sun., May 22, 108 Contemporary, 108contemporary.org Joe Cunningham has been making quilts professionally since 1979 using both machine and hand-stitching techniques. Rather than planning the design of his quilts, Cunningham begins with a concept and works with it until he feels the piece is done, resulting in asymmetrical abstraction that makes his quilts differ from classic quilt patterns.

Behind the Lens with Pattie Boyd and Henry Diltz Tues., April 5, 7 p.m., $25-$50, Woody Guthrie Center, woodyguthriecenter.com Two icons of 20th century rock and roll come together to share the stories behind the photographs. Henry Diltz is one of the best rock photographers of all time, with over 400 album covers bearing his work, including The Doors’ Morrison Hotel and Crosby, Stills and Nash’s eponymous debut. Pattie Boyd is a model and photographer, and was first wife to both George Harrison and Eric Clapton and the inspiration for some of their best-known love songs, including Harrison’s “Something” and Clapton’s “Layla.” Her images of Harrison, Clapton, The Beatles, and others are personal and revealing.

March 16 – April 5, 2016 // THE TULSA VOICE

THE TULSA VOICE // March 16 – April 5, 2016

ARTS & CULTURE // 37

thehaps

Beer and Brinner Thurs., March 24, 6 p.m. $55 624 Kitchen & Catering, jtrgroup.com/brinner Beer: So much more than just a breakfast drink. Justin Thompson Restaurant Group and Dead Armadillo Brewery have teamed up to create a very unique meal. It’s breakfast for dinner with beer pairings—a glorious concept. Maple-braised pork belly with grits paired with Amber Ale, beer braised short rib with a poached egg paired with Morning Bender Coffee Oatmeal Stout, and bananas Foster pancakes are just a few of the five courses planned for the evening.

Tulsa Ballet: Masters of Dance

Cirque du Soleil - Toruk: The First Flight

Fri., March 18 through Sun., March 20 Chapman Music Hall, Tulsa PAC, $31-$111, tulsapac.com

Thurs., March 24 through Sun., March 27 BOK Center, $35-$130, bokcenter.com

Tulsa Ballet presents highly acclaimed works by three of Europe’s most esteemed choreographers. “Classical Symphony” is a contemporary piece by Yuri Possokhov inspired by classical ballet, set to the Prokofiev symphony of the same name. “Petit Mort” is set to two of Mozart’s piano concertos, and was created by Jirí Kilián for the Salzburg Festival on the 200th anniversary of Mozart’s death in 1991. “Rooster” is an energetic and humorous piece by Christopher Bruce set to music by the Rolling Stones.

Duo Amal Tues., March 22, 7 p.m., $46 John H. Williams Theatre, Tulsa PAC tulsapac.com Piano virtuosos Yaron Kohlberg and Bishara Haroni are the preeminent pianists of their generation in Israel and Palestine, respectively. They have traveled the world from the Met in New York City to the Beijing Concert Hall, performing together as Duo Amal.

Tulsa Overground Film & Music Festival Thurs., March 24 through Sun., March 27, Circle Cinema, Fly Loft, Soundpony, Vanguard, tulsaoverground.com 100 short films, 3 features, 30 bands, virtual reality, Crispin Glover. If you’re not sold already, get the full scoop on page 24.

This performance by Cirque du Soleil is inspired by James Cameron’s “Avatar”.

OK(lahoma) Computer Fri., March 25, 8 p.m., Fassler Hall, fasslerhall.com Radiohead’s third album, OK Computer, is one of the greatest albums of the ‘90s, if not of all time. We can all agree on this, right? From the jolting guitar riff and stuttering bass line of “Airbag” to the plea for something simpler in “The Tourist,” the album’s contradictions—lyrics critical of the modern world over music that embraces modernity—are as relevant as ever in an age when it’s unclear whether our cell phones make us more or less free. (Ugh, what is this, Pitchfork circa 2002? I digress.)

A supergroup of Tulsa musicians (Costa Stasinopoulos, Paul Benjaman, Chris Combs, Corey Mauser, Aaron Boehler, and Andrew Bones) will play the album in its entirety on March 25 at Fassler Hall, and for a minute there, we will all lose ourselves.

Broad Influence with TIME Magazine’s Jay Newton-Small Tues., March 29, 7:30 p.m., Herman and Kate Kaiser Library, booksmarttulsa.com Never before have women been represented in such great numbers in the Supreme Court, both chambers of Congress, and in the West Wing. In “Broad Influence,” Jay Newton-Small demonstrates how women are reaching across the aisles, coalescing, and affecting lasting change. Booksmart Tulsa brings Newton-Small to Tulsa to read and share firsthand accounts from Washington D.C.

Steel Magnolias For the most up-to-date listings

thetulsavoice.com/calendar 38 // ARTS & CULTURE

Fri., April 1 through Sun., April 10, $20-$30 Liddy Doenges Theatre, Tulsa PAC, tulsapac.com The Playhouse Tulsa presents Robert Harling’s play about friendship and love in the face of tragedy.

March 16 – April 5, 2016 // THE TULSA VOICE

BEST OF THE REST PERFORMING ARTS Jerusalem Quartet // Chamber Music Tulsa brings the Jerusalem Quartet to town, which will perform Beethoven’s Quartet in G Major, Op. 18, No. 2, Bartók’s Quartet No. 4, and Schumann’s Quartet in A Major, Op. 41, No. 3. // 4/3, 3 p.m., Tulsa Performing Arts Center John H. Williams Theatre, $31, tulsapac. com Rodgers and Hammerstein’s Cinderella // Celebrity Attractions presents Rodgers and Hammerstein’s take on the classic fairy tale. // 3/29-4/3, Tulsa Performing Arts Center - Chapman Music Hall, $32-$67, tulsapac.com Sesame Street Live: Make a New Friend // Elmo and the gang are taking a trip off Sesame Street to explore the universal fun of friendship. // 4/1-4/2, BOK Center, $20-$62, bokcenter.com

COMEDY Laughing Matter // 3/17, 8 p.m., Comedy Parlor, $10, comedyparlor.com Unusual Suspects // 3/18, 10 p.m., Comedy Parlor, $10 Comedy! Comedy! Comedy Tour! w/ Chicago comics Dylan Scott, Tyler Ross, and Aaron McDavis // 3/18, 8 p.m., Comedy Parlor, $10 Blue Dome Social Club // 3/19, 10 p.m., Comedy Parlor, $10, 4/1, 8 p.m., Comedy Parlor, $10 Phunbags Improv // 3/19, 8 p.m., Comedy Parlor, $10

Beaudoin to read from his collection of short stories, “Welcome Thieves.” Booklist called Beaudoin “the Fred Astaire of comic writing, translating each sentence into a manic dance routine.” // 3/30, 7 p.m., This Land Store, thislandpress.com

SPORTS ORU Baseball vs South Dakota State // 3/18, 6:30 p.m., Oral Roberts University - J.L. Johnson Stadium, $8-$40 Tulsa Oilers vs Missouri Mavericks // 3/18, 7:05 a.m., BOK Center, $11-$53 ORU Baseball vs South Dakota State // 3/19, 2 p.m., Oral Roberts University - J.L. Johnson Stadium, $8-$40 Tulsa Oilers vs Allen Americans // 3/19, 7:05 a.m., BOK Center, $11-$53 ORU Baseball vs South Dakota State // 3/20, 1 p.m., Oral Roberts University - J.L. Johnson Stadium, $8-$40 ORU Baseball vs OU // 3/22, 6:30 p.m., Oral Roberts University - J.L. Johnson Stadium, $8-$40, oru.edu ORU Baseball vs IPFW // 3/25, 6:30 p.m., Oral Roberts University - J.L. Johnson Stadium, $8-$40, oru.edu TU Women’s Soccer vs Oklahoma State // 3/26, 6 p.m., The University of Tulsa - Hurricane Stadium, $5 ORU Baseball vs IPFW // 3/26, 2 p.m., Oral Roberts University - J.L. Johnson Stadium, $8-$40, oru.edu

Cian Baker says, Laugh It Up! // 3/20, 8 p.m., Comedy Parlor, $5

ORU Baseball vs IPFW // 3/27, 1 p.m., Oral Roberts University - J.L. Johnson Stadium, $8-$40, oru.edu

Bazar Entertainment Presents // 3/20, Loony Bin, $5, loonybincomedy.com

Tulsa Oilers vs Colorado Eagles // 3/29, 7:05 a.m., BOK Center, $11-$53

By George! // 3/24, 8 p.m., Comedy Parlor, $5, comedyparlor.com

Tulsa Oilers vs Colorado Eagles // 3/30, 7:05 a.m., BOK Center, $11-$53

HilBilly Drew 2: Electric Boogaloo w/ Hilton Price, Billy Bazar, Zach Amon // 3/25, 10 p.m., Comedy Parlor, $10

ORU Baseball vs North Dakota State // 4/1, 6:30 p.m., Oral Roberts University - J.L. Johnson Stadium, $8-$40

T-Town Famous // 3/25, 8 p.m., Comedy Parlor, $10, comedyparlor.com

TU Softball vs East Carolina // 4/1, 5 p.m., The University of Tulsa - Collins Family Complex, $5, utulsa.edu

Hammered! A Drunk Improv Show // 3/26, 10 p.m., Comedy Parlor, $10 News Junkie // 3/26, 8 p.m., Comedy Parlor, $10, comedyparlor.com Sunday Night Stand Up // 3/27, 8 p.m., 4/3, 8 p.m., Comedy Parlor, $5 Shrine Comedy Night // 3/28, The Venue Shrine, $5, tulsashrine.com Comfort Creatures // 4/2, 10 p.m., Comedy Parlor, $10 Squeaky Clean Stand Up // 4/2, 8 p.m., Comedy Parlor, $10 Quinn Patterson, Aaron Kleiber // 3/17-3/19, Loony Bin, $2-$12 Matt Sadler, Bob Khosarvi, Tomcat // 3/23-3/26, Loony Bin, $2-$12 Mike Stanley, John Tole // 3/30-4/2, Loony Bin, $2-$12 Soundpony Comedy Hour // 3/28, Soundpony, thesoundpony.com Grownup Storytime w/ Sean Beaudoin // Booksmart Tulsa welcomes Sean THE TULSA VOICE // March 16 – April 5, 2016

TU Men’s Soccer vs Midwestern State // 4/2, 3:30 p.m., The University of Tulsa - Hurricane Stadium, $5 ORU Baseball vs North Dakota State // 4/2, 2 p.m., Oral Roberts University J.L. Johnson Stadium, $8-$40, oru.edu TU Softball vs East Carolina // 4/2, 2 p.m., The University of Tulsa - Collins Family Complex, $5, utulsa.edu TU Women’s Soccer vs TCU // 4/2, 2 p.m., The University of Tulsa - Hurricane Stadium, $5, utulsa.edu TU Men’s Soccer vs Northeastern State // 4/2, 10 a.m., The University of Tulsa - Hurricane Stadium, $5 12 Annual Aquarium Run - Half-Marathon, 10K, 5K and Fun Run // 4/2, Oklahoma Aquarium, okaquarium.org ORU Baseball vs North Dakota State // 4/3, 1 p.m., Oral Roberts University - J.L. Johnson Stadium, $8-$40 TU Softball vs East Carolina // 4/3, 12 p.m., The University of Tulsa - Collins Family Complex, $5, utulsa.edu ARTS & CULTURE // 39

musicnotes

Sports | COURTESY TULSA OVERGROUND

Chill all the time Sports ambles through unexpected success

by MITCH GILLIAM

C

ale Chronister thought it was a prank.

The lead singer of Sports was vacationing in Florida when he noticed a surge in the band’s Spotify streams. Someone at Spotify who to this day remains a mystery placed the band’s song, “You Are the Right One,” on a suggested playlist. Though the band (rounded out by Jacob Theriot and Christian Theriot) is young in both the recently-formed and one-of-themis-19 sense, the song climbed to over half-a-million plays.

On the heels of its single going viral, the band was quickly snatched up by an L.A.-based agent, but other than that, not much has changed. Sports’s ambling motto seems to be “whatever happens, happens.”

Face to face, Chronister is shy, but in digital communication he’s candid and witty. “Jacob and I have matching tattoos of a cactus,” he told me through text message. “It was spontaneous...

Kind of an ‘I’ll get it if you get it’ scenario.” That kind of spontaneity is the jet-bubbling id of Sports’s chillwave ethos. Call it jacuzzi rock.

They settled on the name Sports because “it was funny.”

They also named their album

40 // MUSIC

“Naked All the Time,” because that was funny, too. Though it’s achieved a level of exposure that most bands chase through rigorous touring, Sports has never left Oklahoma. “I did buy a van!”

Chronister told me. Apart from the purchase and a gig at SXSW, however, no major road trips have been planned.

In addition to their outrageous fortune with publicity, Sports find themselves in coveted company. Their album features guest performances by Sufjan Stevens’ drummer, James McAlister, and members of BRONCHO (whose “Class Historian” has over ten million Spotify streams). Sports aren’t exactly leveraging their luck, but they appreciate it. “Naked All The Time” shows why they deserve it.

Based in both Tulsa and Norman, Sports composed the album through emailed loops and demos. The result was eight tracks of immaculately produced, lush, catchy, dream pop. Though the band’s blissed-out narcotic pop style is hard to pin to any particular genre, their touchstones offer insight into the roots of the music.

According to Chronister, the band loves Fleetwood Mac’s “Tango in the Night,” and the influence is obvious. Though channeling that

album’s dad-rock exotica, Sports wrap their songs in a certain melted modernity that gives the whole thing a puckish air of mischief.

The album has a feedback loop aura; where memories warp through archaic technology. “You are the Right One” subconsciously shares it’s lead melody with Eric Clapton’s “Wonderful Tonight.”

It’s music video is a burnt out rollerblade sesh on betamax.

“Dalton’s Wish,” a song about an inflatable alien that wants to be brought to life, rings eerily nostalgic. Like an alternate take of Lauper’s “Time After Time,” it’s the last dance at a bummer prom Sports was too young to attend.

Chad Copelin, the Norman-based Blackwatch Studios producer, was instrumental in the album’s faded but clear-as-CrystalPepsi production. A good chunk of the initial demos ended up on the album, but Chronister asserts “Chad was the man.” Copelin helped the band decide what parts of the demos they didn’t need, didn’t need to change, or could “beat.” Those hundreds of thousands of streams on Spotify may attest to his direction and Sports’ self-editing.

On a practical level, those streams have provided money to

record their next album with the same scrutiny.

I asked Chronister if any fans had reached out to the band.

“Well, one of the problems with naming your band Sports, is that you’re impossible to find.” Sure enough, Googling “Tulsa Sports,” yields more hits for Golden Hurricanes than tropical pop singles.

There are also several other bands that share the name, a few of which consider themselves the “real” Sports. True to their beach bum approach, the Okie Sports couldn’t care less.

“We just focus on what we do,” Chronister said.

For now, what they’re doing is preparing for a trio of Oklahoma showcases: they headline the opening night of the Tulsa Overground Film & Music Festival (March 24-27), which they’ll follow with performances at The Tulsa Voice’s BOT Bash (April 2), and Norman Music Festival (April 21-23).

The longterm goal is to start touring, but primarily for the pleasure of travel, according to Chronister. I asked what the dream scenario for Sports would be, the high-water mark of success.

“We will open for Katy Perry,” he quickly replied. a March 16 – April 5, 2016 // THE TULSA VOICE

THE TULSA VOICE // March 16 – April 5, 2016

MUSIC // 41

musiclistings Wed // Mar 16 Dusty Dog Pub – Scott Ellison Mix Co – Mike Cameron Collective On the Rocks – Don White Soundpony – Live Band Metal Karaoke w/ Satanico and the Demon Seeds The Colony – Tom Skinner’s Science Project Vanguard – Spring Breakout! w/ Goodfella, Iron Born, Keeper, Ruse, State Side, Rose Gold, Upright ($10)

Thurs // Mar 17 Billy and Renee’s – Johnny Badseed and the Rotten Apples, Hey Judy, Joe Myside Boom Boom Room – DJ MO Downtown Lounge – Archer ($5) Fur Shop – Finnegans Awake Hunt Club – The Brothers Moore Hunt Club – Trilly Boy Mercury Lounge – RC Edwards and The Oklahomies, The Electric Rag Band, The Great American Wolf, Wink Burcham Band, Brandon Clark Osage Casino – Colt Ford ($20) River Spirit Casino - 5 O’Clock Somewhere Bar – Mark Barham & The Honky Tonk Prophets Soul City – Erica James Band Soundpony – AcornBcorn The Colony – Honky Tonk Happy Hour w/ Jacob Tovar The Venue Shrine – Count Tutu ($10) Vanguard – Punk Patrick’s Day ($10)

Fri // Mar 18 American Legion Post 308 – Double “00” Buck Cox Business Center – Spring Fling w/ Cage the Elephant, Silversun Pickups, Foals, Bear Hands ($31.50-$41.50) Dusty Dog Pub – Barry Seal Ed’s Hurricane Lounge – Bull Finger Hard Rock Casino - Cabin Creek – Chad Lee Hunt Club – Deacon Hunt Club – Kids in the Street Lennie’s Club – David Dover Mercury Lounge – The Vine Brothers Osage Casino - NINE18 Bar – SeXtion 8 Pepper’s Grill - South – The Jennifer Marriott Band River Spirit Casino - 5 O’Clock Somewhere Bar – Traveler River Spirit Casino - Event Center – Blue Oyster Cult, Vanilla Fudge ($30-$50) Soul City – Brandon Cooper Soundpony – Gnarly Davidson, Dead Shakes The Colony – Rachel LaVonne Band The Venue Shrine – Dirtfoot, Roar (formerly Yojimbo) ($10) Vanguard – My So Called Band ($10) Woody’s Corner Bar – DJ Spin Yeti – Woody Records Showcase: Noun Verb Adjective, Mr. & The Mrs., Man Vs Animals

Sat // Mar 19 Billy and Renee’s – Oklahombres, Machine in the Mountain, Even the Dogs, Benny’s Little Weasel, The Capital Why’s Boom Boom Room – DJ MO Brady Theater – The Cult – 8 p.m. – ($39.50) Bull & Bear Tavern – Annie Ellicott and the Dean DeMerritt Jazz Tribe Cain’s Ballroom – Silverstein, Being As An Ocean, Emarosa, Coldrain, Rarity ($19-$34) Ed’s Hurricane Lounge – Liquid Static Hard Rock Casino - Cabin Creek – Chad Lee Hard Rock Casino - The Joint – ZZ Top* (SOLD OUT) Hunt Club – Musiclynx Showcase Mercury Lounge – Patrick Sweany, Black Foot Gypsies 42 // MUSIC

Osage Casino - NINE18 Bar – SeXtion 8 River Spirit Casino - 5 O’Clock Somewhere Bar – The Hi-Fidelics Roosters Cocktails – Cole Lynch Soundpony – Radio Shaq - Happy Hour Show – 6 p.m.

Soundpony – DJ Sweet Baby Jaysus The Colony – David’s Bandana, Brujoroots The Venue Shrine – Mountain Sprout ($10) Vanguard – The Plums, Sovereign Dame, Echoes & Angels, The Capital Why’s, Redwitch Johnny ($10)

Sun // Mar 20 East Village Bohemian Pizzeria – Mike Cameron Collective Holy Mountain – Steep Leans – 8 p.m.

Soundpony – The Everyman- Happy Hour Show – 6 p.m.

Soundpony – Absolutely Not, The Baby Magic The Colony – Paul Benjaman’s Sunday Nite Thing Vanguard – Dave Mason ($32-$100)

Hard Rock Casino - Cabin Creek – Wilbur Lee Tucker Hunt Club – Dante and the Hawks Mercury Lounge – Peewee Moore, Cherokee Wolf Osage Casino - NINE18 Bar – Stars Pepper’s Grill - South – Dean DeMerritt’s Jazz Tribe with Sarah Maud River Spirit Casino - 5 O’Clock Somewhere Bar – Another Alibi Smitty’s 118 Tavern – The Blue Dawgs Soul City – Symon Hajjar Soundpony – Chainmail, La Panther Happens, Cosmostanza, Queenager The Colony – Grazzhopper The Shady Tree – Scott Ellison Band The Venue Shrine – Brad James Band ($5) Vanguard – Johnny Polygon, Nuns, Verse & The Vapors, klondike5, The Capital Why’s ($10) Woody’s Corner Bar – DJ Mikey Bee

Sat // Mar 26

Cain’s Ballroom – UNDEROATH, Caspian ($25-$40) Gypsy Coffee House – Tuesday Night Open Mic Hunt Club – Preslar Music Showcase Juniper Restaurant & Martini Lounge – Dean DeMerritt and Frank Brown Nitro Lounge – The Stargazer Lilies Oklahoma Jazz Hall of Fame – Depot Jazz and Blues Jams (Tickets start at $30) The Colony – Mike Cameron Collective Vanguard – Eli Reed, Matt Stansberry and the Romance ($12-$15)

Billy and Renee’s – Fist of Rage Boom Boom Room – DJ MO Bull & Bear Tavern – Oliva Duhon and the Dean DeMerritt Jazz Tribe Cain’s Ballroom – Downlink & Dieselboy, Mantis, Krispe ($16-$19) Fur Shop – When the Clock Strikes Gypsy Coffee House – Hector Ultreras Hard Rock Casino - Cabin Creek – Darrel Cole Hunt Club – Tennessee Jet Mercury Lounge – The 24th Street Wailers Osage Casino - NINE18 Bar – Stars River Spirit Casino - 5 O’Clock Somewhere Bar – Annie Up Roosters Cocktails – Tyler Brant Soul City – Jared Tyler Soundpony – SWAP MEAT, Grass Crack, Reigns, Who & The Fucks The Colony – Travis Linville The Shady Tree – Ronnie Pyle & The Drivers The Venue Shrine – Drek, Severmind, Dryver ($5) Vanguard – Broncho, Zig Zags, Mike Dee w/ Stone Trio, Dead Shakes, Turtle Creek Cloggers ($15) VFW Post 577 - Centennial Lounge – Patti Taylor Band

Wed // Mar 23

Sun // Mar 27

Mon // Mar 21 Fur Shop – North by North, Electric Rag Band, American Shadows Fur Shop – The Electric Rag Band, North By North Hodges Bend – Mike Cameron Collective Soundpony – The Black Atlas The Colony – Singer/Songwriter Night Yeti – Cypher 120 – 7 p.m.

Tues // Mar 22

Thurs // Mar 31 Boom Boom Room – DJ MO Cain’s Ballroom – Yonder Mountain String Band, Horseshoes & Hand Grenades ($20-$35) Crow Creek Tavern – Tyler Brant Hard Rock Casino - Cabin Creek – Joe Worrel Hard Rock Casino - The Joint – Styx ($45-$65) River Spirit Casino - 5 O’Clock Somewhere Bar – Brandon Clark Band Soundpony – Feeble The Colony – Steve Pryor Acoustic The Venue Shrine – Dale Watson Record Release Show ($12)

Fri // Apr 1

American Theatre Company – Tony Furtado – 7:30 p.m.

Brady Theater – John Mellencamp ($37$112.50) Cain’s Ballroom – Aaron Watson, Jon Wolfe, Bryce Dicus & The Mercenaries ($15-$35) Elephant Run – South of Vertical Hunt Club – Smunty Voje Mercury Lounge – KALO, American Shadows Pepper’s Grill - South – Dean DeMerritt’s Jazz Tribe Soul City – Desi & Cody Soundpony – Lessons in Fresh The Colony – Erin O’Dowd Band, Patrick Coman The Shady Tree – Calvin Youngblood & Cold Front The Venue Shrine – Dachshund CD Release ($5) Vanguard – The Dirty River Boys, B.C. and the Big Rig, Suede Panther ($15) Woody’s Corner Bar – DJ Spin Woody’s Corner Bar – DJ Spin Yeti – Hey Judy, Saganomics, Kevin & The HomeAlones*

Sat // Apr 2

Fur Shop – Ryan Hutchens Mix Co – Mike Cameron Collective On the Rocks – Don White Soundpony – Leggy, Arc Flash, Dead Shakes The Colony – Tom Skinner’s Science Project The Venue Shrine – Tyler Gregory, Kiel Grove ($5)

East Village Bohemian Pizzeria – Mike Cameron Collective Gypsy Coffee House – Miles Williams Soundpony – Helen Kelter Skelter, Lizard Police, Noun Verb Adjective, Holy Void, The Daddyo’s, Skeleton Farm The Colony – Paul Benjaman’s Sunday Nite Thing

Thurs // Mar 24

Mon // Mar 28

Boom Boom Room – DJ MO Cimarron Bar – Seven Day Crash Dixie Tavern – Tyler Brant Fassler Hall – The Tulsa Voice’s Best of Tulsa Concert w/ Ester Drang, Sports, Oilhouse, Labrys ($10) Fur Shop – The Dirty Mugs, Violent Affair Hunt Club – Hosty Duo Mercury Lounge – Travis Linville Sandite Billiards & Grill – The O’s Soul City – Hank Hadden Soundpony – Soul Night The Colony – Green Corn Rebellion The Venue Shrine – Metal Showcase ($5)

Hodges Bend – Mike Cameron Collective The Colony – Singer/Songwriter Night Yeti – Cypher 120 – 7 p.m.

Sun // Apr 5

Billy and Renee’s – Big Woo, Crazy P Boom Boom Room – DJ MO Cain’s Ballroom – The Wonder Years, letlive, Tiny Moving Parts, Microwave ($25-$40) Cimarron Bar – The Taylor Machine, The Plums Fur Shop – Dan Martin Hard Rock Casino - Cabin Creek – Carl Acuff Hunt Club – Ego Culture River Spirit Casino - 5 O’Clock Somewhere Bar – Jason Young Band The Colony – An Evening with Jared Tyler Vanguard – Sports, The Bourgeois, Sun Vow, The Riot Waves, The Lukewarm ($10) Woody’s Corner Bar – Joe Rentie & Joe Spring

Fri // Mar 25 American Legion Post 308 – Whiskey Bent Baker St. Pub – SquadLive Fassler Hall – OK(lahoma) Computer Fur Shop – The Electric Rag Band Gypsy Coffee House – Marilyn McCulloch

Tues // Mar 29 Cain’s Ballroom – Tech N9ne, Krizz Kaliko, Rittz, ¡Mayday!, Stevie Stone, Ces Cru, Young Verse ($31-$46) Crow Creek Tavern – Dan Martin Dusty Dog Pub – Scott Ellison Mix Co – Mike Cameron Collective On the Rocks – Don White The Colony – Tom Skinner’s Science Project Vanguard – Hollow Earth, Church Tongue, Rise and Revolt, Iron Born Casket ($10-$13)

Wed // Mar 30 Hodges Bend – Mike Cameron Collective Juniper Restaurant & Martini Lounge – Dean DeMerritt and Frank Brown The Colony – Singer/Songwriter Night Yeti – Cypher 120

Soundpony – The Blind Pets BOK Center – Zac Brown Band ($43.40-$74.50)

Mon // Apr 4 Coffee House on Cherry Street – Kinetic Meadow Soundpony – Summer Salt Vanguard – Lord Dying ($13)

Tues // Apr 5 Cain’s Ballroom – Dr. Dog, Wild Child ($23-$38) Fur Shop – Sniper 66, Virgin Whores Gypsy Coffee House – Tuesday Night Open Mic Reynolds Center – Misterwives, The Mowgli’s, Knox Hamilton, The Rebel Light ($15)

March 16 – April 5, 2016 // THE TULSA VOICE

THE TULSA VOICE // March 16 – April 5, 2016

MUSIC // 43

popradar

Cuba Gooding Jr. and Joseph Buttler in “American Crime Story: The People vs. OJ Simpson” | COURTESY

A circus of characters Sharp writing and mesmerizing performances elevate ‘The People vs. OJ Simpson’

by LANDRY HARLAN X’s “American Crime Story: The People vs. OJ Simpson,” based on Jeffrey Toobin’s book “The Run of His Life,” dramatizes the 1994-1995 arrest, escape, re-arrest, and trial of former NFL and movie star OJ Simpson (Cuba Gooding, Jr.) for the murder of ex-wife Nicole Brown and waiter Ron Goldman.

Much of the case is common cultural knowledge, as details of the trial were reported nonstop to millions of households.

Commentators during the trial frequently referred to the media omnipresence as a “circus,” and the involved parties were an eccentric cast of characters under an enormous tent of scrutiny.

F

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

44 // FILM & TV

For viewers who already know the beginning, middle, and end of a story, character insight is crucial to making it newly engaging. A weaker creative team would copy and paste the original “circus” to present an entertaining, but still rote version of events. The team behind “The People vs. OJ Simpson” understands that when you ground the characters, you elevate the drama.

Case in point: the near-miraculous casting of Courtney B. Vance as defense attorney Johnnie Cochran.

Johnnie Cochran’s leadership role on the defense team and his emphasis on race during the trial is regarded as key in the eventual acquittal of OJ Simpson. The criticism came quickly and mercilessly.

His co-counsel on the defense team Robert Shapiro (John Travolta, going full sleaze) claimed the so-called race card came from “the bottom of the deck.”

Pundits and opposing prosecutor Christopher Darden (Sterling K. Brown) were also nonplussed by the strategy. What viewers watching the trial loved about Cochran was how unflinching he was in the face of constant critique.

He commanded the courtroom with savvy, wit, and charm. He made the trial must-see TV.

In “The People vs. OJ Simpson,” Vance repeats history. His courtroom scenes are just as electric as were Cochran’s, but it’s the show’s quieter moments where Vance truly shines.

Creators Scott Alexander and Larry Karaszewski mix in scenes showing Cochran as a husband and father. He is a man who gets fussy about what tie gives the right impression and nervously paces his office when preparing for the phone call that will change his life. Through slight physical and verbal changes, Vance allows brief glimpses into the troubled soul beneath the bombast.

In the cold open of the fifth episode, “The Race Card,” Cochran is pulled over by a white police officer while driving his two daughters to dinner. For a while, Vance feigns polite confidence.

He’s annoyed but reserved as he explains to his daughters the proper conduct for dealing with a police officer. But when the officer questions the daughters, the façade crumbles. Vance’s tone sharpens and his features harden. His daughters watch as he’s handcuffed against the car. Cochran tells them it will be all right, but Vance’s eyes, caught between them and the white onlookers, betray a hint of fear. The controlled persona

becomes starkly vulnerable and human.

Meanwhile, Sarah Paulson gives prosecuting team lead Marcia Clark a naiveté that blinds her from the trial’s sexist undercurrent. Sterling K. Brown as Darden, put in the difficult position of opposing Vance, maintains quiet resilience.

The show’s production design is flawless, the tonal shifts are fluid, and its themes carry weight. But it’s the sharp character work that makes the show such a resounding success. “The People vs. OJ Simpson” offers viewers something they didn’t get in 1994 and ’95: a peek behind the curtain into the public characters’ private lives, making it the most compulsively watchable new series of the spring. a 3/2 SOLUTION: UNIVERSAL SUNDAY

March 16 – April 5, 2016 // THE TULSA VOICE

THE FUZZ THE TULSA VOICE SPOTLIGHTS: TULSA SPCA 2910 Mohawk Blvd. | MON, TUES, THURS, FRI & SAT, 10 a.m.-5 p.m. 918.428.7722

ELLIS is a six month-old American blue heeler/ Great Dane mix. This bundle of energy keeps you busy all day, but he’ll wear himself out and you can both enjoy cuddle time on the couch. He would rather play fetch or go on a walk, but he also entertains himself with toys, playing outside, and chasing squirrels.

ARCHER is a four yearold American pit bull/ terrier mix. When we found this handsome man, he could no longer walk. Archer was starving, weak, scared, and had just about every parasite possible, yet he let us care for him.

Sweet and gentle, he is healthy, rid of parasites, and his scars are healing. It takes a special heart to care for his special heart.

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.

TREK is an eight monthold border collie mix.

If you’re looking for a walking or running partner, Trek is for you.

He wants to heard, has a fun-loving disposition, and will make a great companion. He has a lot of fun playing with other dogs and he likes kids, but they need to be ten years old or older. He is a little too much for younger kids to handle.

RAIN is a five monthold domestic shorthair tabby. This kitten loves to play and chase toys.

She is at the “Velcro Kitty” stage of life: she sticks to the couch, curtains, side of the bed, or wherever she lands. A little shy at first, it doesn’t take Rain long to warm up. She likes to get a nap in before playing.

Oh, to be a kitten!

BIZZEE is a one-year and eight month-old domestic longhair white/tabby. Bizzee is a little shy and will hide from you at first, but she warms up if you hold and pet her. Once she feels safe, she will let you pet and brush her as long as you want. She is a quiet little girl, but her motor runs louder the more she trusts you. She’s sweet and looking for a quiet, safe place to call home.

Please Join Us In A March Campaign To Support:

• All of the food and pet supplies F.P.T.H. distributes are donated from individuals and businesses.

• Over 1,600 pounds of dog and cat food are distributed every week to guests of Iron Gate and Night Light.

• In addition to food, F.P.T.H. gives out leashes, harnesses, collars, dog coats and sweaters, collapsible bowls, treats, litter boxes and litter, brushes, blankets and beds.

• F.P.T.H. assists homeless owners redeem their pets from Tulsa's Animal Shelter, paying impound charges and getting pets spayed/neutered, vaccinated and licensed.

• F.P.T.H. hosts at least two rabies and wellness clinics each year.

Help us support FEEDING the PETS Of TULSA'S HOMELESS during the month of March. Please bring any brand of dog food or other donated items (collars, leashes, etc.) to our store.

We will say THANK YOU with a 10% OFF coupon.

THE TULSA VOICE // March 16 – April 5, 2016

1778 Utica Square 918-624-2600 ETC. // 45

free will astrology

by ROB BREZSNY

ARIES (MARCH 21-APRIL 19):

When Orville and Wilbur Wright were kids, their father gave them a toy helicopter powered by a rubber band. The year was 1878.

Twenty-five years later, the brothers became the first humans to sail above the earth in a flying machine. They testified that the toy helicopter had been a key inspiration as they worked to develop their pioneering invention. In the spirit of the Wright Brothers’ magic seed, Aries, I invite you to revive your connection to a seminal influence from your past. The coming weeks will be a favorable time to feed a dream that was foreshadowed in you a long time ago.

TAURUS (April 20-May 20): “The task of a writer is not to solve the problem but to state the problem correctly,” said Russian writer Anton Chekhov. Whether or not you’re a writer, Taurus, that is also your special task in the coming weeks. The riddle that has begun to captivate your imagination is not yet ripe enough for you to work on in earnest. It has not been defined with sufficient clarity.

Luckily, you have the resources you need to research all the contingencies, and you have the acuity to come up with a set of empowering questions.

GEMINI (May 21-June 20): The good news is that if you eat enormous amounts of chocolate, you will boost your memory. Science has proved it. The bad news is that in order to get the full effect of the memory enhancement, you would have to consume so much chocolate that you would get sick. I propose that we consider this scenario as a metaphor for what may be going on in your life. Is it possible you’re doing things that are healthy for you in one way but that diminish you in another? Or are you perhaps getting or doing too much of a good thing — going to unbalanced extremes as you pursue a worthy goal? Now is a favorable time to figure out if you’re engaged in such behavior, and to change it if you are.

CANCER (June 21-July 22): When the young director Richard Lester got his big break, he took full advantage. It happened in 1964, when the early Beatles asked him to do their first movie, A Hard Day’s Night. Lester’s innovative approach to the project propelled his career to a higher level that brought him many further opportunities. Writing of Lester’s readiness, critic Alexander Walker said, “No filmmaker . . . appeared more punctually when his hour struck.” That’s what I hope you will soon be doing in your own chosen field, Cancerian. Do you understand how important it will be to have impeccable timing?

No procrastination or hemming and hawing, please. Be crisply proactive.

LEO (July 23-Aug. 22): As a young man, the poet Arthur Rimbaud (1854-1891) left his home in France and settled in Abyssinia, which these days is known as Ethiopia. “I sought voyages,” he wrote, “to disperse the enchantments that had colonized my mind.”

You might want to consider a similar strategy in the coming weeks, Leo. From an astrological perspective, it’s going to be an excellent time both to wander free of your usual haunts and to disperse the enchantments that have colonized your mind. Why not find ways to synergize these two opportunities?

VIRGO (Aug. 23-Sept. 22): At one point in his life, author C. S. Lewis had a rude awakening as he took stock of the progress he thought he had been making. “I am appalled to see how much of the change I thought I had undergone lately was only imaginary,” he wrote. I want to make sure that something similar doesn’t happen to you, Virgo. You’re in the midst of what should be a Golden Age of Self-Transformation. Make sure you’re actually doing the work that you imagine you’re doing — and not just talking about it and thinking about it.

LIBRA (Sept. 23-Oct. 22): “There are questions that you don’t ask because you’re afraid of the answers,” wrote Agatha Christie. I would add that there are also questions you don’t ask because you mistakenly think you already know the answers. And then there are questions you don’t ask because their answers would burst your beloved illusions, which you’d rather preserve. I’m here to urge you to risk posing all these types of questions, Libra. I think you’re strong enough and smart enough, and in just the right ways,

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

to deal constructively with the answers. I’m not saying you’ll be pleased with everything you find out. But you will ultimately be glad you finally made the inquiries.

SCORPIO (Oct. 23-Nov. 21): If you are enmeshed in a jumble that makes you squirm or if you are caught in a tangle that stifles your self-love, you have three choices. Here’s how Eckhart Tolle defines them: 1. Get out of the situation. 2. Transform the situation. 3.

Completely accept the situation. Does that sound reasonable, Scorpio? I hope so, because the time has come to act. Don’t wait to make your decision. Do it soon. After that, there will be no whining allowed. You can no longer indulge in excuses. You must accept the consequences. On the bright side, imagine the new freedom and power you will have at your disposal.

SAGITTARIUS (Nov. 22-Dec. 21): Here’s a proposed experiment. Sidle up to a creature you’d love to be closer to, and softly sing the following lyrics: “Come with me, go with me.

Burn with me, glow with me. Sleep with me, wake with me.” At this point, run three circles around the creature as you flap your arms like a birds’ wings. Then continue your singing: “Rise with me, fall with me. Work with me, play with me. Pray with me, sin with me.”

At this point, leap up into the air three times, unleashing a burst of laughter each time you hit the ground. Continue singing: “Let me get high with you. Laugh with you, cry with you.

Make me your partner in crime.” At this point blow three kisses toward the creature, then run away. (P.S. The lyrics I’m quoting here were composed by songwriter Fran Landesman.)

CAPRICORN (Dec. 22-Jan. 19): In getting energy from food, we humans have at our disposal over 50,000 edible plants. And yet we choose to concentrate on just a few. Wheat, corn, rice, and potatoes make up two-thirds of our diet, and 11 other staples comprise most of the rest. Let’s use this as a metaphor for the kind of behavior you should avoid in the coming weeks. I think it will be crucial for you to draw physical, emotional, and spiritual sustenance from a relatively wide variety of sources. There’s nothing wrong with your usual providers, but for now you need to expand your approach to getting the nurturing you need.

MASTER

AQUARIUS (Jan. 20-Feb. 18): “We teach each other how to live.” Poet Anne Michaels said that, and now I’m passing it on to you — just in time for the phase of your cycle when acting like a curious student is your sacred duty and your best gift to yourself. I don’t necessarily mean that you should take a workshop or enroll in a school. Your task is to presume that everyone you meet and every encounter you have may bring you rich learning experiences. If you’re willing to go as far as I hope you will, even your dreams at night will be opportunities to get further educated. Even your vigils in front of the TV. Even your trips to the convenience store to buy ice cream.

PISCES (Feb. 19-March 20): In her poem “Time,” Piscean poet Lia Purpura wonders about “not picking up a penny because it’s only a little luck.” Presumably she is referring to a moment when you’re walking down a street and you spy an almost-but-not-quiteworthless coin lying on the concrete. She theorizes that you may just leave it there. It adds next to nothing to your wealth, right?

Which suggests that it also doesn’t have much value as a symbol of good fortune.

But I urge you to reject this line of thought in the coming weeks, Pisces. In my astrological opinion, you’ll be wise to capitalize on the smallest opportunities. There will be plenty of them, and they will add up.

Imagine that seven years from now you will want a new career or line of work. What will it be? t h i s w e e k ’ s h o m e w o r k // T E S T I F Y AT F R E E W I L L A S T R O L O G Y. C O M .

46 // ETC.

March 16 – April 5, 2016 // THE TULSA VOICE

ACROSS 1 Utter obscenities 5 Dress on the Ganges 9 Rene of “Lethal Weapon 3” 14 Traveled rapidly 18 World Poker Tour payment 19 Super server 20 Entered 21 Time-change loss 22 Not waiting around 24 Bring into harmony 25 Individualized atmosphere 26 Peanuts and flax, e.g.

27 Barcelona’s home 28 Tractor attachment 30 Crystal-lined stones 31 Volleyball smash 32 Bottom of a shoe 33 A Bobbsey twin 34 Water park feature 35 Succeed financially 39 Less desirable berth 42 Frontier emporium 45 “Roses ___ red …”

46 Ongoing hostility 47 Overcook the meat 48 Face-cream ingredient 49 Cheerfulness 50 Mine output 51 Took care of 55 Needle injury 56 Word yelled at a party 58 Up in the air 59 Innuendos 60 Native American group 61 Clobbered, biblical-style

62 Turned ashen 64 Stiff-upper-lip type 66 Closed, two-door car 67 Metric ton fraction 70 Sideshow barker 71 School funder, sometimes 73 “___ on a Grecian Urn” 74 Not much 75 Prison uproar 76 Aahs’ kin 77 FBI operative 78 Legendary bird of prey 79 Wimbledon climaxes 83 Romantic recitals 84 Free of charge, as legal services 86 Cowboys’ exhibition 87 Cranberry locale 88 Lively enthusiasm 89 Gold deposits 90 Midshipmen’s rivals 93 Barrister 96 Ducks and geese 97 Peeve 99 Cookie with a creme center 100 It hangs around in the winter 102 Prisoner’s hope 103 Green or lima 104 Thick drinks 105 200-meter, e.g.

106 Relative of “Oh, no!”

107 Beach souvenir 108 Passed illegally, as a check 109 “Don’t bet ___!”

110 “Phooey” in “Peanuts” DOWN 1 “The Godfather” figure 2 Dismantle sail supports 3 Pilfered neckwear?

4 Not bland 5 Cotton with a shiny finish 6 Hydrochloric and nitric, for example 7 Accelerates, as an engine 8 Fiery emotion 9 Captured again 10 Release from bondage 11 Render speechless 12 One of the seven deadlies 13 Type of small town 14 Divvies up 15 Come down in buckets 16 100 cents 17 Poker variety 20 Large deer 23 Chest material 27 Informal potato 29 What little things mean?

31 Emmy-winning Lewis 32 Animal scent 34 Have a yen for 36 “Race car” is one 37 Be constructive?

38 Offends the nose 39 Abduction vehicles, supposedly 40 Andean land 41 Where San Juan is 42 The ones over there 43 Apology preceder 44 Cemetery unit 47 Where baby sleeps 49 “Peer Gynt” composer 51 Expensive (var.)

52 Cause a blockage in 53 Marry in haste 54 Lavisher of attention 55 Flowering plant

57 Copy of a painting 61 Word with “sayer” 62 Cores 63 “What a shame!”

64 Abrupt declivity 65 Fifer’s drum 66 Gator’s relative 67 Former capital of Japan 68 Eve’s husband 69 Department-store section 71 Climber’s aid 72 Softens, with “down” 75 Tempted fortune 77 Aggressively enterprising person 79 Tunneling rodent 80 Searched for prey, lion-style 81 Heaps 82 Dec. 13th, e.g.

83 Conductors’ stands 85 Not within reach of 87 It could win you a beer 89 English thinker John 90 Early spring relatives of irises 91 Tundra relative 92 Brown-coated ermine 93 Arcing shots 94 Word with “disaster” or “dining” 95 Detach gradually, as from a habit 96 Alfa Romeo competitor 97 Nation once known as Persia 98 They’re far from the center 101 Tai ___ (exercise method) 102 Amateur no more, or this puzzle’s theme

UNIVERSAL SUNDAY CROSSWORD Edited by Timothy E. Parker

PAY ME!

By Carl Cranby

© 2016 Universal Uclick

S Y A W G IVEA !

K C A B E R A

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ETC. // 47

Pleas e re cycle this issue.