The Tulsa Voice | Vol. 4 No. 10

M A Y 3 – 1 6 , 2 0 1 7 // V O L . 4 N O . 1 0

Habit Mural Festival Tulsa Overground Film & Music Festival Blue Whale Comedy Festival G Fest Blue Dome Arts Festival Tulsa International Mayfest MisFEST Tokyo in Tulsa The Hop Jam

ALL THINGS TULSA OVERGROUND | P24

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THE TULSA VOICE // May 3 – 16, 2017

CONTENTS // 3

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May 3 – 16, 2017 // THE TULSA VOICE

May 3 – 16, 2017 // Vol. 4, No. 10 ©2017. All rights reserved.

PUBLISHER Jim Langdon MANAGING EDITOR Liz Blood ASSITANT EDITOR Kathryn Parkman DIGITAL EDITOR John Langdon ART DIRECTOR Madeline Crawford GRAPHIC DESIGNERS Georgia Brooks, Morgan Welch PHOTOGRAPHER Greg Bollinger AD SALES MANAGER Josh Kampf AD EXECUTIVE Craig Freeman INTERNS Laura Dennis, Jennifer Ratliff-Towner

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CONTRIBUTORS Alicia Chesser, Ty Clark, Barry Friedman, Ryan Gentzler, Mitch Gilliam, Jeff Huston, Joshua Kline, Jennie Lloyd, Bobby Dean Orcutt, Joe O’Shansky, Holly Peevyhouse, Elliot Rombach, Dan Riffe, Andrew Saliga, Ty Segall, Aaron Whisner

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16

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BY ALICIA CHESSER

In its second year, Habit Mural Festival will cover the Gateway building in new art

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Jason Pawley at Habit Festival 2016 | HOLLY PEEVYHOUSE

NEWS & COMMENTARY 7 SIBLING BOND ACROSS THE POND

B Y ELLIOT RAMBACH

36 STRANGE ALCHEMY

B Y JENNIE LLOYD

42 HOW IT’S ALWAYS BEEN

B Y TY CLARK

Visiting Tulsa’s sister city in a fraught political moment

8 REPRESENT!

B Y RYAN GENTZLER

37 MONONYMOUS, HILARIOUS

B Y MITCH GILLIAM

44 NOT THE SAME OLD SONG

B Y BOBBY DEAN ORCUTT

Yasamin’s Persian-Irish-Tulsa perspective

John Moreland talks sneakers, Star Trek, and other stuff he luvs

Indigent Defense System needs $1.5 million to avoid a constitutional crisis

10 THE UNBEARABLE ARROGANCE

OF THE UNGRATEFUL PLUMBER

B Y BARRY FRIEDMAN

Markwayne Mullin in Washington

12 A LITTLE HARM REDUCTION GOES A

LONG WAY

B Y DAN RIFFE

M A Y 3 – 1 6 , 2 0 1 7 // V O L . 4 N O . 1 0

Habit Mural Festival Tulsa Overground Film & Music Festival Blue Whale Comedy Festival G Fest Blue Dome Arts Festival Tulsa International Mayfest MisFEST Tokyo in Tulsa The Hop Jam

ALL THINGS TULSA OVERGROUND | P24

ON THE COVER YOUR SUMMER 2017 FESTIVAL GUIDE

MUSIC

ARTS & CULTURE

Does Tulsa need a needle exchange?

YOUR GUIDE TO

TULSA OVERGROUND P24

Amy Rocket-Tood’s archaic art of wet plate collodion photography

TV & FILM 48 HIGH CONCEPT ‘THE DISCOVERY’

STREAMING NOW

B Y JEFF HUSTON Because you can always stay home

and watch Netflix instead

Ty Segall on his new album and DIY roots

ETC. 14 DOWNTHEHATCH 38 THEHAPS 46 MUSICLISTINGS 50 ASTROLOGY + SUDOKU 51 CROSSWORD

LARRY CLARK ON RETURNING TO TULSA, AND THE DIRTIEST ACT HE EVER SAW HERE | P26 CLU GULAGER: NOT A NORMAL FILMMAKER | P27 MARK BORCHARDT’S NEW DOCUMENTARY SHORT EXPLORES UFO CULTURE | P28 OVERGROUND’S PREMIERE FILM SHOWCASE | P30 VIRTUAL REALITY TECHNOLOGY TURNS STORIES INTO EXPERIENCES | P32 OVERGROUND SOUND | 33 YOUR FULL OVERGROUND SCHEDULE | P34

ARTWORK BY AARON WHISNER THE TULSA VOICE // May 3 – 16, 2017

CONTENTS // 5

editor’sletter

I

have this postcard from the late ‘60s hanging near my desk. On the back of the card:

TULSA, OKLAHOMA Oil Capital of the World An aerial view of one of the most unusual cities in the nation—Tulsa—where the flavor of the Old West combines with the progressive air of a mushrooming metropolis

A SQUARE 1 PRODUCTION

SPONSORED BY

with a population in excess of 250,000 wonderful people.

I look at it often and recently considered it strange to imagine a young Larry Clark somewhere in that photo, running around, shooting amphetamine with his friends, and documenting the whole thing.

(He’ll be here for Tulsa Overground Film & Music Festival this weekend; see Joshua Kline’s interview with him on page 26).

Now, our population exceeds 400,000 and we’ve progressed, to be sure. Culture-shapers like Jeremy Lamberton and Todd Lincoln (Tulsa Overground, page 24), Aaron Whisner (Habit Mural Festival, page 16), and comedian Yasamin Bayatfar (page 37) are evidence of that. But much of how we talk about our city remains the same: vague Native American history, Old West roots, how oil made us magic.

All three of the contenders for the new Tulsa city flag—announced last week—host symbols meant to signify our city’s Indian history and relationship with oil: emblems representing the Council Oak Tree and the founding of Tulsa by the Creek tribe, and (from the Tulsa Flag informational video) “the discovery of oil that brought people and commerce to our city.”

In his preface to “Tulsa,” Clark wrote, “once the needle goes in, it never comes out.” Of course, he wasn’t talking about oil rigs, which shaped this town in a different way than its drugs habits. Clark skipped town decades ago, but many people here continue to struggle with the same or similar drug problems.

In this issue, on page 12, Dan Riffe posits Tulsans would benefit from a needle exchange.

There’s obviously a lot to unpack just in the postcard alone.

So as not to get too heavy here, I’ll remind you that festival season is upon us (see our guide on page 19). It’s a time, as always, to celebrate the things in life worth celebrating. Let’s also consider the things in Tulsa worth changing. a

LIZ BLOOD

MANAGING EDITOR 6 // NEWS & COMMENTARY

May 3 – 16, 2017 // THE TULSA VOICE

tulsaexpat

I

’m waiting for a train in the Gare d’Amiens when a man, about 30 years old, with wide blue eyes and black teeth, puts his hand on my shoulder.

“Bonjour.”

“Bonjour?”

“Monsieur, do you have some … smoking papers?”

“Non. Sorry.”

“Where are you from?”

“Les États-Unis.”

“Okay. But where?”

“Oklahoma.”

“But why are you here, not in Paris? Amiens is so poor.”

“I’m interested in Amiens because it relates to my own—” “Do you like to smoke? Drugs?”

“Merci, monsieur, mais non …”

The man abruptly walks away.

He moves frantically along the train platform, weaving between pillars of chipped concrete, until he disappears at the far end, behind a pink vending machine.

Earlier that morning I arrive from Paris Gare du Nord to Amiens.

In 2005, Amiens was designated a sister city to Tulsa by Sister Cities International, a non-profit organization that pairs American and foreign cities in partnerships emphasizing cultural, educational, and economic exchange.

For Tulsa and Amiens, this has meant shared interest in entrepreneurial projects, initiatives like the cultural immersion program at Eisenhower International School, and local events celebrating the other sibling’s culture. The most notable event thus far may have been the 2013 Amiens International Film Festival, featuring a “Tulsa Oklahoma Cinéma” retrospective of some of the deeper cuts in Tulsa-centric film, as well as “Twister.”

“Tulsa and Amiens have taken diverse historical paths,” said Stéphanie Dapsance-Dixon, Directrice of European and International Affairs for the Amiens Municipal Office. “But these paths are intense and present in our respective heritages—for one, Gallo-Roman history, flamboyant Gothic style, and wars of the 20th century, and for the other, Cherokees, Creeks, the discovery of oil, and art nouveau. Nothing which leaves one

THE TULSA VOICE // May 3 – 16, 2017

A defaced Marine Le Pen presidential poster next to an Emmanual Macron poster in Amiens, France ELLIOT RAMBACH

SIBLING BOND ACROSS THE POND

Visiting Tulsa’s sister city in a fraught political moment

immigrants and pushing an agenda of national security and “economic patriotism.” In Amiens, a factory operated by the U.S. appliances manufacturer Whirlpool has become Exhibit A for the decline of French industry—the plant will close next year, with 286 jobs moving to Poland. In interviews with the press, several workers at the factory have said they will vote Le Pen, or not at all.

In the first round in Amiens, Macron took 28 percent of the vote; Le Pen got 18 percent. The entire region, however, shows Amiens as an outpost of Macron support in a sea of Le Pen. Unlike Oklahoma’s electoral map from last year, with red Trumpian hellfire scorching all 77 counties, there were outliers among rightwing dominance, foremost among them Amiens.

The second round of the French election is Sunday, May 7, and polls favor Macron. Posters hanging throughout Paris read “Emmanuel Macron président” in a blocky, youthful, light-blue font resembling the one Hillary Clinton used in her campaign last year.

by ELLIOT RAMBACH indifferent, but, on the contrary, only heightens further interest.”

Though the logic here is debatable, Tulsans should take note of their sister city during this fraught moment in global politics. In France’s current presidential election, a win for the Front National’s Marine Le Pen could lead to the splintering of the European Union and another would-be autocrat stoking instability at the highest levels of world government. The tipping point in Le Pen’s success could be Tulsa’s own sister city, Amiens, and its economically depressed region, Hauts-de-France, which stretches from just above Paris to the English Channel.

Recently, this part of France has come to represent the same industrial, working-class demographic that elected Donald Trump.

France elects its presidents in a two-round system. This year’s

first round took place on April 23, and was widely seen as a toss-up between four candidates. Le Pen emerged as one winner and the other was Emmanuel Macron, a 39-year-old former investment banker who founded his own political party, En Marche!, last year.

Macron, who has never held elected office, is a centrist.

Though his message—investment in high-tech jobs, streamlining of France’s social benefits system—doesn’t fit naturally with the rural-industrial demographic in Hauts-de-France, Macron is a son of Amiens, born and raised.

His potential for success here has been viewed as a gauge for possible support in other industrial and rural parts of France.

Le Pen, a savvy career politician, has polled high in and around Amiens; since 2011 she’s collected support by demonizing

In Amiens, I notice a bookshop displaying a graphic novel with Marine Le Pen, Donald Trump, and Vladimir Putin, all blond and blue-eyed, on the cover. Its title is La Vague, “The Wave.” A woman working inside explains that it’s the third in a popular trilogy dramatizing a future with Le Pen as présidente.

“Is she very popular in Amiens?” I ask.

Her face tenses. “There are people who support her.”

“What about the surrounding area?”

“Of course. In Amiens, Macron has some support, but further out, they will vote for her.”

I recognize the tension in her face—simultaneously a pride in one’s home and an embarrassment at what it may represent to others.

For the first time I feel a sort of sibling bond with Amiens. a NEWS & COMMENTARY // 7

! t n e s e

e R okpolicy

Indigent Defense System needs $1.5 million to avoid a constitutional crisis

by RYAN GENTZLER

I

n recent weeks, the Legislature has scrambled to provide enough funding to hold agencies over until the end of the year: nearly $35 million to DHS, and over $700,000 to the Oklahoma Indigent Defense System (OIDS).

Though it’s a relatively unknown and small agency, OIDS plays a critical role in the justice system, ensuring that people accused of crimes have the right to a “fair and speedy trial” as guaranteed by the Sixth Amendment to the U.S. Constitution.

Oklahomans who are charged with crimes but can’t afford an attorney to represent them are provided one by OIDS, either through a staff attorney or a contract with a private attorney. (Tulsa and Oklahoma counties have separate public defender offices, which do not receive appropriations from the Legislature.) When these offices don’t receive enough funding to fulfill their duties, they risk violating our constitutional right to representation.

8 // NEWS & COMMENTARY

OIDS has been inching toward insolvency for years, as the need for representation continues to grow while funding drops. This year, in order to avoid a legal crisis, the agency’s budget must be returned at least to the barely-adequate level of funding provided at the beginning of FY 2016. That will require $1.5 million more than what they got in FY 2017.

If the Legislature does not fund Oklahoma’s constitutional duty to provide indigent defense, we risk a crisis like the one happening in New Orleans, where public defenders are refusing felony cases they can’t represent properly and insisting that innocent clients were sent to prison for lack of representation. Out of that crisis, Oklahoma could be forced to release thousands of defendants, innocent and guilty alike.

It wouldn’t be the first time Oklahoma faced a crisis over indigent defense. In 2002, the OIDS was sued by the Kay County District Court for failing to provide

an attorney for two defendants.

The agency argued that it did not have enough money to do so, and the Supreme Court ruled that the two defendants be released if they were not provided counsel.

Ultimately, the court stepped in to hire an attorney for the defendants, who were charged with drug crimes, assault and battery, and burglary.

Since that year, OIDS has seen their total caseload rise by nearly 50 percent, while their appropriations have dropped by almost 35 percent. Just between 2015 and 2016, the total number of cases they handled rose by 17 percent, mainly because overworked attorneys had to carry over cases from previous years. Last year, OIDS staff attorneys handled caseloads that were 2.6 times higher than national standards.

This year, the Legislature was able to avoid disaster again by providing emergency funding.

But as lawmakers have instructed agencies to prepare scenarios for

cuts up to 14.5 percent this year, that may be even harder to accomplish. More budget cuts could force Oklahoma to release thousands of defendants due to lack of representation. OIDS reported that 5 percent cuts could mean the release of 2,300 defendants, and 15 percent cuts could mean the release of up to 11,200 defendants in 21 counties.

Compared to other obligations, like funding education and health care, the price to bring OIDS up to a minimally adequate level of appropriations is relatively minor— about $1.5 million to return to FY 2016 levels, according to Deputy Director Craig Sutter. Fulfilling this request may not be easy in the state’s dire financial straits, but the alternative is failing to perform a basic constitutional duty. a

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

May 3 – 16, 2017 // THE TULSA VOICE

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

Up to $300 compensation will be provided for completing the study.

CONTACT: Psychophysiology Laboratory for Affective Neuroscience (PI: Jamie Rhudy, PhD)

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And God saw everything that he had made, and, behold, it was VERY GOOD.

Best Museum

BEST OF TULSA READERS’ CHOICE 2017

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SAVE THE DATE June 25, 2017 Philbrook Museum

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Free with museum admission. Seating is limited.

Foster’s artistry and creative output have been lauded regionally and nationally. Outside of her three GRAMMY nominations, Foster has been recognized by the Austin Music Awards, Blues Music Awards and Living Blues Awards.

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Rediscovered by Philbrook.

Dates extended by popular demand!

May 14, 2017 February 5 – May 7, 2017

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TU is an EEO/AA Institution.

Music On Exhibit is sponsored by The Albert and Hete Barthelmes Foundation, Inc.

GILCREASE.ORG THE TULSA VOICE // May 3 – 16, 2017

NEWS & COMMENTARY // 9

viewsfrom theplains

The unbearable arrogance of the ungrateful plumber Markwayne Mullin in Washington

by BARRY FRIEDMAN

O

klahoma’s 2nd District Republican Rep. Markwayne Mullin, long before characterizing his House of Representatives gig as a grind for which he believes his constituents should be grateful he undertakes (more on that in a moment), has always been something of a sanctimonious, unconscionable hypocrite.

Remember this?1 So I’m in Crystal City and I’m buying my groceries … and I noticed everybody was giving that card. They had these huge baskets, and I realized it was the first of the month.

But then I’m looking over, and there’s a couple beside me. This guy was built like a brick house. I mean he had muscles all over him. He was in a little tank top and pair of shorts and really nice Nike shoes. And she was standing there, and she was all in shape and she looked like she had just come from a fitness program. She was in the spandex, and you know, they were both physically fit.

And they go up in front of me and they pay with that card. Fraud. Absolute, 100 percent, all it is is fraud … it’s all over the place. And there you go, to the fact that we shouldn’t be supporting those who won’t work. They’re spending their money someplace.

That was the representative in 2013, deciding that the SNAP (Supplemental Nutrition Assistance Program) was a total fraud because one woman standing next to him at a grocery store looked like “she had just come from a fitness program” and the 10 // NEWS & COMMENTARY

11.9% go to households with disabled persons, and 10% go to households with senior citizens.

To Mullin, though, if you need nutrition assistance, you must act and look like it—emaciated, contrite, like Oliver Twist meekly asking, “Please sir, I want some more”—before he approves of you eating.

And use the small baskets, you leeches.

Mullin, the owner of a Mullin Plumbing (still, though he’s in his third term in congress), can’t shake the lure of the trucks of the Red Rooter.3 The Office of Congressional Ethics said in its report that Mullin may have violated House rules and federal law by accepting more than $600,000 in earned income, well above the $27,000 limit for House members; and the office said Mullin may have violated House rules by appearing in broadcast ads promoting the company and in a home improvement show.

Congressman Markwayne Mullin has represented Oklahoma’s 2nd Congressional District, which includes Claremore, Tahlequah, and Muskogee, since 2013. | COURTESY

guy she was with “had muscles all over him.”

Such are the Kreskin-like socioeconomic insights from a man, a plumber by trade, who can take a quick look at quads and pecs and decide if the bearer of such tonality and muscularity is able to work.

Mullin got just about everything wrong2:

SNAP eligibility rules require that participants be at or below 130% of the Federal Poverty Level. Recent studies show that 44% of all SNAP participants are children (age 18 or younger), with almost two-thirds of SNAP children living in single-parent households. In total, 76% of SNAP benefits go towards households with children,

Mullin was so appalled that his integrity was being questioned by investigators that he supported those legislators4 who criticized and wanted to do away with— wait for it—the investigators.5 House Republicans, overriding their top leaders, voted on Monday to significantly curtail the power of an independent ethics office set up in 2008 in the aftermath of corruption scandals that sent three members of Congress to jail.

May 3 – 16, 2017 // THE TULSA VOICE

Lovely.

Back to our show.

Mullin, as many of you know, sprung a leak last month when he told constituents during a town hall meeting that he, not they, pays his salary and, if truth be told, doesn’t even like the damn job.6 “You say you pay for me to do this? That’s bullcrap. I pay for myself,” Rep. Markwayne Mullin told constituents at a town hall in Jay, Oklahoma.

“I paid enough taxes before I got here and continue to through my company to pay my own salary. This is a service. No one here pays me to go.”

For the love of a discharge hose, really?

“This is a service for me, not a career,” he said. “I thank God this is not how I make my living.”

This is why you thank God? The job, which he mocks, pays him $174,000 per year—an amount he apparently considers chump change. So, I have two questions: 1) Why take the job?

2) Can we have the money back?

The institution he belittles, the congress he condescends to frequent, and the funding mechanisms against which he rails (read: Obama’s stimulus package) also saved his company from the septic tank.7 Markwayne Mullin, who has made reigning in federal spending a centerpiece of his campaign, said he … was unaware a federal program he has criticized was the source of the money.

Really?

“We didn’t know,” Mullin told the AP in a telephone interview. “We send out bids every day. We’ve got 120 employees we’ve got to keep busy. We got paid for doing the work through the Cherokee Nation. We worked for the Cherokee Nation.”

Didn’t know? Whatever, dude.

On behalf of taxpayers, you’re welcome, by the way.

There are a lot of things he didn’t know.

THE TULSA VOICE // May 3 – 16, 2017

“This country isn’t ran [sic] by just one individual, it’s ran [sic] by four branches, but three branches that are in control of this. As long as those three branches control it, then we all have to figure out how to negotiate.

Not all of us is [sic] going to get 100% of what we want, but we should do what’s right.”

Caramba!

But wait, he does want 100 percent.8 “If we want to put prayer back in our schools, our communities have to stand up; the churches have to stand up; the parents have to stand up. They have got to say, ‘No, we want it in our schools.’ We’re going to do what we want to do because it’s our schools. It’s our public schools.”

de Tocqueville weeps.

Mullin, like his colleague 1st District Representative Jim Bridenstine, has always danced with the GOP fringe and savored the burnt crust of their misshapen and odd-tasting American pie. To wit, when asked by some lunatic named the “Birther Queen” about his thoughts on President Obama’s legitimacy after the 2012 campaign, Mullin had a big sad.9 “I believe what you’re saying and I don’t support this president whatsoever. But, ma’am, we lost November 6th. We had the opportunity to get another president in there ... We had four years to take care of that. Our country’s facing some serious issues. If the rest of the American people thought that was a big enough issue, which I thought it probabl y would’ve been. Who would’ve thought we would ever actuall y be questioning if we had a natural-born president being president?

Who would’ve ever thought that we’d actuall y be there? ... So when I say we lost the argument, we lost that argument. Now let’s move on to some other issues. I believe it’s still there, but my God if we didn’t prove it the first four years, what do you think the chances are now?”

“I believe what you’re saying …”

Mullin is the embodiment of legislators who think their role is to ridicule the very notion of governance, who perpetuate lies and fears and misinformation because it sells and snugly fits into a callow, incurious worldview, of legislators who hate politics. Look at his website, mullinforcongress.com.

He’s been in congress going on six years and is still reminding people he’s not a politician. He deals in bromides and bombast, then hides behind his own pissy ignorance and … wait for it.10 “Recent blog posts and media reports claiming Congressman Mullin has filed for re-election are inaccurate,” Mike Stopp said in a written statement. “These false reports appear to have been generated by a routine filing with the Federal Election Commission. Congressman Mullin and his family are continuing to pray about this important decision.”

So what do you call it when a politician trots out God to inoculate himself from criticism and to appear modest, humble, and holier than thou?

Bullcrap. a

1) thinkprogress.org: Congressman Claims Widespread Fraud Because He Saw ‘Physically Fit’ Couple use Food Stamps 2) snaptohealth.org: Frequently asked questions 3) newsok.com: Oklahoma Rep. Markwayne Mullin faces continued ethics review of involvement with his plumbing company 4) newsok.com: Members of OK congressional delegation critical of ethics office 5) nytimes.com: With No Warning, House Republicans Vote to Gut Independent Ethics Office 6) cnn.com: Oklahoma congressman: It’s ‘bull crap’ that constituents pay my salary 7) claremoreprogress.com: Mullin unaware of stimulus funding 8) tulsaworld.com: Markwayne Mullin calls for school-led prayer, support for Israel during telephone town hall 9) freedomoutpost.com: Oklahoma Congressman admits Obama ID is a Fraud, but says “I don’t give a s**t” 10) tulsaworld.com: Rep. Markwayne Mullin isn’t sure whether he’ll run for re-election, but his campaign filed the paperwork just in case NEWS & COMMENTARY // 11

community

A little harm reduction goes a long way Does Tulsa need a needle exchange?

by DAN RIFFE

T

he Oklahoma State Department of Health only tracks acute hepatitis C cases, “which makes no damn sense,” said Samantha Young of Health Outreach Prevention Education, Inc. (H.O.P.E.), an HIV, hep-C, and STD testing clinic in Tulsa.

“In 2016, we did 716 hep-C tests—we had 122 come back positive,” Young said. “It’s huge.”

Hepatitis C is spread through blood contact—primarily intravenous drug use, improperly sterilized medical equipment, needle stick injuries, and transfusions.

After all, this is Larry Clark’s Tulsa—methamphetamine and heroin are affordable and prevalent, and overdoses are surging.

Clark said in an interview with Marc Maron last year that he sees even more drugs here now than in the days of creating “Tulsa.” The introduction of OxyCotin in 1996, and other pain relieving drugs, lead to an uptick in needle use as some pharmaceutical companies encouraged doctors to take a different approach to pain by not worrying so much about addiction.

But humans have been injecting themselves since the 19th century, when Alexander Wood, a physician who theorized administering an opiate closer to a nerve might 12 // NEWS & COMMENTARY

enhance pain relief, invented the hypodermic syringe. As soon as this metabolizing cheat was perfected, it made its way to the masses and infiltrated pop culture.

If more and more people are using drugs and our society wishes to reduce drug abuse and the amount of harm resulting from it, how do we do that?

Needle exchange facilities are one way. They reduce the most detrimental effects from IV drug abuse by providing two resources to addicts: education and sterile, single-use needles.

“Needle exchange is the most cost effective public health intervention since the Heimlich maneuver,” said Dr. Peter Davidson, assistant professor of medicine at UC-San Diego. “A needle costs 10 cents; HIV costs $618,900 over a lifetime.”

Needle exchanges work on premise that you get one clean needle for one dirty needle—an exchange—so there are zero additional needles on the street. In fact, in cities with needle exchanges, drug users have incentive to collect used syringes from public places. So, you have less hazardous paraphernalia in your parks and streets, fewer incidents of blood-borne diseases like hep-

atitis, and exchange sites often have medical professionals and counselors available, too, who can lead addicts into treatment when they’re ready.

“It doesn’t lead to more people using drugs,” said Davidson.

The H.O.P.E. testing clinic distributes kits with cookers, alcohol prep pads, tourniquets, cotton filters, sterile water, and bleach— everything you need to safely inject, except the needle. H.O.P.E. is legally constrained from distributing needles. Samantha Young thinks a needle exchange would be a great thing for Tulsa.

“They’re providing a place for people to dispose of old needles,” Young said. “You get rid of biohazard by having it burned.”

Taking your rig to the needle exchange would be infinitely better than flipping it out your car window into the QT parking lot.

In Oklahoma, the evangelical desire to impose codes of morality on our public battles with rationalist approaches—like whether or not teens should be taught abstinence or safe sex—harkens back to our Puritan roots, and we’re still suffering that hangover.

“I’m not a moralist … I can see the wisdom in a needle exchange,” a local pharmacist (who

wished to speak without attribution) told me.

The legality of purchasing needles from a pharmacy without a prescription for steroids, allergy drugs, or insulin is on a county -by-county basis in Oklahoma, with no statutes against it in Tulsa County. CVS has a nosyringes-without-a-prescription policy; Walgreens’ website claims needles are available without a prescription.

However, when I asked for a pack of 10 1cc allergy syringes at the Walgreens at 15th and Yale, the pharmacist refused to sell them to me, saying that it was up to her discretion.

I asked a local attorney his opinion of the potential liability of selling needles at pharmacies to people without a prescription.

“A seller arguably should not be allowed to provide needles to people sans prescription, etc. because the seller could possibly be on notice that the needles would be used for purposes that could cause harm to another,” he said. “It’s not a particularly strong argument but it could and likely would survive a motion to dismiss in state court in Oklahoma.”

The closest needle exchange to Tulsa is in Fayetteville, Arkansas. a May 3 – 16, 2017 // THE TULSA VOICE

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THE TULSA VOICE // May 3 – 16, 2017

BRADY ARTS DISTRICT GUIDE // 13

downthehatch

Get the Dermer's BBQ Chicken Pizza all up in your grill.

Festival gear, plus a bottled Negroni cocktail. Note: don’t actually use a glass bottle. | ANDREW SALIGA

FESTI-DRINKING Me telling you how to do something, doesn’t mean that you should

by ANDREW SALIGA

F

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14 // FOOD & DRINK

estival season is about to be in full swing and—unless you’re attending a beer or wine festival—the drink selection will likely leave something to be desired. I’m not asking for a DIY Bloody Mary bar or bottomless mimosas, just a simple way to enjoy a slightly better drink while listening to live music. Certainly, if one is able to legally fill their quart-sized plastic zipper bag full of mini bottles and pass through the TSA, there is a way to elevate the outdoor drinking experience at a festival—it just requires some creativity.

While I can’t divulge the secret to how I personally sip cocktails wherever I please, I can offer a few suggestions as to how I hypothetically would. First, skip the known techniques: the “wine rack” bra, the flask disguised as binoculars, fake shampoo bottles, etc. These are the ways of amateurs, and amateurs don’t make it beyond the entrance to enjoy the spoils of victory. Pros hide in plain sight. To do this, pre-mix your ingredients, or, if you’re feeling adventurous, bottle a cocktail.

First off, avoid glass bottles.

That’s the fastest route toward confiscation. Second, prepare a recipe that works well with the ingredients that will be available—

like a shandy, which is essentially beer and lemonade. There are different regional shandy variations, but I’d suggest not putting too much thought into it and making a blackberry-lemon syrup: Combine two cups of blackberries, two cups of sugar, one cup of water, and the zest and juice of three lemons in a blender.

Blend, then pour into saucepan and simmer for 10 minutes.

Strain and bottle. Once you’re at the venue with a cheap beer in hand, simply take a swig of the beer then add an ounce of the syrup. This syrup can even be combined with vodka or gin and then topped with lemon-lime soda or club soda.

If you prefer to bottle a cocktail, ones without carbonation or fresh juices, like the classic Negroni, work best. For five Negroni servings: Combine five ounces each of gin, Campari, and sweet vermouth, 3.75 ounces of water, and 10 dashes of orange bitters.

This is just enough to fit in a 20-ounce bottle.

If anyone asks you where you got the idea, say “the Internet.” a May 3 – 16, 2017 // THE TULSA VOICE

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FOOD & DRINK // 15

GET A LITTLE

W E I R HABIT FESTIVAL 2016

In its second year, Habit Mural Festival will cover the Gateway Building in new art

BY AL ICIA CHESSER PHOTOS BY HOL LY PEEVY H O U S E 16 // FEATURED

ON MAY 13–14, THE SECOND ANNUAL Habit Mural Festival will bring 18 artists from as far away as Los Angeles and as close as Brady Heights to the Gateway Building, a warehouse at 856 E. 1st St., just off the highway on the outskirts of the East Village.

The artists—big names like Donald “Scribe” Ross and Adam “Codak” Smith (currently a Tulsa Artist Fellow) and locals like Jake Beeson and Chris Sker—will paint live all day, both days. On Sunday, First Street Flea will happen just inside the building, along with screen printers from Flash Flood Print Studios from 9 a.m. – 4 p.m. Andolini’s food truck will be standing by from 11 a.m – 3 p.m.

On both Saturday and Sunday, Scribe will be painting a mural in the alley at 11 E. M.B. Brady St. in the Brady Arts District.

The artists will sweat. They’ll teeter on ladders while juggling brushes and spray paint. They’ll transform a building that was once nearly invisible into color and pattern and energy—all with the knowledge that their art could be gone tomorrow.

“You can put something up on the wall and the next day you could have someone come paint a big weed leaf over it,” said Aaron Whisner, who started Habit last year. “All these artists come from that background. The tem-

porality of the whole thing is what appeals to them. That’s just part of it. How this artwork interacts with daily life.

Even over time, this stuff isn’t going to last. A piece could fade in a couple of years. That’s just the nature of it.

“A lot of these guys have backgrounds in graffiti and skating and stuff,” he continued. “The mentality is more short-sighted. ‘This is what I’m doing today; if it gets messed up it doesn’t matter.’”

Whisner said that commitment to painting no matter what is where the festival’s name originated.

“For a lot of these artists, this is like a habitual thing we do. Only recently has it started to explode with all the festivals happening.”

Whisner had the idea for Habit a couple of years ago, when his Clean Hands Army painted a mural on the side of The Mayo parking garage for the Tulsa Office of Film, Music, Arts and Culture. He was amazed by the number of people who came out to watch them paint.

“Before that, I thought it’d be cool to do a mural festival in Tulsa, since they’ve become popular in other cities in the past four or five years,” he said.

Vancouver, Houston, Montreal, and even Ft. Smith, Arkansas, have bustling festivals every year, with thousands coming to check out the May 3 – 16, 2017 // THE TULSA VOICE

R D E R live painting and the staggering final products.

Seeing the crowd at the Tulsa FMAC event solidified Whisner’s idea that Tulsa could also have a vibrant mural festival. But, getting permission and donated space was slow-going.

Mary Beth Babcock, one of Oklahoma’s most prominent supporters of public art, asked developer Michael Sager to help bring Whisner’s dream to life.

“How about a 60,000-square-foot building?” Sager replied.

“Sager was just moving into the warehouse where we’re doing the festival now and said we could paint the whole thing,” Whisner said. “So instead of trying to find a bunch of different walls all over, we ended up making that the main focal point.”

Whisner described the building as so nondescript that people would just drive by without noticing it.

“Now there are always people pulling over to take photos.”

Street art turns heads. And it has a way of turning things around—not just for buildings, but for people.

For Whisner, it started with a little shop called Thing One on the old Brookside strip. It sold graffiti magazines and records and markers. Whisner—a high school kid in this quiet corner of the Midwest—was smitten.

THE TULSA VOICE // May 3 – 16, 2017

“This was before the Internet,” he said, “so this opened my eyes to a whole different art world. I was already into art, but graffiti and hip hop culture were things I didn’t have much exposure to.”

He embraced the street art aesthetic and culture and went on to become a noted Tulsa graffiti artist working under the tag “awhiz.” He founded the brand Clean Hands, painted the Woody Guthrie mural just south of Guthrie Green, and last year, launched Habit.

His work has made graffiti art as accessible for others as Thing One made it for him. For Sarah Sullivan, a textile artist and painter, it was the old Clean Hands shop in the Pearl District that lit her up.

“I was obsessed with that little shop,” she said. “Tulsa has limited retail in general—especially in street style culture. And it had art supplies.

So I was there a lot.”

Under the name Sullystring, she’ll paint her first-ever mural for Habit this year, and is excited to see street art in Tulsa become more diverse.

“That’s partly why I wanted to do this,” she said. “Justin Baney, who works with Aaron, broke that barrier for me by saying, ‘We want people to do this who either haven’t done it before or it’s not their usual medium. We want to get a little weirder with who’s doing

the art.’ I was like, well, I fit both of those categories!”

Sullivan has a background in graphic design but found her way to weaving and small-scale works on canvas. Her canvas for Habit, in contrast, is a 10’ x 40’ wall, one she can’t exactly turn upside down or sideways halfway through, the way she does in her smaller work.

Moreover, she laughed, “I’m not a sketcher or planner. Everything I do, especially with painting, I’m 100 percent winging it. I can’t do that entirely with this because it’s a one-take situation.”

Sullivan relishes being pushed into unfamiliar artistic territory and said that in addition to the catharsis of translating her work onto a giant scale, the visibility the festival provides is exciting.

Longtime Oklahoma graffiti and mural artist Sker agrees.

“Habit can play a valuable role in helping to shape a positive image of street art in the eyes of the public,” Sker said. “Most people only see graffiti or street art very rarely, and usually only in passing. Habit allows the artists to take their time and focus their energy on creating some truly high-quality pieces, so the public is the ultimate winner here.”

“I firmly believe in public art,” Whisner said. “The cities you love and

visit and feel like something is going on are usually cities that support this type of work and have a thriving street art community. For me the festival is a way to help people see this type of artwork up close without just having to see it on the Internet or on a family vacation.”

Whisner doesn’t have a long-term vision for Habit, but thinks that with enough support it could grow into an event that makes Tulsa a street art destination like Montreal or Houston.

“It all boils down to the people with the wall space understanding that we can’t really do it without … walls,” he laughed. “I would love to have locations all over the place, but it takes more than just our willingness to organize it. You’ve got to have everyone in the community behind it.”

Street art is part of the landscape and the life of a community the moment it goes up. By bringing life and color to desolate places it shakes up people’s perspectives and brings them together around something vivid and unexpected. Murals like these—especially when painted live in front of the very citizens who’ll coexist with them day in and day out—can strengthen the feeling that a place is really thriving.

In the city Forbes recently named as the best place for young entrepreneurs, that’s a feeling worth cultivating. a FEATURED // 17

18 // FEATURED

May 3 – 16, 2017 // THE TULSA VOICE

BLUE WHALE COMEDY FESTIVAL

T U L S A’ S SUMMER F E S T I VA L GUIDE

OKLAHOMA RENAISSANCE FESTIVAL

F e s t

Saturdays and Sundays, April 29–June 4 + Memorial Day | The Castle of Muskogee $5.95–$69.95 | okcastle.com Experience the sights, sounds, and flavors of Renaissance England, complete with a king and queen, knights, vendors, and performers of all kinds.

INTERNATIONAL JAZZ FEST

w i t h

t h e

b e s t

Fri., May 5, 6 p.m. | Guthrie Green Free | tulsajazz.com Curated by TulsaJazz.com, this free concert will feature performances by The Clark Gibson Studio Orchestra, Branjae Jackson, Cynthia Simmons, Prima Cuerda, Michael Rappe Sextet, and more.

TULSA OVERGROUND FILM & MUSIC FESTIVAL

Fri., May 5, and Sat., May 6 | Brady Arts District | Films and passes from $10–$70 Films, virtual reality, bands, and more. Check out our coverage of Tulsa Overground starting on page 24.

GERMANFEST

It’s festival season once a g a i n i n Tu l s a . W e ’ r e i n f o r a veritable festi-smorgasbord in the coming months, so plan ahead.

If your interests take you into the realms of music, performance, diverse cultures, film, food, or good drink(s)—there are sure to be more than a few soirees in the following pages that you won’t want to miss.

Let this issue of TTV be your guide.

We’ll see you in the wristband line. +++ THE TULSA VOICE // May 3 – 16, 2017

Fri., May 5–Sun., May 7 | German American Society of Tulsa | Free | germanfest.gastulsa.org Celebrate German culture with traditional food, song and dance, art, and activities.

ROOSTER DAYS

Thurs., May 11–Sun., May 14 | Central Park, Broken Arrow | Free admission, ride passes available for $25–$45 | roosterdays.com First held in 1931, Oklahoma’s oldest festival features carnival rides and games, an indoor/ outdoor marketplace, 15K run, and the annual parade and Miss Rooster Days Pageant.

DODGEBRAWL

Sat., May 13, 10 a.m.–5 p.m. | BOK Center Free to attend | bokcenter.com Dodgeball takes the spotlight at this annual single-day tournament at BOK Center.

MISFEST

Sat., May 13, 2 p.m.–11 p.m. | River West Festival Park | $20–$65 | misfest.com Created to empower women and support the YWCA and River Parks, MisFEST performers include KALO, Casii Stephan, Branjae, Fiawna Forté, and Vagittarius.

HABIT MURAL FESTIVAL

Sat., May 13–Sun., May 14 | Brady Arts and East Village Districts | Free | habitfestival.com 18 artists from around the country descend upon downtown Tulsa armed with cans of spray paint. For more information, see page 16.

BICYCLE FILM FESTIVAL

Mon., May 15–Wed., May 17 | Circle Cinema $5 per night | circlecinema.com Three themed nights of bicycle films, including BMX Night, Tulsa Tough Night, and Bike Shorts.

MAYFEST

Thurs., May 18–Sun., May 21 | Deco District Free | tulsamayfest.org Mayfest boasts works by over 100 artists in indoor and outdoor exhibits and booths, three outdoor stages, dozens of bands, and activities for the whole family. Music headliners include Tulsa-based Prince tribute Vince and the Revolution, Eric Himan, and Wisconsin bluegrass and roots band Horseshoes & Hand Grenades.

WORLD CULTURE MUSIC FESTIVAL

Thurs., May 18–Mon., May 22 | Soundpony and Yeti | Free | worldculturemusicfestival.com WCMF is five days of up-and-coming independent and underground hip hop artists from Tulsa and the surrounding area. Performers include Steph Simon, Earl Hazard (aka Mr. Burns), Verse, Pade, Surron the 7th, and many more.

BLUE DOME ARTS FESTIVAL

Fri., May 19–Sun., May 21 | Blue Dome District | Free | bluedomearts.org Blue Dome celebrates the art of Tulsa with over 250 local artists and vendors, local flavors from Harden’s Hamburgers to Lone Wolf Banh Mi and beyond, and two dozen performances from the likes of Animal Names, The Danner Party, and American Shadows.

FEATURED // 19

THE HOP JAM

OKLAHOMA RENAISSANCE FESTIVAL

MAYFEST

THE HOP JAM

Sun., May 21 | Brady Arts District Free admission, beer passes + VIP tickets available for $40–$100 | thehopjam.com The Hanson brothers’ beer and music festival will feature 65 breweries from around the world and performances by Mayer Hawthorne, KONGOS, John Fullbright, Castro, Johnny Polygon, and Hanson themselves.

SUMMER STAGE TULSA

Thurs., May 25–Sun., June 25 | Tulsa Performing Arts Center | Prices vary per performance summerstagetulsa.org Summer Stage is comprised of over two dozen theatrical and musical performances of a wide variety of genres.

SAKURA FESTIVAL

Fri., May 26, 7 p.m. | Guthrie Green Free | facebook.com/tokyointulsa Rescheduled from April, Tokyo in Tulsa presents this traditional celebration of the blooming of Japanese Cherry Blossoms, featuring movies on the lawn, karaoke, cosplay, and more.

ROCKLAHOMA

Fri., May 26–Sun., May 28 | Pryor | $72–$197 rocklahoma.com Rock out in Pryor with Def Leppard, Soundgarden, The Offspring, Seether, Ratt, and more.

ROUTE 66 PATRIOTFEST

Sat., May 27, 7:30 a.m.–3 p.m.

Route 66 Village | Free | rt66patriotfest.com Celebrate the US of A with a variety of events and activities, including a car and motorcycle show, pin-up contest, live music, pet contest, and an old-fashioned cruise down Route 66 from one side of town to the other.

REAL OKIE CRAFT BEER FESTIVAL

Fri., June 2, 6–9:30 p.m.

Honor Heights Park, Muskogee $25 | friendsofhonorheightspark.org As its name suggests, this beer fest includes nothing but Oklahoma brewers.

TALLGRASS MUSIC FESTIVAL

Fri., June 2 + Sat., June 3 | Skiatook Sports Complex, Skiatook | $10–$20 tallgrassmusicfestival.com The 13th go-round of this bluegrass festival will feature performances from The Cleverlys, The Baker Family, Southbound Mule, Wood & Wire, and Cowboy Jones, plus a band scramble.

ASIAN-AMERICAN FESTIVAL

Sat., June 3, 11 a.m.–2 p.m. | Martin Regional Library | Free | tulsalibrary.org/asianfestival The Tulsa Library Trust hosts this 15th-annual festival celebrating Asian art, culture, and food.

TULSA PRIDE FESTIVAL & PARADE

Sat., June 3 + Sun., June 4 Dennis R. Neill Equality Center and Centennial Park | Free | okeq.org Tulsa is home to Oklahoma’s largest Pride celebration. Pride begins on Saturday with a parade and street festival, featuring live performances and more, and concludes with the Pride in the Park family picnic at Centennial Park on Sunday.

DEADCENTER FILM FESTIVAL

MVSKOKE NATION FESTIVAL

Thurs., June 8–Sun., June 11 | Downtown Oklahoma City | $150 for All-Access Pass, individual event tickets also available deadcenterfilm.org Oklahoma’s largest film festival features over 100 feature, short, and student films.

BLUE DOME ARTS FESTIVAL 20 // FEATURED

May 3 – 16, 2017 // THE TULSA VOICE

STAND UP • IMPROV • PODCASTS FILM • PARTIES • LIVE MUSIC

KYLE KINANE

DAVID GBORIE GINA BRILLON

JORDAN ROCK NAOMI EKPERIGIN

MORE ANNOUNCEMENTS COMING SOON!

FUNNIEST WEEKEND IN TULSA

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BLUEWHALECOMEDYFESTIVAL .COM THE TULSA VOICE // May 3 – 16, 2017

FEATURED // 21

TULSA TOUGH

OK MOZART MUSIC FESTIVAL

Thurs., June 8–Fri., June 16 Various locations in Bartlesville Prices vary per performance | okmozart.com Over a week of performances including headliners Michael Martin Murphy with the Bartlesville Symphony Orchestra, Wilson Phillips, and Chris Mann, as well as a street party under the Price Tower, jazz at Sooner Park, the Tulsa Symphony Orchestra performing Disney classics at Woolaroc, and more.

TULSA TOUGH

Fri., June 9 –Sun., June 11 Blue Dome and Brady Arts districts, Cry Baby Hill | Free | tulsatough.com The biggest party weekend of the summer. Also, bike races.

GFEST

TULSA BALLOON FESTIVAL

Wed., June 14–Sun., June 18 | E 41th St. & S 129th E Ave. | Free | tulsaibf.com Over 50 hot air balloons will fill the Oklahoma skies during the Tulsa Balloon Festival, which will also feature a large carnival with rides, vendors, music, and more.

G FEST

Thurs., June 15–Sat., June 17 Love-Hatbox Sports Complex, Muskogee $39–$349 | gfestmuskogee.com This second-annual music festival will feature performances from NEEDTOBREATHE, Creedence Clearwater Revisited, Candyland, J.J. Grey and Mofro, John Fullbright, Leon: The Tribute, and more.

JUNETEENTH

JUNETEENTH

Thurs., June 15–Sun., June 18 | Greenwood District | Free | tulsajuneteenth.org Celebrate black culture and heritage through four days of art and music. The weekend’s lineup of music across several genres and venue is yet to be announced.

MVSKOKE NATION FESTIVAL

Fri. June 23 + Sat., June 24 | Claude Cox Omniplex, Okmulgee | Free | creekfestival.com This celebration of the Muscogee (Creek) Nation features an Indian art and food market, stomp dance, rodeo, and free concerts. Keep an eye out for this year’s headliners, which remain TBA. Last year saw sets from Blues Traveler and Bret Michaels.

TOKYO IN TULSA

FOLDS OF HONOR FREEDOMFEST

Tues., July 4, 5 p.m.–10 p.m. | Veterans Park and River West Festival Park | Free riverparks.org/freedomfest It wouldn’t be Independence Day without a fireworks display, and each year, Folds of Honor treats Tulsa to one of the biggest in the country.

WoodyFest is held each year on the weekend nearest Woody Guthrie’s birthday, July 14. Only the first wave of lineup announcements is out, and it includes Arlo Guthrie, Folk Uke, Cole Quest and the City Pickers, and many more.

PORTER PEACH FESTIVAL

Thurs., July 13–Sat., July 15 | Downtown Porter and Livesay Orchards | Free porterpeachfestivals.com Celebrate and enjoy the delicious Porter Peach with arts & crafts, live music, dessert contests, and, of course, free peaches and ice cream.

TOKYO IN TULSA

Fri., July 14–Sun., July 16 | Cox Business Center | $50–$65 | tokyointulsa.com Oklahoma’s largest celebration of Japanese pop culture includes guest speakers and panels, gaming, cosplay, music, manga, and more.

WILL ROGERS & WILEY POST FLY-IN

Sat., August 12, 7:30 a.m.–1:30 p.m.

Will Rogers Birthplace Ranch, Oologah Free | willrogers.com Over 125 planes will fly around Oologah Lake for this day of remembrance for legendary Okie movie star Will Rogers. There will also be a classic car and motorcycle show and activities for the whole family.

WILD BREW

Sat., August 12, 5–8 p.m. | Cox Business Center | $45–$150 | wildbrew.org Sample beers from dozens of breweries from Oklahoma, around the country, and around the world, and food from over 30 local restaurants, all while raising funds for The Sutton Aviary Research Center.

EXCHANGE CHOREOGRAPHY FESTIVAL

Thurs., August 24–Sat., August 26 Walter Arts Center, Holland Hall $40–$90 | thebellhouse.info Three days of performances and workshops with featured artist Bill Wade of Inlet Dance Theatre.

BLUE WHALE COMEDY FESTIVAL

Thurs., Sept. 7–Sun., Sept. 10 Brady Arts District | Ticket prices TBA bluewhalecomedyfestival.com The first round of comedians announced for this year’s Blue Whale includes the voice of Comedy Central (literally): Kyle Kinane, as well as David Gborie, Gina Brillon, Jordan Rock, and Naomi Ekperigin. a

WOODY GUTHRIE FOLK FESTIVAL Wed., July 12–Sun., July 16 | Pastures of Plenty and various locations in Okemah $40–$75 | woodyfest.com 22 // FEATURED

May 3 – 16, 2017 // THE TULSA VOICE

THE TULSA VOICE // May 3 – 16, 2017

FEATURED // 23

OVERGROUND ABOVE AND BEYOND

Multimedia narratives and experiences link Tulsaʼs creative past and emerging future • JOE OʼSHANSKY

TODD LINCOLN AND JEREMY LAMBERTON’S local

legacy, Tulsa Overground Film & Music Festival, is back with an eclectic weekend of film, music, video art, and cutting-edge virtual reality technology Friday and Saturday, May 5 – 6.

Overground 2017 appears leaner, meaner, and better than ever. What’s weird is how they still feel like they are trying to earn it.

“We’re overextending ourselves, because we always want strong additions and the best stuff … which is a good problem to have. But every year we’re learning how to be more efficient,” Lamberton said.

That’s apparent in the two-day schedule, halved from last year, which still packs an equally concentrated punch.

Forty bands, including BRONCHO, The Bourgeois, The Daddyo’s, and Chainmail mixing it up with visiting acts ADULT., Terminal A, The Koreatown Oddity, and Mope Grooves, will be playing all night both Friday and Saturday at The Vanguard, Soundpony, and Chimera. If you wanted to make a weekend out of just the music (see page 33), you easily could.

Along with the band lineup, the virtual reality component has evolved. This year features the festival’s

first Tulsa VR/360 Forum (see page 32), exhibiting the latest tech for VR films and immersive games.

The forum will also offer four panel speakers from the field, including Dylan Roberts of Freelance Society, a VR filmmaker based here in Tulsa.

Those elements are symbiotic with the indelible roster of short and feature films—a reliably rude, yet affectionately weird and vital lineup that, thanks to the efforts of Lincoln and Lamberton, you (quite literally) won’t see anywhere else.

Plus, there will be DJs and food trucks galore.

Holdenville-native, legendary actor, and stalwart gentleman Clu Gulager will hold acting workshops and exhibit a personal selection of directorial works, including his avant-garde, 1969 debut “A Day with The Boys,” as well as the latest iterations of his rock opera “John and Norma Novak,” and the infamous 1992 horror film “Fucking Tulsa.”

Mark Borchardt, of “American Movie” fame, brings his new documentary “The Dundee Project” and his cornerstone film “Coven,” among other selections, and what promises to be a lively Q&A. Meanwhile, festival feature films “Tony Conrad: Completely in the Present,” has its Oklahoma premiere, the

lauded indie sci-fi horror love story “Sequence Break” has its Midwest premiere, and “Haunters,” a documentary about haunted houses, has its world premiere.

Though perhaps the reason to really be psyched is the ultra-rare appearance from Larry Clark, whose infamous photography book “Tulsa” defined the seedy underground of T-Town of the late ‘60s, and whose films “Kids” and “Ken Park” controversially elucidate the lives of outsider teens with a moral and sexual frankness that tends to make basic people super uncomfortable. See our interview with Clark on page 26.

“It’s such a huge honor,” Lincoln said of Clark. “This guy does not do this stuff.”

“More than that,” Lamberton added, “he’s not coming here to screen his newest feature. It’s a specific program of short films he’s never screened anywhere before. We haven’t even seen them. It’s going to be a surprise to us as it is to you.”

By bringing Gulager and Clark, Lamberton and Lincoln highlight the city’s rich film history for a new generation of local artists—and with a badass lineup of musicians, current films, and growing emphasis on VR technology, Overground carves a path into Tulsa’s creative future.

Tulsa Overground Film & Music Festival runs May 5 – 6. See page 34 for a full schedule. Tickets will be available at each venue’s door, but to purchase online or for more information, visit www.tulsaoverground.com.

24 // FEATURED

May 3 – 16, 2017 // THE TULSA VOICE

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1, 2017 2 8 1 Y A M rg w w w .t u ls a m a y fe s t. o THE TULSA VOICE // May 3 – 16, 2017

FEATURED // 25

Larry Clarkʼs homecoming and the dirtiest act he ever saw in Tulsa • JOSHUA KLINE

LARRY CLARK NEVER WANTS TO TALK ABOUT TULSA.

your age then. I was very pleased I could make it—it was something I’d wanted to do for a long time.

But I’m still making films. I did a film a few years ago in Marfa, Texas called “Marfa Girl” and I did a sequel, “Marfa Girl 2,” which we’ve just finished editing. It was a long, long editing process and that’s going to come out this year. And then I have a French film that I’m gonna put out this year, “The Smell of Us.” But my cut of the film—I did the cut for the French, and then I did a separate cut, which is really a different film, which I’m going to distribute myself this year, I think. It’s ready to go, it’s finished. So, I’ll have two films out this year.

His ambivalent relationship with the city—and the controversial photo book named for it—has been made clear, both in press interviews and in the way he’s responded to requests for various appearances.

But Todd Lincoln and Jeremy Lamberton have convinced Clark to return for Tulsa Overground, where the filmmaker will screen several of his more obscure short films.

Despite his salty relationship with press and promotion, he was kind enough to indulge a 20-minute phone call, and, to my surprise, spoke of Tulsa with a nostalgic fondness at odds with the stories I’ve heard over the years.

KLINE: Your relationship with Tulsa, your hometown, has informed and fueled at least some of your work, and the book “Tulsa” put you on the map as a serious artist. What’s your take on the city now versus the Tulsa you knew growing up?

JOSHUA KLINE: I just saw some of your new paintings from the UTA Artist Space, which were beautiful, especially the “Heroin” series. You’re not known as a painter—what inspired you to start?

LARRY CLARK: I always wanted to paint but I hadn’t painted much. I started painting in Paris five or six years ago, and then I had some major surgery on my neck and my back and my spine, and I was laid up in New York for a year.

I couldn’t really do anything so I started painting again.

The doctor had given me a lot of pain medication, so I was kind of one of those people—there’s so many of them now—that get addicted to prescription drugs because of that, the doctor giving you opium. Yeah, so I knew I was getting an opium habit as I was recovering from the surgery, and I kind of got the feeling that I was addicted to heroin. So, I started making these paintings—I painted 10 paintings during that year.

KLINE: Is that something you’re going to keep doing?

26 // FEATURED

LARRY CLARK | RALPH GIBSON

CLARK: Yes sir, yeah, I started painting again and it’s interesting to see where I go now because I’m not taking the drugs anymore, so it’s a whole different mindset. But I’m always working, I’m always making something, no matter what I’m doing. I always find some way to make work, ya know?

KLINE: At Tulsa Overground, you’re going to be showing a series of short films that haven’t been seen much, is that correct?

CLARK: Yeah, yeah, I’m going to show a couple of films. They’re only 20 or 25 minutes long, and maybe I can find a third one, but I have two I’m going to show now, for sure.

One film is an interview of Harold Hunter, who was in “Kids,” my first film. He’s not with us anymore so I’m happy to show the Harold film, which is pretty funny. And then the second film is called “Jonathan.” They’re fun, you’ll enjoy them, I think.

KLINE: Speaking of “Kids,” I found a stray VHS copy of that when I was a teenager, not long after the film had come out. It was one of those movies that I hid in my closet and watched surreptitiously and showed my friends.

It made quite an impression on me at that age.

CLARK: Oh great, great, great. Perfect age to see the film, I think, ya know?

I made it for you. I made it for people

CLARK: I haven’t spent that much time there in the last 10, 20 years, but it kind of seems the same to me. I mean, obviously, buildings have changed, but the people seem to be basically the same. I don’t think the people have changed too much. I don’t know if I can really explain that properly, but it doesn’t seem to be so different to me.

Which is interesting.

The “Tulsa” book hit hard, kind of like overnight—some kind of fame, or infamy, one of the two. And I knew right away that I wasn’t going to live off my ass, I wasn’t going to live off that work. So I just kept working and didn’t look back. I just kept working.

It’s always like that for me, it’s the way I’m built. I always think of everything as a comeback. I don’t like to bask so much. I’m always looking forward, I think, and not trying to live off the past in my head at all. And I think that’s a good thing—that’s a good thing. I don’t even talk about “Tulsa,” the early May 3 – 16, 2017 // THE TULSA VOICE

work, anymore. Such a long time ago.

Amazing how long ago that first book was.

But it’ll be fun to come back to Tulsa again and see my friends. We’re all getting old now, so now’s the time to do that.

KLINE: You have a lot of friends still around Tulsa?

CLARK: I have a few, I have some childhood friends who are still around.

When I was down a few months ago, six or seven of us got together, which was really fun. We had a great time.

I went to Brady Town when I was there the last time, and, you know, that section of town used to be so funky.

It was really funky when I was a kid, and I talked to people that said it was still funky until a few years ago. But it really looks good. I just happened to come into town the day before the [Bob] Dylan show. I was able to get a couple of tickets and we saw Dylan on a Saturday night over there at the musical theater, which was the same theater that I went to when I was a kid and saw all the early rock and roll shows.

I saw everybody—Chuck Berry, Little Richard—everybody back then.

I’ve always thought of myself as really lucky that I was 12 years old when rock and roll started. To be in it at the very beginning … I saw Elvis when I was 12 in Tulsa at the fairgrounds.

Wanda Jackson opened for him, and he came out and it was amazing, just amazing. He did, like, 25 minutes and never stopped moving. It was the dirtiest act I’ve ever seen in my life, I mean it was really dirty. And it was great. All the girls would scream—I went back to school and couldn’t hear for three or four days from all the girls screaming. But anyway, seeing Dylan in the same theater where I saw the greatest rock and roll shows of the late ‘50s was really something. It’s still the same—same bathroom, same trough—it’s fantastic. And the ramp going up to the balcony, where do you see a ramp going up to a balcony anymore? It was just so much fun for me to come back. a

LARRY CLARK FILMS, Q&A, AND SIGNING SAT., MAY 6, 8:30 P.M. – 10:00, FLYLOFT, $15 THE TULSA VOICE // May 3 – 16, 2017

VERVE AND VIGOR, BITS AND PIECES Clu Gulager: not a normal filmmaker • JOE OʼSHANSKY

CLU GULAGER’S PROLIFIC CAREER of film and television roles—most famously the serial western “The Virginian” and the ‘80s cult classic “Return of the Living Dead”—made it somewhat surreal to talk with him, particularly since he’s disarmingly self-deprecating and sincere. When Gulager asked me where I’m from, I told him I arrived in Tulsa with my parents during that late-70s influx of American Airlines employees from New York.

“Your dad and I had something in common,” he said. Gulager also worked (briefly) for American and the job prompted his move from Holdenville, Oklahoma, to the Big Apple, where he began acting.

JOE O’SHANSKY: So, you’re coming to Overground to show short films and film fragments?

CLU GULAGER: Yes, [“John and Norma Novak” and “Fucking Tulsa”] are a portion of the films I’ve made over my life. I’ve always wanted to be a filmmaker. I made my way through life as an actor in New York, then later in Hollywood. But I had yearnings, an equal desire to be a filmmaker. So when I started making a little money, I’d begin as much as I could, and I generally ran out of money partway through the film. So I have portions of films. They are what they are. Bits and pieces, I call it. I’m really not a normal filmmaker.

O’SHANSKY: It was 23 years between “A Day with the Boys” (Gulager’s 1969 directorial debut that earned a Palme D’Or nomination at Cannes) and “Fucking Tulsa” (1992). What was the motivation to direct again?

GULAGER: Basically, filmmakers … are kind of lazy.

But people go to shows, and we are born with that desire to put on some kind of show. It seems to be part of our makeup. But that doesn’t mean you have the wherewithal or the time or the momentum to put on a show. In my case, it took many years. I don’t know if that’s good or bad. It turned out that way.

For instance, Larry Clark. I always wrote my own stuff. Larry … he made a film called “Kids.” The guy who wrote it was one of the finest young minds in the nation, Harmony Korine. Larry took that thing and made a beautiful piece of haute cinema. But mine is not like that. My stuff, they’re not complete motion pictures. They’re partial motion pictures. I did them with a lot of verve and vigor, but I’d run out of money … I’m not proud of the fact I only have bits and pieces of films.

COURTESY THE GULAGER FAMILY

O’SHANSKY: And “John and Norma Novak,” your rock opera—will it play at Overground?

GULAGER: Yeah. I don’t know how many minutes we have. It’s kind of a family project. Most of my films are family projects, in one way or another.

O’SHANSKY: “Fucking Tulsa” sounds brutal—violent and uncompromising—like a straight-up horror film.

GULAGER: I don’t know what you’ll think of it. I’m an Indian and I was raised in what used to be called Indian Territory. A very brutal land, and Indians were displaced from it. Much murder, much mayhem. I think I was kind of brought up to think in terms of brutality. I don’t think I’ve ever gotten out of that. So when I started making films and writing stories—it seems to me, and I’m not pleased with it—all my stories seem to revolve around death. And that’s too bad because there’s lots more to life than murder and mayhem. But that’s the way it is. a Clu Gulager films, Q&A, and signing Fri., May 5, 7:00 p.m. – 8:30, Fly Loft Black Box Theater, $15 Film acting workshop with Clu and John Gulager and Diane Goldner, Sat., May 6, 2:45 p.m. – 4:45, Fly Loft Space 2, $10 FEATURED // 27

S U O E N A R EXT FORCES Mark Borchardtʼs new documentary short explores UFO culture JOE OʼSHANSKY

O’SHANSKY: You’ll be showing that and “Coven” as well?

BORCHARDT: It seems likely. But you know what?

I don’t get into any of this stuff, I just don’t. As soon as I’m done for the day I never think twice about it—I don’t get into it. If someone comes up to me and says, “Hey, you made a film,” I’d be like, “Wow!” I’d be surprised, like, “What do you mean?” It’s the last thing I think about because I’m already working on other screenplays and theater plays. I never give [my projects] a second thought.

O’SHANSKY: So once something is in the bag for you it’s out of sight, out of mind?

BORCHARDT: Yeah, exactly … whatever I’m doing, that’s what I’m thinking about.

O’SHANSKY: Are you writing any short stories, novellas, that sort of thing?

BORCHARDT: All of that stuff. I just had a play produced here in Milwaukee at a one-act festival, which was a great honor.

O’SHANSKY: What’s that called?

MARK BORCHARDT FILMING “COVEN.”

DEAR READERS, it helps if you read this in a Mark Borchardt voice—a blue-collar Wisconsin drawl filled with the amused enthusiasm of a dude with whom you’re enjoying many beers.

Think an optimistic Pickles the Drummer from “Metalocalypse.”

O’SHANSKY: “The Dundee Project” is the first project you’ve completed since “Coven,” am I right?

BORCHARDT: Well, not really, I do a lot of films and lot of writing. It’s like, as time goes by, yeah, it’s probably the first film I’ve done since “Coven,” but that’s not my life. I’m basically a writer.

O’SHANSKY: Tell me a little bit about “The Dundee Project.”

BORCHARDT: Sure. It’s a documentary about Dundee, Wisconsin. Each year they hold an an-

28 // FEATURED

nual event where UFO enthusiasts gather for one day to discuss UFOs and in the evening look to the skies. It’s a nice place on the lake and the central headquarters is a bar and restaurant, so it’s got this really great down-home atmosphere.

O’SHANSKY: It sounds different from what you’ve done in the past, in terms of it being a documentary.

BORCHARDT: No, no, no … Nah, you don’t have to make any radical assumptions (laughs). All I do—the camera and the lights—are an additional pen. I don’t set out to do this or that. I don’t get into small talk. If I’m going somewhere, and it seems appropriate, I’ll bring a camera and I don’t necessarily have to edit the film [in camera], but I shoot all this beautiful footage. It just so happened that I was filming year after year in Dundee, and then because of extraneous forces I put the film together, and now it’s on the festival circuit.

BORCHARDT: It’s called “The Painting.” It’s an absurdist piece. It moves along quickly. I was actually at one of the auditions. I’m not the director or anything—I’m the playwright—and it’s really great to hear professional actors work, and also that the play actually plays, that it keeps its momentum. That’s a great thing.

O’SHANSKY: You Tweeted not long ago about the possibility of “Coven II.” BORCHARDT: Oh, yeah, that’s one of many projects, and it’s kind of like Pavlov’s dog—you say “Coven”; you get a reaction. Whenever I feel like writing, a page here and a page there, an inspiration there and inspiration here, maybe it’s geographical, maybe it’s character-wise, I begin to assemble a piece, you know? It will be a feature. a Mark Borchardt films, Q&A, and signing Fri., May 5, 8:45 p.m. – 9:45, Fly Loft, $15

May 3 – 16, 2017 // THE TULSA VOICE

OVERGROUNDʼS PREMIERE SHOWCASE

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Mark your calendars now and join us in Oct. for even more game badassery.

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THE TULSA VOICE // May 3 – 16, 2017

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TICKETS: XPOTulsa.com FEATURED // 29

OVERGROUNDʼS PREMIERE SHOWCASE

by JOE OʼSHANSKY

All feature films will be shown at Fly Loft, 117 N. Boston Ave. Admission is $10.

TONY CONRAD: COMPLETELY IN THE PRESENT

Sat., May 6, 10:15 p.m. – 11:35

Sat., May 6, 11:50 p.m. – 1:20 a.m.

Written and directed by Tyler Hubby, this compelling documentary about the most iconoclastic avant-garde artist, musician, filmmaker, and teacher you’ve never heard of, “Tony Conrad: Completely in the Present,” makes its Oklahoma premiere at Tulsa Overground.

Conrad, who died last April at the age of 76, shot experimental films like “The Flicker” and “Straight and Narrow,” avant-garde curiosities of minimalist cinema, as well as music. His philosophy was dedicated to getting beyond the edge of outsider art in esoteric and challenging ways that would later become a pivotal influence on better-known artists. Conrad was a legend.

He recorded soundtracks to other filmmakers’ movies, introduced the concept of “just intonation” to the music world, collaborated with minimalist composer La Monte Young, taught on college campuses, and was also inadvertently responsible for starting The Velvet Underground. Oops.

Utilizing new and archival interviews with the likes of Moby, Lou Reed, John Cale, Sonic Youth (with whom he toured in the ‘90s), and artists like Tony Oursler, we learn how they were inspired by Conrad’s obsession with deconstruction to build things totally new.

In video gaming terms, sequence breaking means “performing actions or obtaining items out of their intended order.” In “Sequence Break”— Graham Skipper’s directorial debut that is also making it’s Midwest premiere at Overground— that idea is applied to a sentient video game and a reclusive repair man. It’s a Cronenbergian love story that, if influence and history are any guide, incongruously rearranges technology and flesh.

Known primarily as an actor in horror circles for originating the role of Dr. Herbert West in Stuart Gordon’s musical iteration of his gore classic, “Re-Animator,” Skipper has also starred in the indie creepfests “The Minds Eye,” “Almost Human,” and “Beyond the Gates.”

Inspired by the body-horror of cinematic-gore masters David Cronenberg and Brian Yuzna, Skipper writes and directs the story of Oz (Chase Williamson, “John Dies at the End”), a withdrawn arcade game tech who meets and falls for the lovely Tess (Fabianne Therese, “Starry Eyes”).

When a mysterious new machine appears in his shop out of nowhere, the act of playing it not only begins to splinter his perception of reality, but also that of his newfound lover, melding them together in ever more gruesome ways.

Halloween may be six months away but there’s no reason why you can’t embrace the spirit of the season in the cockles of your cold, black heart all year round.

Making its world premiere at the Tulsa Overground Film & Music Festival, one-man band, writer/director/producer/editor Jon Schnitzer’s feature documentary debut, “Haunters,” is a deceptively light-hearted look at the obsessive folks who stage haunted houses each year. Known among themselves as “haunters,” they aim to top each other at creating frightening worlds where the screams of the attendees are considered the accolades.

At one end of the spectrum there are the traditional fright-fests—jump scares, corn syrup blood, people in scary monster masks, wielding buzzing-but-disabled chainsaws as the kids shriek in delighted fear. You can spook, but you can’t touch.

On the other end we are full-contact “extreme haunts.” Simulated murder, rape, kidnapping, drowning, and torture—experiences not meant to scare you as much as scar you—push beyond the realm of the consensual, mining genuine fear and helplessness with the tacit acquiescence of their victims.

“Haunters” examines not only the novelty and fun behind the holiday’s well-loved pastime, but also very real danger when things go too far.

Fri., May 5, 10:00 p.m. – 11:40

30 // FEATURED

SEQUENCE BREAK

HAUNTERS

May 3 – 16, 2017 // THE TULSA VOICE

Tuesday, May 9Th aT 8pM Oklahoma Music Hall of Fame & Museum, Inc. 401 S. 3rd St. • Muskogee, OK www.omhof.com

THE TULSA VOICE // May 3 – 16, 2017

FEATURED // 31

SINGLE CHANNEL ART LIZ BLOOD

Ben Dowell, artist, curator, and Tulsa native is this year’s video art curator at Overground.

Showing the works of five artists on separate monitors throughout Fly Loft, Dowell selected the videos based on the formal situation—hallways and lobbies—of their screening environment.

“I chose purposely intimate works that were short in duration … mainly single channel documentation of performances.

They are basically straightforward records of events. Shown on [flatscreen] monitors, they become a personal experience that is familiar in format and pace, but the content varies greatly between them.”

Three of the five videos include: “55TVsOFF 2012 - 2016 (acciones públicas en contra de la TV)” by Andrés Felipe Uribe Cárdenas—documentation of Cárdenas shutting off televisions in public places; “The Masters Carpet” by Clinton King—a performance of martial arts and a space blanket; and a piece by Nicola Kuperus, from the band ADULT., which is playing in the music portion of Overground, as well. The other two works are to be announced.

“Jeremy and Todd have been obsessive in their search to connect Tulsa audiences to larger ideas and examples of film, music, and art,” Dowell said. “I’m always excited to help with their project and to be back in Tulsa.”

32 // FEATURED

DYLAN ROBERTS AND CHRISTIAN STEPHEN; RIGHT: MAN TRIES OUT A VR GAME

THE NEW NEW JOURNALISM Virtual reality technology turns stories into experiences • KATHRYN PARKMAN I WAS STANDING AMID THE RUBBLE— children dressed in patchwork outfits running around me in all directions.

Everything looked dusty.

“I lost my mom, older brother, and sister. They died of suffocation when they were buried in the debris,” a little girl told me as I surveyed the devastation that surrounded us. I looked up at the sky and then to the Himalaya mountains in the distance. I turned my head again and saw journalist Christian Stephen walking toward me.

That’s when the goggles started to feel funny. I took them off and was back in Tulsa.

Dylan Roberts, Stephen’s business and creative partner at Freelance Society, stood in front of me, smiling. A Texan by birthright, Roberts recently moved to Tulsa and will be at the Tulsa Overground Film & Music Festival to show off the virtual reality (VR) technology behind his reporting techniques and give insight to the possibilities VR brings to the storytelling world.

Freelance Society’s immersive VR documentary “TheirWorld: Safe Schools Nepal” follows a group of children as they trek to school—crossing a fast-moving river, traversing steep inclines—in the months following Nepal’s 2015 earthquake, which killed 9,000 people.

Before seeing the ruins, the children, the mountains, a quote in white letters scrawled across the screen: “Tell me and I’ll forget. Show me and I may remember. Involve me and I’ll understand.” The epigraph—an ancient proverb—could be the mission statement of Freelance Society.

Roberts explained how he and Stephen travel all over the world to report stories through 360-degree film and VR experiences. They’re often heading to places from which everyone else is fleeing: Iraq, Syria, Afghanistan—and Nepal. By immersing a viewer in the totality of a situation, stories become immediate and more visceral.

“VR is great for the [journalism] industry—just another way to tell stories,” Roberts said. “You can’t hype a situation, you can’t mimic or hide anything.”

Still, without a good story, VR can be just another gimmick. Roberts and Stephen don’t have a shortage of compelling stories.

Stephen won’t be at the festival because he can’t enter the United States right now—the British-born reporter has too recently been in several of the countries on President Trump’s travel ban list.

Roberts has been working with VR

and 360-degree filming techniques for three years, but he’s been a journalist for close to a decade, mostly covering war and disaster zones. Freelance Society will present the VR Experience Room at Fly Loft on May 5 and 6, giving festival-goers the opportunity to experience their work firsthand. Roberts said the VR storytelling experience is really about “figuring out how to get the audience engaging with a story into a new world and a new atmosphere.”

Other VR industry leaders in attendance: Michael McCormack, founder and CEO of Eolian, a software and content development firm specializing in VR as well as artificial intelligence and augmented reality (Pokémon Go is a type of AR); Stephen Greenwood, who had the genius idea to “combine an isolation tank—where you float in a dark, silent room, alone—with virtual reality”; Tyson Sadler, award-winning VR journalist who covered the 2010 earthquake in Haiti, 2013 coup d’état in Egypt, and a long list of other significant events. Springboard VR, a company pioneering in AR, will bring immersive arcade experiences.

Freelance Society will bring 10 VR headsets, such as the HTC Vive and Oculus Rift, and will screen 360degree films and documentaries.

May 3 – 16, 2017 // THE TULSA VOICE

OV E R G R O U N D

SOUND

STEPH SIMON

THE KOREATOWN ODDITY

BOURGEIOS

THE FABULOUS MINX

ADULT.

HELEN KELTER SKELTER

CHAINMAIL

TERMINAL A

THE DADDYO’S

GUM

LCG & THE X

STEELYFACE

THE TULSA VOICE STAFF

We’ve seen CGI tigers vaporwave through gunky parades.

We’ve seen Biker Fox front flip into a Scandinavian celebrity.

We’ve seen a singing vagina.

We’ve seen all these things at Overground—and if the music lineup compares to the festival’s past installments, you can expect to hear acts who share the on-screen outlaw spirit.

As is Overground tradition, the local lead-ups to the top slots will be a kaleidoscope of genres: garage rock, psych-pop, heavy metal, nu-wop, shoegaze, party pop, dance punk, indie freak, hip-hop, hot licks—take your pick. This year’s lineup of 40 bands aims to please (mostly) everyone, or at least freak you out.

Standouts include the nowyou-see-it-now-you-don’t psychedelipop epics of Cucumber and the Suntans, the power-slop (their description, and an Air Heads reference) of Queenager, and the itchy post-future-punk of OKC’s Sex Snobs. Chainmail will defend the faith with thunder-quaking true heavy metal, and Reigns will brrrap a stolen Harley right into a roll of blotter paper.

Tulsa hip-hop stalwarts Mike Dee, Steph Simon, and Mr. Burns will prep crowds for the aloof and wolf-masked stream-of-consciousness raps of The Koreatown Oddity. The LA THE TULSA VOICE // May 3 – 16, 2017

producer/rapper made a name for himself through whipsmart EP’s and impromptu sets at West Coast Wendy’s restaurants.

BRONCHO’s new/no/now-wave rock will buttress performances by the cold and synth-drenched Terminal A and ADULT. The latter group boasts an inner circle that includes the likes of The Knife collaborator Shannon Funchess and Swans’s Michael Gira.

Of their most recent album release, “Detroit House Guests,” headliner ADULT. says, “If the ‘avant-garde’ is thought to be un-domestic then what impact does this domestic situation have on the shape and sound of our project? Can the radical even exist inside the domestic? …

Can we become out of order?”

Tulsa Overground directors Todd Lincoln and Jeremy Lamberton might have asked themselves the same question.

Oklahoma’s current domestic situation is dystopian. When your governor is gunning for a goal of five-day school weeks, how radical can you get?

The fest’s music selection goes just as far toward answering that question as its titular filmography. In a city that often feels like a big small town, Tulsans are lucky to have a festival that encourages pushing the envelope of what’s possible in Oklahoma.

FEATURED // 33

* FEATURE FILM

9 P.M.

FLY LOFT 2

Clu Gulager

Mark Borchardt

SOUNDPONY

films, Q&A, signing 7:00 – 8:30

films, Q&A, signing 8:45 – 9:45

Hey Judy

8:15 – 8:45

222 N. Main St.

FLY LOFT 2

CHIMERA

117 N. Boston Ave.

212 N. Main St.

10 P.M.

11 P.M.

*

12 A.M.

“Tony Conrad: Completely in the Present”

1 A.M.

The Capital Why’s 8:15 – 8:45

The Fabulous Minx

Gum

Future Tapes

Beau Jennings & The Tigers

Tulsa VR/360 Forum w/ speakers:

9:00 – 9:30

Short Films Program #1

10:00 – 11:40

9:45 – 10:15

Sex Snobs

10:30 – 11:00

9:00 – 9:30

FLY LOFT 1 FLY LOFT 2

THE VANGUARD

5:00 – 11:00

9:45 – 10:15

Planet What

10:30 – 11:00

11:55 – 12:55

Senior Fellows

Mr. Burns

Queenager

Helen Kelter Skelter

Steph Simon

The Koreatown Oddity

11:15 – 11:45

12:00 – 12:30

12:00 – 12:30

12:45 – 1:15

12:45 – 1:15

11:15 – 11:45

VR Films/Games/Experiences 1:00 – 11:00

Dylan Roberts, Stephen Greenwood, Tyson Sadler, Springboard VR, and Michael McCormack // 5:00 – 7:00

Oklahoma Short Films 1:30 – 2:30

Clu Gulager Acting Workshop 2:45 – 4:45

Short Films Program #2

Larry Clark,

*

films, Q&A, signing 8:30 – 10:00

7:15 – 8:15

SOUNDPONY THE VANGUARD CHIMERA

S AT U R D AY, M AY 6

34 // FEATURED

SOUNDPONY 409 N. Main St.

VR Films/Games/Experiences

THE VANGUARD

F R I D AY, M AY 5

FLY LOFT 1

1-8 P.M.

VENUES

OVERGROUND SCHEDULE

FLY LOFT 1 (Virtual Reality Experience Room) 117 N. Boston Ave.

La Panther Happens 9:00 – 9:30

The Bourgeois 8:15 – 8:45

Mike Dee

9:00 – 9:30

Manta Rays 9:00 – 9:30

Mope Grooves

9:45 – 10:15

Nuns

9:45 – 10:15

Steelyface 9:45 – 10:15

*

“Sequence Break” 10:15 – 11:35

Reigns

plus Q&A w/ director Jon Schnitzer 11:50 – 1:20

11:15 – 11:45

Cucumber and the Suntans

LCG & the X

Terminal A

ADULT.

The Riot Waves

Noun Verb Adjective

10:30 – 11:00

10:30 – 11:00

10:30 – 11:00

Dead Shakes

“Haunters”

11:15 – 11:45

11:15 – 11:45

Chainmail

12:45 – 1:15

12:00 – 12:30

12:00 – 12:45

BRONCHO 1:00 – 1:45

The Daddyo’s

12:00 – 12:30

May 3 – 16, 2017 // THE TULSA VOICE

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May 25-26 Sangama - Kripalaya Dance Academy

June 9 88 Keys & Me - Jeremy Stevens

June 22 Mark Gibson Band in Concert

May 26-27 Live From Tulskatown, Or What You Won’t - Two O’Clock/Four O’Clock Productions

June 9-11 Us/Them - Echo Theatre

June 23-25 Local Landmark, National Treasure: An Epic Concert Celebrating 95 Years - Theatre Tulsa

May 27 & June 2-3 Flyin’ West - Theatre North

20 17

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June 10-11 Silly Habits with Janet Rutland

June 2-4 & 8-11 Little Shop of Horrors - Tulsa Project Theatre

June 15 Jazz & Blues Concert - Joesf Glaude and Guitars Gone Wild

June 1-4 Pete ‘n’ Keely - Tulsa Repertory Musicals

June 15 Seeking Shelter - Pique Theatre Company

June 1 Cherokee Maidens & Sycamore Swing in Concert

June 16 The Moody Dudes Garage Band Salute to the Summer of Love

June 2 Voices of the Future: Songs About Teenage Life, Love & Hope - Tulsa Youth Cabaret

R

June 22-25 The Complete Works of William Shakespeare, Abridged - Sand Springs Community Theatre June 23 One More Day With Danny Day - Echo Theatre June 24-25 Oy, Gestalt! - Spinning Plates Productions

June 16 Just Us - Whitney Peters and Friends

June 3 Shelby Eicher Hillbilly Jazz

June 17-18 The Snow Queen - Tulsa Youth Opera

June 4 Vintage Wildflowers in Concert

June 17-18 Cats of Any Color - Spinning Plates Productions

June 8 Wow! Handbells Rock! - Tulsa Festival Ringers

June 17-18 Protest! A Musical Revue - Shadley Arts & Sciences

MAY 25-JUNE 25

TICKETS @ SUMMERSTAGETULSA.ORG OR 918.596.7111

PRESENTED BY THE TULSA PAC TRUST

THE TULSA VOICE // May 3 – 16, 2017

FEATURED // 35

artspot

W

ith her large format camera dubbed the Green Monster, coolers full of fuming, burping chemicals, and her husband and two kids in tow, Amy RockettTodd is “ready to go at any moment really,” she says.

Rockett-Todd is a Tulsa educator, designer, studio artist, and photographer who creates haunting imagery through an 1850s photographic technique called wet plate collodion process.

In her patchwork purse, Rockett-Todd keeps a Nutri-Grain bar, bills, and a cherry wood pinhole camera. It’s loaded. She is always ready to catch a collodion fairy, mythic among the collodion community, should one happen along.

Rockett-Todd says she catches a collodion fairy in maybe one of every 75 plates (images). She pulls up a photo on her Mac. “This is the fairytale to this process,” she says, pointing to a spray of silver across the top of a close-up of her husband’s face; his gray hair is doused all through with silver swirls. She pulls up another photo of her daughter in profi le, pinpricks of silver are like a galaxy across her forehead.

“They’re called collodion fairies. Sometimes they visit you and sometimes they won’t. If they don’t—” she clicks through her Mac again to show a technically perfect shot.

“But when they do, that’s when happy accidents occur,” she says of the swirls, the galaxy.

The effect is reason enough to fall in love with the archaic art of wet plate collodion photography, despite the potions of toxic chemicals and labor involved. The process has re-emerged in recent decades thanks to fine arts photographers and Civil War re-enactors alike, drawn to the Rorschach ink-blot, X-ray-feel of the images the technique produces.

No Instagram fi lter can emulate the hand-made process.

36 // ARTS & CULTURE

“Bomb,” ambrotype by Amy Rockett-Todd | COURTESY

STRANGE ALCHEMY Amy Rockett-Todd’s archaic art of wet plate collodion photography

by JENNIE LLOYD “It sees light differently,” Rockett-Todd says. “I have one green eye and one blue eye.

I can’t remember which is which.

When I take a photo one eye turns white and the other turns grey.”

Yellow turns black; lemons turn to avocadoes.

Rockett-Todd began as a traditional pinhole photographer.

“I love the slow-movement capture with pinhole, the long exposure,” she says. During her research on pinhole photos, she came across images with “all these swirls and this fluid motion and ambiance … there was something magical about it.”

Months later, she traveled 2,000 miles to a media workshop in Rockport, Maine, to explore the collodion process. She stayed for two weeks learning everything she could, then ordered all the processing chemicals involved.

Soon, boxes labeled HAZMAT and FLAMMABLE LIQUID arrived on her doorstep and collected in a corner of the living room.

“I ordered it all and it sat there for two or three months until my husband said, ‘Are you gonna do something with this?’

“I wouldn’t say it, but I was scared to start. I felt that once

I opened a box it’s like, okay, you’re in it now.”

Once she fi nally opened the boxes, she got to work.

“And I haven’t stopped.”

Rockett-Todd’s new gallery showing at Hardesty Arts Center, MANUS (Latin for “hand”), explores the intersections of handmade art, technology, and architecture.

The show’s centerpiece, “abundance,” is a unique look at the Abundant Life Building, Oral Roberts’ famed seven-story, windowless ministry headquarters, now abandoned.

“I took pictures of the building’s details, the tiles, the shadows of the triangulations, the decay of the concrete,” she says.

Then she hand-cut mirrors onto which she transposed images of words and architectural details, much of it hand-painted gold.

Rockett-Todd encourages gallery-goers to take selfies in the diamond-cut mirrors and (literally) reflect on Tulsa’s architecture, our existence within them, and abandonment of them.

On May 6, Rockett-Todd will have all of her collodion-hunting supplies on hand for a demonstration from 2–4 p.m. at Hardesty Arts Center. Participants are encouraged to join her in the exhibition space to help build materials and objects that she will be photographing using a tintype photo set-up with her Green Monster, the lights, portable darkbox for developing, and all of her recipes ready to go. Participants can choose to have a photo of themselves in fi nal tintype images. But stand still—if even a bit of your hands, arms or body moves during the 20-second exposure, you’ll be rendered an opaque ghost in the fi nal image. a MANUS runs through May 21 at Hardesty Arts Center, 101 E. Archer St. May 3 – 16, 2017 // THE TULSA VOICE

UPCOMING EVENTS

lolz

@ the PAC

May

2-28- Artists Brigid Spanier and Jean Kelley- PAC Gallery 3- Brown Bag It: Strings & Pearls- PAC Trust 5 & 7- Tosca- Tulsa Opera 12-14 & 18-20- In The Next Room (Or The Vibrator Play) American Theatre Company 12-14 & 18-21- Jesus Christ Superstar- Theatre Tulsa 13- The Firebird- Tulsa Symphony Classics 23-28- Something Rotten!- Celebrity Attractions 25-26- Sangama- Kripalaya Dance Academy 27 & 6/2-3- Flyin’ West- Theatre North 25- 6/25- SummerStage Tulsa- PAC Trust Yasamin Bayatfar performs at multiple open mic nights in Tulsa. | HANS KLEINSCHMIDT

MONONYMOUS, HILARIOUS Yasamin’s Persian-Irish-Tulsa perspective

by MITCH GILLIAM

C

her. Ke$ha. Yasamin.

Three people with single names. Two of them are pop icons, and one of them can’t be friends with her exes because “they know what [her] asshole looks like.”

“I’m not going for an Oprah vibe,” Yasamin said. “I’m just trying to do everyone else a favor, because my first name is hard enough, and my last name is impossible.”

Her last name, Bayatfar, which she pronounces “buy-yacht-faihr,” comes from her father’s Persian side. She tells people that her mother is “extremely Irish,” which makes her “basically an Irish car bomb.”

“I try to bring my perspective as a Persian and a woman into my sets,” Yasamin said.

That Persian perspective means she won’t smoke weed because “ ‘getting stoned’ means a whole other thing” where she comes from. As a woman, she speaks on the trials of modern love.

“I don’t understand how it’s cool if you’re inside me ... but it’s ‘moving too fast’ if I follow you on Instagram,” she deadpanned.

Yasamin was introduced to comedy through improv classes at the University of Tulsa. “I liked it, but wasn’t in love with it,” she said. “I liked the being-funny-and-

THE TULSA VOICE // May 3 – 16, 2017

making-people-laugh aspect ... but what I didn’t like was the rules and structure of it.”

Tulsa expat and current Chicago comic Steven King encouraged her to do stand-up, and Damion Shade nudged her toward weekly appearances at his Yeti Writers Night.

Though she hated the structure of improv, the skills she gained in class show in her quick crowd work and breezy segues. In her set, after describing herself as an “Irish car bomb,” she tells the crowd: “That’s tacky as shit, so I knew you guys would like it.”

Yasamin told me she’s studying to be a medical examiner, a job she finds appealing for the low risk of hurting people—“because they’re already dead.”

She says she also likes the idea of working alone, though that hasn’t turned her away from collaborative work with fellow Tulsa comics. And while her rigid school schedule has kept her from our budding podcast scene and more regular bookings, she has applied to multiple out-of-state comedy festivals and Tulsa’s own Blue Whale Comedy Festival.

For now, you can catch Tulsa comedy’s pop star at multiple weekly open mics. In the not-toodistant future, she’ll be slicing up corpses. a ARTS & CULTURE // 37

thehaps

CINCO DE MAYO EVENTS The Humane Society of Tulsa will get the party started early with ‘Ritas for Rescue, a night of unlimited margaritas, Mexican food, music, and more, all to help homeless pets.

MAY 4, 6–9 P.M., $25, TULSAPETS.COM

La fiesta más grande: Cinco de Mayo Fest is three days of celebrating Mexico, with more than 25 bands and performers, a variety of food, carnival rides, over four days at River West Festival Park.

MAY 5–7, TULSAHISPANICCHAMBER. CHAMBERMASTER.COM

With luchadores, Chihuahua races, vendors, and plenty of puffy tacos, Elote’s Cinco de Mayo Street Party in the Deco District is a can’t-miss.

MAY 5, 4 P.M.–MIDNIGHT, ELOTETULSA.COM

Shake off those chimichangas at Fleet Feet’s Cinco de Mayo Run. Run a 5K or fun run starting and ending at Veterans Park with food, beer, and live music.

MAY 5, 6:30 P.M., $20–$40, FLEETFEETTULSA.COM

The Tulsa Pride Cinco de Mayo Party at Area 18 will feature a lip-syncing contest, games, and more.

MAY 5, 10 P.M., FACEBOOK.COM/OKEQTULSAPRIDE

EVENTS

SPORTS

Tulsa Artist Fellowship hosts the first quarterly TAF Writer’s Salon, an evening of cocktails and readings by literary artists Colleen Abel, Dan Musgrave, and Arigon Starr. May 3, 6 p.m., Woody Guthrie Center, facebook.com/tulsaartists

Tulsa Athletic has their first home game of the season, taking on OKC Energy U23 at Hurricane Soccer Stadium. May 10, 7:30 p.m., $10, tulsaathletic.com

SPORTS

THEATER

Tour de Tulsa is the annual reintroduction to cycling season in Green Country. Choose from routes for riders of all ages that span between 8 and 97 miles! May 6, 8 a.m.–4 p.m., $10–$35, OSU Center for Health Sciences, tulsabicycleclub.com

The funny and provocative play, In the Next Room (or The Vibrator Play), tells of a young doctor in the 1880s who marvels at what modern technology can do for his female patients. May 12–20, Liddy Doenges Theatre, PAC, tulsapac.com

CELEBRATION

FOOD

The Outsiders House hosts a star-studded (and now sold-out) celebration for The Outsiders 50th Anniversary. May 6, 7 p.m., Cain’s Ballroom, facebook.com/theoutsidershouse

Forty teams will compete in the annual Hasty-Bake BBQ Competition. Lucky spectators will get samples of the goods. May 13, 10 a.m.–5 p.m., Hasty-Bake Charcoal Grills, hastybake.com

EVENTS

OUTDOORS

Ten local nominees will be recognized by the League of Women Voters of Tulsa in Madam President—A night to Honor Tulsa Women Who Could Be President. May 9, 5:30 p.m., Thomas K McKeon Center for Creativity, lwvmadampresident.org

Tulsa Botanic Garden’s DIG: Day In the Garden features live music, food, and fun activities for children of all ages, and supports the Children’s Discovery Garden. May 13, 4–8 p.m., (children’s admission is free with a paid adult), tulsabotanic.org

38 // ARTS & CULTURE

May 3 – 16, 2017 // THE TULSA VOICE

THE TULSA VOICE // May 3 – 16, 2017

ARTS & CULTURE // 39

thehaps

BEST OF THE REST EVENTS Rehearsal for “Tosca”

Dreamland Burning: Discussion & Book Signing // Author Jennifer Latham will discuss her latest novel, “Dreamland Burning,” which focuses on the 1921 Tulsa Race Massacre from alternating perspectives. // 5/3, All Souls Unitarian Church, allsoulschurch.org Inkslingers - Comic Book Art Show // InkSlingers, a group of talented young Tulsa artists will exhibit their work at Bound for Glory. The evening will also feature live music and sound performances by saw player Peter Tomshany, rock band Quixotic Foxes, and sound artists Narco Alms and Elisa Harkins. // 5/3, Bound for Glory Books, facebook.com/boundforglorybooks

TOSCA

Friday, May 5, 7:30 p.m., and Sunday, May 7, 2:30 p.m., $25–$118, Chapman Music Hall, Tulsa PAC, tulsaopera.com

“Tosca”: the pinnacle of passion, the epitome of emotion, the drama deluxe. Giacomo Puccini’s grand tragic opera about two mortal enemies both in pursuit of Floria Tosca has challenged a century’s worth of singers to reach the highest levels of vocal technique and expression (without chewing up the scenery).

Last season, when Tulsa Opera, newly under the direction of acclaimed composer Tobias Picker, polled its audience for its most-wanted list, “Tosca” took the top spot. For this production, designed by the late French director Jean-Pierre Ponnelle, both the conductor and the tenor make their American debuts; add a Finnish baritone and a Russian soprano, and you have the makings of an operatic feast.

MUSIC

TSO Classics: The Firebird // Daniel Hege conducts Tulsa Symphony through Haydn’s Symphony No. 90, Kodaly’s quixotic “Háry János Suite,” and Stravinsky’s epic ballet suite, “The Firebird.”

May 13, 7:30 p.m., $15–$70, PAC, tulsapac.com FESTIVAL FUN

See our Summer Festival Guide on pg. 19 for details on Oklahoma Renaissance Festival, International Jazz Fest, Tulsa Overground Film & Music Festival, Germanfest, Rooster Days, Dodgebrawl, MisFEST, Habit Mural Festival, and the Bicycle Film Festival.

For the most up-to-date listings

thetulsavoice.com/calendar 40 // ARTS & CULTURE

The Price Is Right Live // Catch the beloved game show hosted

by Jerry Springer, and you might just get called to “Come on down!” // 5/5-5/7, Hard Rock Hotel and Casino - The Joint, hardrockcasinotulsa.com First Saturday Food Truck Rally // Fuel 66’s First Saturday will feature six food trucks, free whiskey tastings, live music from Brianna Kay Todd and Robert Hoefling, a Kentucky Derby big hat contest, and more. // 5/6, Fuel 66, fuel66ok.com Fun at The Run // Broken Arrow Blue Star Mothers present a night of fun to support the troops with a silent auction and live music from Michele Warren, The 2Gingers, Jimmy Blythe, and Bucky Hopwood. // 5/7, The Run, elephantrun.com The Outsiders Screenings w/ Special Guests // To honor the book’s 50th anniversary, Circle Cinema will screen the 1983 film version of “The Outsiders” at noon, 12:10 p.m. and 12:20 p.m. The screenings will feature Q&As with stars of the film C. Thomas Howell (Ponyboy), Ralph Macchio (Johnny), and Darren Dalton (Randy). // 5/7, Circle Cinema, circlecinema.com 2nd Saturday Walking Tours | The Brady Arts District // Tulsa Foundation for Architecture’s monthly tour sets its sights on the Brady Arts District. // 5/13, Gypsy Coffee House, tulsaarchitecture.com

PERFORMING ARTS Kristin Chenoweth: My Love Letter to Broadway // The Broken Arrow native and Broadway star comes home for a night of song, dance, and audience participation. // 5/6, Broken Arrow Performing Arts Center, brokenarrowpac.com

NT Live: Obsession // Jude Law stars in this stage adaptation of Luchino Visconti’s 1943 love-triangle thriller, broadcast live from London’s Barbican Theatre. // 5/11, Circle Cinema, circlecinema.com Tulsa Ballet Signature Series // The company performs three of Artistic Director Marcello Angelini’s favorite pieces: Alexander Ekman’s “Cacti,” David Dawson’s “A Million Kisses to My Skin” and Adam Hougland’s “Cripple and the Starfish.” // 5/115/14, Lorton Performance Center, tulsaballet.org Jesus Christ Superstar // Theatre Tulsa performs the Biblical rock opera by Andrew Lloyd Webber and Tim Rice. // 5/12-5/21, Tulsa Performing Arts Center, tulsapac.com/index.asp

COMEDY Sunday Night Stand Up // 5/7, Comedy Parlor, comedyparlor.com Tulsa Tonight // 5/12, Comedy Parlor, $10, comedyparlor.com Party Like a Mother! // 5/13, Comedy Parlor, $10, comedyparlor.com Sunday Night Stand Up // 5/14, Comedy Parlor, comedyparlor.com Steve Hofstetter // 5/11-5/13, Loony Bin, loonybincomedy.com/Tulsa Blue Dome Social Club // 5/12-5/13, Comedy Parlor, $10, comedyparlor.com Aaron Kleiber // 5/3-5/6, Loony Bin, loonybincomedy.com/Tulsa Communication Shakedown: A Sketch Comedy Revue // 5/5-5/6, Comedy Parlor, $10, comedyparlor.com Komedy Kombat // 5/5-5/6, Comedy Parlor, $10, comedyparlor.com

SPORTS Tulsa Drillers vs Springfield Cardinals // 5/6, ONEOK Field Tulsa Drillers vs Springfield Cardinals // 5/7, ONEOK Field Tulsa Drillers vs Springfield Cardinals // 5/8, ONEOK Field Tulsa Drillers vs Springfield Cardinals // 5/9, ONEOK Field Tulsa Roughnecks FC vs Vancouver Whitecaps FC 2 // 5/11, ONEOK Field Tulsa Roughnecks FC vs Orange County SC // 5/13, ONEOK Field

May 3 – 16, 2017 // THE TULSA VOICE

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MOTHER’S DAY GIFT GUIDE // 41

musicnotes

How it’s always been Ty Segall on his new album and DIY roots

by TY CLARK

M

conversation, at all. That’s why they’re the best.

any genres are stamped on the music of Ty Segall: garage, punk, slacker, psych rock. At its core, though, you find pure, loud, and honest rock and roll.

Segall, who turns 30 this year, released his second self-titled album in January. Ty Segall (2017) was recorded with long-time friends and collaborators (Mikal Cronin on bass, Charles Moothart on drums, Emmett Kelly on guitar, and Ben Boye on piano/ Wurlitzer—collectively known as The Freedom Band), engineered by recording legend/opinionated industry-ethics spokesman Steve Albini, and distributed by Drag City, a Chicago-based independent record label.

Segall will make his Tulsa debut at Cain’s Ballroom on Wednesday, May 10, with local band Planet What and OKC’s Junebug Spade opening.

CLARK: Do you prefer recording with a full band or tracking individual instruments one at a time?

SEGALL: Most of my records have been me tracking by myself, but this new one was with a band and is why I enjoyed it so much. It’s such a different experience, and the live band … it’s such a slaying, amazing band! I was very happy to [record] it live. I’d never done it with my songs for a solo record.

I’d always done it with bands I was in, so it was really cool to do.

CLARK: Do you take the DIY approach to a lot of things?

Ty Segall in 2016 | DENEE PETRACEK

TY CLARK: Have you ever been on Tulsa Time before?

TY SEGALL: I have. I’ve driven through a couple times but haven’t stopped to play, so I am very excited to. I’m based in Southern California. I was born in the Bay Area but grew up in Orange County. I moved back to the Bay when I was 18 and I’ve just hopped back and forth from Northern and Southern California a few times.

CLARK: Has that influenced your sound?

SEGALL: Yeah ... The San Francisco rock-and-roll scene, kind of.

CLARK: Who are some of your favorite bands from that area?

SEGALL: Thee Oh Sees, Sic Alps. I didn’t really roll with The Hospi42 // MUSIC

tals, but I was a big fan. There is a band out of Sacramento, Mayyors.

And then, ya know, our friends we grew up with started bands as well: The Traditional Fools, The Moonhearts, Mikal Cronin.

think of this?” So, we definitely had a lot of collaborative conversations. And mixing the record was definitely a collaborative thing.

I mean, he’s a genius. He’s a master at his craft.

CLARK: What was Steve Albini’s role in your last album?

CLARK: Does your label, Drag City, give you quite a bit of freedom?

SEGALL: He engineered it. I think he’d be the one having a hard time saying he is the “producer.” He’d be the one to tell you the opposite, but I’d say he definitely likes collaborating and making sounds happen with people—so he is producing, but wouldn’t admit it (laughs). Um, he just doesn’t want to get in the way of people’s ideas … He wants people to be themselves and make the kind of records they want to make, which is super commendable … I’m the kind of guy that’s going, “What about this, Steve? What do you

SEGALL: Oh, yeah. That’s been the deal from day one and is pretty much why we started working together … We have such a great understanding, and I really respect their opinion as a label.

So we shoot ideas back and forth, obviously, and have conversations about songs and all that, but they’re never gonna step in and get in the way of an idea that I have or anything like that. At this point we’re old friends, so we can have real conversations about things, but it’s not a business conversation and not a typical “music industry”

SEGALL: Well, yeah, we all started doing it that way cause we didn’t have money or a choice, but ended up, um, preferring it to the other [standard music industry] way.

Now, I feel like it’s kind of a blend of DIY, but we’re lucky enough to have more money to make records and better gear and all that stuff.

I like making decisions for which direction recording is gonna go or a tour, but, ya know, it’s how it’s always been: pick where you wanna play, how you want to record.

That’s all you can do, really, to be in control of anything.

It’s fun and it doesn’t stop when you finish writing a song. For me.

CLARK: What can we expect from your show?

SEGALL: It’s just a rock-and-roll band, man. So, if you want to listen to some really, really, really loud rock, then come to the show.

You’ll like it. a

For the full version of this interview, visit www.thetulsavoice.com May 3 – 16, 2017 // THE TULSA VOICE

ART DIRECTORS CLUB OF TULSA

NEXT SPEAKER

112 E 18th St

Tix Available at Stubwire.com & Starship

48th annual awards show

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Thursday, MAy 11th, 2017 @ chimera tickets & more info @adctulsa.com

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CASEY JAMES MAY 11 ROGER CLYNE AND THE PEACEMAKERS

FROM IBM DESIGN, AUSTIN

6:30 @living arts tulsa

Thursday, January 12, 2017 MORE INFO @ADCTULSA.COM

MAY 17

JELLY ROLL MAY 18

JUN 3

REEVE CARNEY JUN 10

HONDO’S BIRTHDAY BASH

A LIVE ONE

(PHISH TRIBUTE)

JUN 11

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THE TULSA VOICE // May 3 – 16, 2017

IAN MOORE MAY 12

WAKELAND SEP 9

OTEP JUL 1 ARRESTED DEVELOPMENT

SEP 14

MUSIC // 43

musicnotes

S

omewhere between two years of non-stop touring for his 2015 album, High on Tulsa Heat, and getting married, John Moreland recorded his arguably most ambitious album to date: Big Bad Luv, which will be released on May 5 from 4AD Records.

Featuring guest vocals by members of Dawes and Shovels & Rope, piano from Rick Steff of Lucero, and mixed by Grammy Award-winning Tchad Blake, Moreland’s fourth solo effort, Big Bad Luv, is a multilayered rallying cry for the down but not out.

Despite this new record having an overall upbeat tone, Moreland’s words are still weighted—a rock and roll album with real life at its heart. And because his work is already serious and in many ways speaks for itself, he and I decided to skip the typical “where do songs come from?” questions and instead touch on a few topics close to his heart.

EDITOR’S NOTE: At the time of this interview, John Moreland was on a weeklong coast-to-coast tour run of festivals.

Upon printing, he was headed to Europe for a two-week tour, to be followed by a three-month U.S. tour (June – August), then back to Europe through the end of September. Bobby Dean Orcutt is Moreland’s tour manager.

ILLUSTRATION BY PEARL RACHINSKY

JOHN MORELAND talks sneakers, Star Trek, and other stuff he luvs

NOT THE SAME OLD SONG

by BOBBY DEAN ORCUTT

BOBBY DEAN ORCUTT: First off, I have to ask: how pumped are you about Russell Westbrook right now?

ORCUTT: What was your favorite NBA era?

That’s my favorite era. Jordan’s first three championships, the year or two before that, the battle between the Bulls and Pistons.

Basketball now is so commercialized—as a player you’re sort of groomed to be in NBA from the time you’re a kid. Back in the ‘90s that wasn’t the case. The teams hated each other because they hadn’t been friends and playing each other in leagues since they were eight … It was way more entertaining. There’s not the rivalries now. I miss when the teams hated each other.

MORELAND: The earliest NBA that I can remember is like ‘89 – ‘93.

ORCUTT: Does “Space Jam” hold up?

JOHN MORELAND: Oh, I’m really pumped. I mean, if he’s not the MVP it’s gonna be a shame. I’m going to get a commemorative tattoo either way. Getting a 42 triple doubles tattoo—even if he leaves Oklahoma one day—that’s a tattoo I need on my body, just as an NBA fan.

44 // MUSIC

MORELAND: You know, I love Michael Jordan so much that I can’t really answer that question because I can’t watch it objectively.

ORCUTT: You aren’t technically a sneakerhead, but sneaker culture is something you’re into. How did that start?

MORELAND: It all started with Air Jordan 6’s. When I was a kid all my older cousins listened to rap and turned me on to it. So, I was into hip-hop and basketball at a time [when] those two cultures were jelling in a way they hadn’t before.

Maroon Jordan 6’s—I used to dream about them.

I got into punk rock around the time Jordans got really bad, like the 14’s. [I] started playing in hardcore and punk bands and it just wasn’t cool to wear Jordans anymore. Now sneaker culture has gotten so big it’s bleeding into other scenes and you see hardcore kids wearing retro Jordans and Air Max 1’s and stuff.

More people are into it right now so that’s cool, but there’s a huge reselling problem. Things come out in limited quantities, some asshole uses a bot on his computer to buy up a thousand pairs in ten seconds, marks them up, and sells them on eBay for a ridiculous price. It’s the exact same shit that happens with concert tickets. Nike’s whole approach now is they just make so many pairs that the resale value is nothing. I mean, people were getting shot over shoes. Now they release so many pairs that shit doesn’t happen. But since they’re making so many the quality has gone down. The Jordans of the last few years have been pretty not-awesome. Even the resale value of Yeezys are going down in price. Just a year ago a pair of Yeezys came out, resellers bought them all, retail price was like 200 bucks, and they were going for like $3,000 on eBay—that shit’s crazy.

Now they’re going for like $500 on eBay, which is still too much.

It makes me not even like them.

When I see Yeezys it just makes me think the person wearing them is a fucking idiot who paid way too much for their shoes.

ORCUTT: Right before this interview I saw you and everyone else hyping up the new Kendrick Lamar record on Instagram. Why is hip-hop so exciting right now?

MORELAND: I don’t know, I guess I think that’s just the way tastes have shifted in the general population: most people don’t really care about guitars anymore, but also—and this is a huge part of my perspective—being part of the Americana scene where there’s so many people trying to be Bob Dylan or Neil Young, or whatever, May 3 – 16, 2017 // THE TULSA VOICE

just doesn’t feel relevant. I mean, I think it’s cool to be influenced by old shit, but I think hip-hop is relevant to right now, 2017. A lot of the stuff with guitars is just throwback nostalgia shit that doesn’t resonate. People playing dress-up and playing a character.

ORCUTT: So, speaking of nostalgia, you don’t really care about anything sci-fi or fantasy related, with the exception of “Star Trek The Next Generation.” Why is that? Is it because the show is good or is it nostalgic?

songwriting and, growing up, I was more into the pop or rock school where you write a two-line chorus that’s big and simple. Around In the Throes I got more into the folk school, which is a little wordier— the Townes Van Zandt, John Prine style where there’s more to dissect.

Now I feel a little bogged down by that and I’m trying to get back to the Tom Petty method. They both have pros and cons. What I like about Petty’s is there’s nothing to dissect. It’s just right there and it doesn’t mean that it’s dumb, it’s

actually extremely profound but it’s in very simple language with a good economy of words.

ORCUTT: You’ve used the acronyms FTW and PMA on posters and in social media. They’re common terms in the world of punk and hardcore, but what do FTW and PMA mean to you?

MORELAND: When I was a kid, the group of friends I had would always say “FTW” or “fuck the world.” But we did it as a joke, in a

sarcastic way. We thought we were past that, like more mature, so we’d say it kind of parroting punk kids, but then it sort of became real after a while. I find it kind of encouraging to say “fuck the world … what everybody else is doing.”

I’m gonna create my own life and worry about the things that are in my control. I am going to make my shit the best it can be and try to live life on my own terms. That’s what FTW means to me. And PMA is “positive mental attitude,” from the Bad Brains song. a

MORELAND: I’ve never seen “Star Wars” and I don’t care about sci-fi at all, but I am into “Next Generation” because when I watched it, to me, it wasn’t fantastical. It was really easy to see the parallels and metaphors about real shit.

Plus Gene Roddenberry was kind of a badass. There was this social commentary that he wanted to make, and he used this science fiction show to do it … futuristic framing of social issues. I also remember noticing there’s shit in “Next Generation” where anytime they describe how things are back on Earth it always made you think, “Oh, that’s like exactly what socialism would be like.”

ORCUTT: Television with a message used to be a constant—entertaining family TV that taught you a lesson.

MORELAND: “Full House” always had what me and my sister would call the “accidental self lecture.”

Like Danny Tanner or Uncle Joey or Jessie would be explaining to one of the girls a situation. They’d get down on a knee and teach them a lesson—just some shit about life. Then it would dawn on them that the shit they’re explaining to the girls totally applies to the shit they’ve been going through in that episode—it’s like this epiphany moment that happens every time, and it’s hilarious.

ORCUTT: I’ve heard you talk about Tom Petty’s way of writing simple choruses that sound huge and say a lot without using many words.

What about that is appealing?

MORELAND: The simplicity. It’s what makes it a good song, so memorable. There’s different schools of THE TULSA VOICE // May 3 – 16, 2017

MUSIC // 45

musiclistings Wed // May 3

River Spirit Casino - 5 O’Clock Somewhere Bar – Chris Blevins, Wink Burcham On the Rocks – Don White Vanguard – Joe Purdy, Sam Westhoff, Whitney Fenimore – $18-$40 Soul City – Poppa Foster’s Gumbo pH Community House – Rei Clone, Smith+Robot, Sun Vow – $5 Brady Theater – Robin Trower – $39.50-$49.50 The Colony – Tom Skinner’s Science Project Mercury Lounge – Travis Linville

Thurs // May 4

Brady Theater – Alice Cooper – $49.50-$85 Billy and Renee’s – AlterBlood, Lord Maestro, Our Winter Year, Darko, Lord Cathedral, Black Jellybean and the Peeps Hard Rock Hotel and Casino - The Joint – Barenaked Ladies – $55-$65 River Spirit Casino - 5 O’Clock Somewhere Bar – Brent Giddens, Ali Harter River Spirit Casino - Paradise Cove – Citizen Cope – $35-$45 Soul City – Cody Clinton’s Writer’s Block Crow Creek Tavern – Cody Woody BOK Center – Daryl Hall and John Oates, Tears for Fears, Allen Stone – $35-$129.50 Hunt Club – Erin O’Dowd and Chloe Johns IDL Ballroom – Ganja White Night – $12-$18 The Colony – Honky Tonk Happy Hour w/ Jacob Tovar Cain’s Ballroom – Lil Uzi Vert – $39-$54 Hard Rock Hotel and Casino - Riffs – Members Only, Donte Schmitz Mercury Lounge – Paul Benjaman Band Zin Urban Lounge – Randy Brumley IDL Ballroom – Viva La Berg

Fri // May 5

The Venue Shrine – Aaron Woods Band CD Release – $6.25-$10 Soul City – Band of Lovers Hunt Club – Brothers Moore IDL Ballroom – Dokken, Rocket Science, hosted by Eddie Trunk – $35-$45 American Legion Post 308 – Double “00” Buck Gypsy Coffee House – Gypsy Jam w/ Adonis The Colony – Lauren Barth Album Release Hard Rock Hotel and Casino - Riffs – Mezclave, Ronald Radford Vanguard – Tulsa Overground: The Koreatown Oddity, Steph Simon, Helen Kelter Skelter, Planet What, Beau Jennings & The Tigers, Future Tapes, The Capital Why’s, Rose Gold, Dad. The Band – $15 Brady Theater – Silversun Pickups, KIEV – $25-$29 VFW Post 577 - Centennial Lounge – Sloppy Joe Fiasco Yeti – Stinky Gringos, The Casual Six, Had Enough, CR4IGCORT3Z Mercury Lounge – The Grits Soundpony – Tulsa Overground: The Koreatown Oddity, Queenager, Mr. Burns, Senior Fellows, Sex Snobs, Gum

Sat // May 6

Hard Rock Hotel and Casino - Riffs – 80’s Enuf, Scott Ellison Hunt Club – B.C. and the Big Rig 46 // MUSIC

727 Club – Barry Seal The Venue Shrine – CT$ and Blaxcdanna Mafia – $5-$10 Lot No. 6 – Dan Martin VFW Post 577 - Centennial Lounge – Funky Sound Convention Billy and Renee’s – GRIND, Reliance Code, Machine in the Mountain, Not in Public The Blackbird on Pearl – Mezclave, Frank Valdes, Micro’s Way-la Via Vanguard – Tulsa Overground: BRONCHO, Adult., Terminal A, LCG & The X, Nuns, Mide Dee, The Bourgois, Bury The Doubt – $15 Chimera Cafe – Tulsa Overground: Daddyo’s, Noun Verb Adjective, Shelter People, The Riot Waves, Manta Rays, Steelyface, Neoromantics, Junfalls – $10 Soul City – Randy Brumley and the Distractions The Fur Shop – The Motel Pines, Bethany Grace & Gypsy Soul, The Formals CJ Moloney’s – The Tiptons Soundpony – Tulsa Overground: Chainmail, Cucumber and the Suntans, Dead Shakes, Reigns, Mope Grooves, La Panther Happens, Bonemagic Mercury Lounge – Whey Jennings & The Unwanted Elwood’s – ZENE

Sun // May 7

Guthrie Green – Travis Linville, Dane Arnold, Grazzhopper Trio Fassler Hall – The Grits for Brunch Soundpony – Better Now Mercury Lounge – Brandon Clark Hunt Club – Dachshund The Colony – Paul Benjaman’s Sunday Nite Thing The Run – Wade Quinton River Spirit Casino - 5 O’Clock Somewhere Bar – Zoey Horner, Chris Blevins

Mon // May 8

The Blackbird on Pearl – Amped – $5 The Colony – Seth Lee Jones River Spirit Casino - 5 O’Clock Somewhere Bar – The Marriotts, Jacob Tovar Yeti – The Situation

Tues // May 9

BOK Center – Chance the Rapper – $39.50-$79.50 Tin Dog Saloon – Dan Martin River Spirit Casino - 5 O’Clock Somewhere Bar – Erin O’Dowd, Zoey Horner Vanguard – Kinky Friedman, Jacob Tovar – $15-$20 The Colony – Singer/Songwriter Night w/ Dan Martin The Blackbird on Pearl – The Pearl Jam Hard Rock Hotel and Casino - Riffs – Travis Kidd Band Soul City – Tuesday Bluesday w/ Dustin Pittsley Gypsy Coffee House – Tuesday Night Open Mic Mercury Lounge – Wink Burcham, Jacob Tovar and the Saddle Tramps Yeti – Writers Night

Wed // May 10

River Spirit Casino - 5 O’Clock Somewhere Bar – Chris Blevins, Wink Burcham Soundpony – Dead Shakes

On the Rocks – Don White The Beehive Lounge – FLUiD EDM Night The Blackbird on Pearl – Open Mic w/ Screamin Steve Soul City – Poppa Foster’s Gumbo Zin Urban Lounge – Randy Brumley The Blackbird on Pearl – Sloppy Joe Fiasco Happy Hour The Colony – Tom Skinner’s Science Project Mercury Lounge – Travis Linville Cain’s Ballroom – Ty Segall, Junebug Spade, Planet What – $15-$17

Thurs // May 11

The Colony – An Evening w/ Jared Tyler Hard Rock Hotel and Casino - The Joint – Boston – $75-$95 River Spirit Casino - 5 O’Clock Somewhere Bar – Brent Giddens, Ali Harter The Venue Shrine – Casey James – $15.25-$20 Hard Rock Hotel and Casino - Riffs – Change of Heart, Darren Ray Soul City – Cody Clinton’s Writer’s Block VFW Post 577 - Centennial Lounge – Ethan Smith Soundpony – Extended Hunt Club – Matt Barrett Lewis Soundpony – Missing Pages - Happy Hour Show Mercury Lounge – Paul Benjaman Band Zin Urban Lounge – Randy Brumley Cain’s Ballroom – Ray Wylie Hubbard, Mike McClure Band – $20-$23 BOK Center – Tim McGraw and Faith Hill – $69.50-$119.50

Fri // May 12

Soundpony – Afistaface VFW Post 577 - Centennial Lounge – Chunky Monkey Hunt Club – Craig Cook and the Marauders Soul City – Darrell Christopher and the Ingredients Mercury Lounge – Garrett LeBeau The Venue Shrine – Ian Moore – $10-$15 Zin Urban Lounge – Jim Tilly American Legion Post 308 – Joe Harris Four Aces Tavern – Julie & The Retrospex Vanguard – My So Called Band – $10 The Colony – Ramsey Midwood River Spirit Casino - Paradise Cove – Rascal Flatts – $85-$95 The Blackbird on Pearl – Wesley Michael Hayes, Steve Liddell, Moonshine Saints Cain’s Ballroom – William Clark Green, Flatland Cavalry – $10-$15 Hard Rock Hotel and Casino - Riffs – Women of Rock, Jesse Joice

Gypsy Coffee House – Terry Aziere Martini’s Lounge – The Blue Dawgs Soundpony – Vertical Dice, Dead Shakes Happy Hour Show Cain’s Ballroom – Waka Flocka Flame, DJ Whoo Kid, DJ BiggRich – $30-$35

Sun // May 14

Guthrie Green – Kevin Gordon, Jared Tyler, Chris Blevins Gilcrease Museum – *Ruthie Foster Mercury Lounge – Brandon Clark Vanguard – Jonathan Byrd, Corin Raymond – $13 Soundpony – Kudzu The Colony – Paul Benjaman’s Sunday Nite Thing River Spirit Casino - 5 O’Clock Somewhere Bar – Zoey Horner, Chris Blevins

Mon // May 15 The Colony – Seth Lee Jones River Spirit Casino - 5 O’Clock Somewhere Bar – The Marriotts, Jacob Tovar Yeti – The Situation

Tues // May 16 Brady Theater – Brian Wilson plays Pet Sounds w/ Al Jardine & Blondie Chaplin – $49.50-$125 River Spirit Casino - 5 O’Clock Somewhere Bar – Erin O’Dowd, Zoey Horner Hard Rock Hotel and Casino - Riffs – Rusty Meyers The Colony – Singer/Songwriter Night w/ Dan Martin BOK Center – The Chainsmokers – $43-$77.50 Soul City – Tuesday Bluesday w/ Dustin Pittsley Gypsy Coffee House – Tuesday Night Open Mic Mercury Lounge – Wink Burcham, Jacob Tovar and the Saddle Tramps Yeti – Writers Night

Your voice For

Live Music

Sat // May 13

The Blackbird on Pearl – Amped Mercury Lounge – B.C. and the Big Rig Hard Rock Hotel and Casino - Riffs – FM Live, Chris Hyde Soundpony – Helen Kelter Skelter, Space4Lease, LCG & The X Hunt Club – Hosty Soul City – Jacob Flint Band VFW Post 577 - Centennial Lounge – James Groves Blues Machine Vanguard – Outline in Color, Miss Fortune, Keeping Secrets, Goodfella, When the Clock Strikes, Modern Myth – $10 Cimarron Bar – Seven Day Crash

Get the word out Send dates, venue and listings to John@LangdonPublishing.com May 3 – 16, 2017 // THE TULSA VOICE

J EN KS

ON THE FUN SIDE OF THE 96TH STREET BRIDGE!

SUMMER C O N C ERT S ER I ES

FR EE + L I V E + MUSIC 5/ 20

SEX TION 8

5/13 5/ 6 BRYCE DICUS &

SA M & THE STY LEES

THE MERCENAR IES

6/ 3

TR AVIS KIDD BA ND

5/ 27

BR ANDON CLA RK BA ND

FULL FLAVA KINGS

6/ 17

7/1

DUELING PIA NOS

THE SELLOUTS

7/15

THE TULSA VOICE // May 3 – 16, 2017

• LOS CABOS • PINOT’S PALETTE • MAYBELLE AND CO • MARBLE SLAB CREAMERY • THE MELTING POT • FLYING TEE • ANDOLINI’S PIZZA • MARYN’S TAPHOUSE & RAW BAR • THE CIGAR BOX WHISKEY BAR & TAPHOUSE • ROBIN’S ROAST COFFE • ENGAGE LIFE INSTITUTE • L’AMOUR NAILS • RIVEREWALK DENTAL SPA

COME EARLY TO PLAY – DINE – SHOP, THEN CLAIM A SPOT IN THE RIVERWALK AMPHITHEATRE.

7/8

7/4

6/ 10

BROUGHT TO YOU BY THE RIVERWALK TENANTS

300 RIVERWALK TERRACE JENKS, OK

RIVERWALKTULSA.COM /RIVERWALKJENKS ANOTHER INVISIBLE MAN PRODUCTION MUSIC // 47

filmphiles

HIGH CONCEPT ‘THE DISCOVERY’ STREAMING NOW Because you can always stay home and watch Netflix instead

by JEFF HUSTON

Rooney Mara and Jason Segel in “The Discovery” | COURTESY

A

timeless, universal angst exists: what happens when we die? Does anything happen at all? Even if science could answer those questions, those who take comfort in religious hopes might be intrigued by the possibilities of irrefutable certainty. It would bring peace of mind, right?

Director Charlie McDowell, whose Rod Serling-like stories are so high concept that they make other high concepts look relatively formulaic, posits such a hypothetical in “The Discovery” (streaming exclusively on Netflix). It’s a

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

48 // FILM & TV

sci-fi parable about a scientist who has proven the existence of the afterlife. But rather than embracing that revelation with euphoric relief, humanity’s response is much darker and more troubled. Suicides skyrocket on a mass scale.

This horrific fallout is the basis for some challenging ideas about what humans do with knowledge beyond their mental and spiritual pay grades. The depth of these themes are the strength of an otherwise mixed result of a movie that, on balance, is worthwhile if imperfect. The premise is fascinating, but some specific parts lack the strength of McDowell’s lofty intentions.

Jason Segal stars in “The Discovery” but he’s also its primary crutch. He plays Will, the disillusioned neurologist son of controversial scientist Thomas Harbor (Robert Redford). Despite the proof given, Will has doubts about the validity of this breakthrough finding. That doubt, coupled with his general pessimistic disposition, makes Will a conflicted, reluctant hero.

Rooney Mara plays Isla, another solemn, disturbed character. She holds a specific pain of her own,

but Mara infuses Isla’s angst with an uncharacteristic energy, extroversion, and charisma. Will brings Isla to his dad’s private compound where other suicidal acolytes of Harbor have taken refuge. There, the two make more unexpected discoveries, including Thomas’s “next phase” experiment that’s pushing more boundaries.

The plot takes various twists and turns. Some are intriguing, others confusing, but the root problem is Segal. He’s an uncompelling filter for this provocative fable. A comic actor, Segal proved he could do serious drama in “The End of the Tour,” and he’s certainly earnest enough here.

Nevertheless, his inability to carry Will’s heavy burdens in a convincing fashion undercuts the film itself, muting the connection between Will and Isla along with the story’s stakes.

Still, the ideas McDowell explores are provocative, all based in the keen insight that scientific discoveries cannot fill spiritual voids.

When an afterlife is seen not as a comfort but an escape then the result of that knowledge is a devaluing of life. It’s also a sign that knowledge isn’t always power,

especially when we’re unable to handle or comprehend its proper place in our lives. Knowledge in the hands of desperate people who rush to act on it is a dangerous thing.

In this respect, McDowell sees the certainty of science in more existential terms, questioning if it can offer the salvation that a secular culture often looks to science to provide.

On Harbor’s cult-like compound, faith is seen as a weakness, a shame, because it’s an act of giving up your own agency, your own power. But as this story unfolds, it shows that knowledge doesn’t necessarily lead to clarity or self-empowerment; it often leads in the other direction, to more questions. Pursuing answers then becomes an addiction, one that will never find peace in the sobriety of mystery and faith.

This is McDowell’s follow-up to “The One I Love,” a smaller, better debut that everyone should seek out. Even though he’s not quite able to fulfill his ambitions in “The Discovery,” it’s those very ambitions that make it— and McDowell’s career—worth watching. a May 3 – 16, 2017 // THE TULSA VOICE

OKLAHOMA STUDY OF NATIVE AMERICAN PAIN RISK RESEARCH PARTICIPANTS NEEDED

A BRIEF RUNDOWN OF WHAT’S HAPPENING AT THE CIRCLE CINEMA OPENING MAY 1 DIG TWO GRAVES A dark, Southern gothic tale about a girl who, obsessed by her brother’s disappearance, goes on a nightmarish journey. Starring Tulsa’s own Samantha Isler. Not Rated.

OBSESSION: NT LIVE Jude Law stars in this London stage adaptation of “The Postman Always Rings Twice.”

Theatre Tulsa actor Nick Gains will host with trivia and giveaways starting at 5:45 p.m. (Thur., May 11, 6 p.m.)

EXTREME WEATHER Through epic footage, storm-chaser Sean Casey explores the interconnected forces of global weather in an ever-changing climate. A Nat Geo documentary, with Q&A by Oklahoma native Justin Walker. Not Rated.

MANHATTAN: 4K RESTORATION (1979) Woody Allen’s follow up to his Oscar-winning Best Picture “Annie Hall,” this is a new digital restoration of the comedy auteur’s black-andwhite love letter to New York City.

Showing four nights only. Rated R. (May 11–14. Showtimes TBA.)

FRANTZ Set in the aftermath of WWI, a grieving young German woman meets a mysterious Frenchman at the gravesite of her fiancé. In French and German. Rated PG-13.

OPENING MAY 5 RAW A gritty, queasy horror movie that lives up to its name, this French-language film follows the terrible, ugly consequences of when a young vegetarian woman strays from her principles to eat raw meat for the first time. Rated R. SPECIAL EVENTS CIRCLE MEMBERS: BRING A FRIEND FOR FREE NIGHT Circle Members are invited to bring one non-member for FREE. A classic short film will be screened, along with a trailer reel of upcoming movies and special events, plus a very special surprise guest.

(Thur., May 4, 6 p.m.)

BLOODSPORT (1988) The Circle launches its new martial arts series “Kumite Theater” with this action cult classic starring Jean-Claude Van Damme. Rated R. (Fri., May 5, and Sat., May 6, 10 p.m.)

THE OUTSIDERS (1983) Showing on three screens, actors C. Thomas Howell, Ralph Macchio, and Darren Dalton will be in person to introduce each showing of this Tulsa-based classic, and engage in a Q&A after each screening.

Opportunities for pictures and autographs follow in the gallery. Tickets for the event are $20. Rated PG. (Sun., May 5, 12:00 / 12:15 / 12:30 p.m.)

TED TALKS SERIES The inspiring TED Talk events continue on consecutive Monday nights. (May 8 and May 15, 7:00 p.m.)

THE TULSA VOICE // May 3 – 16, 2017

ROBOCOP: 4K DIRECTOR’S CUT (1987) A digitally restored 30th anniversary screening of the sci-fi crime action classic about a haunted cyborg cop in crime-ridden Detroit. Rated R. (Fri., May 12, and Sat., May 13, 10 p.m.)

MY NEIGHBOR TOTORO (1988) The Circle’s Anime Club presents this classic from Hayao Miyazaki, a magical tale about the adventures of two girls and nearby spirits of the forest.

Rated G. (Sat., May 12, and Sat., May 13th, 10 p.m.)

HER SISTER FROM PARIS (1925 Silent Film) Contance Talmadge stars with a double-role in this comedy with Ronald Colman, George K. Arthur, and Margaret Mano. Double-exposure photography allowed Talmadge to appear side-by-side as two different characters. Adults $5, Children $2.

(Sat., May 13, 11 a.m.)

BICYCLE FILM FESTIVAL This three-day festival has a specific focus each night: BMX (Monday), TULSA TOUGH (Tuesday), and BIKE SHORTS (Wednesday). Each evening begins with an hour-long pre-show event at 6 p.m. (15–17, 7 p.m.)

NORMAN LEAR: JUST ANOTHER VERSION OF YOU This TV-producing icon of classic series like “All in the Family” and “The Jeffersons,” Norman Lear is the latest recipient of the Woody Guthrie Prize awarded at an event in L.A. To celebrate, this documentary screening is presented in partnership with Tulsa’s Woody Guthrie Center. A reception will follow the film. (Wed., May 17, 6:30 p.m.)

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.

$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

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, Cherokee Nation, and Indian Health Service Oklahoma Area Office IRB approved research study.

FREE IT ’S L E G A L T IL L

Tulsa’rsee F ONLY u na Marij yaer Law

Free legal representation for first offense marijuana possession.

Tulsa District & City Courts only.

No juvenile cases.

Reasonable fees for other charges.

Some restrictions apply.

Michael Fairchild • Attorney at Large • 918-58-GRASS (584-7277)

MOVIE NIGHT PRESENTS

MAY 4

JURASSIC WORLD TULSA JURASSIC CREW WILL BE ONSITE WITH JURASSIC JEEPS, A JURASSIC PARK EXPLORER, AND A JURASSIC PARK RANGER VEHICLE!

MAY MOVIE NIGHTS 11 • MIS FEST PRESENTS : DRE AM GIRLS 18 • FINDING DORY 25 • L A L A L AND All films start at 8:30 pm. Films are subject to change.

Weather cancellations will be posted to social media and guthriegreen.com.

FILM & TV // 49

free will astrology

by ROB BREZSNY

TAURUS

(APRIL 20-MAY 20):

Fantasize about sipping pear nectar and listening to cello music and inhaling the aroma of musky amber and caressing velvet, cashmere, and silk. Imagine how it would feel to be healed by inspiring memories and sweet awakenings and shimmering delights and delicious epiphanies. I expect experiences like these to be extra available in the coming weeks. But they won’t necessarily come to you freely and easily. You will have to expend effort to ensure they actually occur. So be alert for them. Seek them out. Track them down.

GEMINI (May 21-June 20): Contagion may work in your favor, but it could also undermine you. On the one hand, your enthusiasm is likely to ripple out and inspire people whose help you could use. On the other hand, you might be more sensitive than usual to the obnoxious vibes of manipulators.

But now that I’ve revealed this useful tip, let’s hope you will be able to maximize the positive kind of contagion and neutralize the negative. Here’s one suggestion that may help: Visualize yourself to be surrounded by a golden force field that projects your good ideas far and wide even as it prevents the disagreeable stuff from leaking in.

CANCER (June 21-July 22): A reader named Kris X sent me a rebuke. “You’re not a guru or a shaman,” he sneered. “Your horoscopes are too filled with the slippery stench of poetry to be useful for spiritual seekers.” Here’s my response: “Thank you, sir! I don’t consider myself a guru or shaman, either. It’s not my mission to be an all-knowing authority who hands down foolproof advice. Rather, I’m an apprentice to the Muse of Curiosity. I like to wrestle with useful, beautiful paradoxes. My goal is to be a joyful rebel stirring up benevolent trouble, to be a cheerleader for the creative imagination.” So now I ask you, my fellow Cancerian: How do you avoid getting trapped in molds that people pressure you to fit inside? Are you skilled at being yourself even if that’s different from what’s expected of you? What are the soulful roles you choose to embody despite the fact that almost no one understands them? Now is a good time to meditate on these matters.

LEO (July 23-Aug. 22): In the coming weeks, there will be helpers whose actions will nudge you — sometimes inadvertently — toward a higher level of professionalism. You will find it natural to wield more power and you will be more effective in offering your unique gifts. Now maybe you imagine you have already been performing at the peak of your ability, but I bet you will discover — with a mix of alarm and excitement — that you can become even more excellent. Be greater, Leo! Do better! Live stronger! (P.S.: As you ascend to this new level of competence, I advise you to be humbly aware of your weaknesses and immaturities. As your clout rises, you can’t afford to indulge in self-delusions.)

VIRGO (Aug. 23-Sept. 22): I love to see you Virgos flirt with the uncharted and the uncanny and the indescribable. I get thrills and chills whenever I watch your fine mind trying to make sense of the fabulous and the foreign and the unfathomable. What other sign can cozy up to exotic wonders and explore forbidden zones with as much no-nonsense pragmatism as you? If anyone can capture greased lightning in a bottle or get a hold of magic beans that actually work, you can.

LIBRA (Sept. 23-Oct. 22): A friend told me about a trick used by his grandmother, a farmer. When her brooding hens stopped laying eggs, she would put them in pillowcases that she then hung from a clothesline in a stiff breeze. After the hens got blown around for a while, she returned them to their cozy digs. The experience didn’t hurt them, and she swore it put them back on track with their egg-laying. I’m not comfortable with this strategy. It’s too extreme for an animal-lover like myself. (And I’m glad I don’t have to deal with recalcitrant hens.) But maybe it’s an apt metaphor or poetic prod for your use right now. What could you do to stimulate your own creative production?

SCORPIO (Oct. 23-Nov. 21): Now would be an excellent time to add deft new nuances to the ways you kiss, lick, hug, snuggle, caress,

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

and fondle. Is there a worthy adventurer who will help you experiment with these activities? If not, use your pillow, your own body, a realistic life-size robot, or your imagination.

This exercise will be a good warm-up for your other assignment, which is to upgrade your intimacy skills. How might you do that?

Hone and refine your abilities to get close to people. Listen deeper, collaborate stronger, compromise smarter, and give more. Do you have any other ideas?

SAGITTARIUS (Nov. 22-Dec. 21): “If I had nine hours to chop down a tree, I’d spend the first six sharpening my ax,” said Abraham Lincoln, one of America’s most productive presidents.

I know you Sagittarians are more renowned for your bold, improvisational actions than your careful planning and strategic preparation, but I think the coming weeks will be a time when you can and should adopt Lincoln’s approach. The readier you are, the freer you’ll be to apply your skills effectively and wield your power precisely.

CAPRICORN (Dec. 22-Jan. 19): Zoologists say that cannibalizing offspring is common in the animal kingdom, even among species that care tenderly for their young. So when critters eat their kids, it’s definitely “natural.”

But I trust that in the coming weeks, you won’t devour your own children. Nor, I hope, will you engage in any behavior that metaphorically resembles such an act. I suspect that you may be at a low ebb in your relationship with some creation or handiwork or influence that you generated out of love. But please don’t abolish it, dissolve it, or abandon it. Just the opposite, in fact: Intensify your efforts to nurture it.

AQUARIUS (Jan. 20-Feb. 18): Your astrological house of communication will be the scene of substantial clamor and ruckus in the coming weeks. A bit of the hubbub will be flashy but empty. But much of it should be pretty interesting, and some of it will even be useful. To get the best possible results, be patient and objective rather than jumpy and reactive. Try to find the deep codes buried inside the mixed messages.

Discern the hidden meanings lurking within the tall tales and reckless gossip. If you can deal calmly with the turbulent flow, you will give your social circle a valuable gift.

MASTER

PISCES (Feb. 19-March 20): The best oracular advice you’ll get in the coming days probably won’t arise from your dreams or an astrological reading or a session with a psychic, but rather by way of seemingly random signals, like an overheard conversation or a sign on the side of a bus or a scrap of paper you find lying on the ground. And I bet the most useful relationship guidance you receive won’t be from an expert, but maybe from a blog you stumble upon or a barista at a café or one of your old journal entries. Be alert for other ways this theme is operating, as well. The usual sources may not have useful info about their specialties. Your assignment is to gather up accidental inspiration and unlikely teachings.

ARIES (March 21-April 19): After George Washington was elected as the first President of the United States, he had to move from his home in Virginia to New York City, which at the time was the center of the American government. But there was a problem: He didn’t have enough cash on hand to pay for his long-distance relocation, so he was forced to scrape up a loan. Fortunately, he was resourceful and persistent in doing so.

The money arrived in time for him to attend his own inauguration. I urge you to be like Washington in the coming weeks, Aries. Do whatever’s necessary to get the funds you need to finance your life’s next chapter.

At least 30 percent of everything you and I know is more than half-wrong. Are you brave enough to admit it? 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 .

50 // ETC.

May 3 – 16, 2017 // THE TULSA VOICE

ACROSS 1 It gets into hot water 7 Grain to be ground 12 Type of hat or canal 18 Certain hay fever drug brand 20 “I need it yesterday!”

21 Showing great anger 22 Channel of water that turns a wheel 23 Dr. Alan Alda 25 Period’s place in a sentence 26 Super-big, body-wise 27 First name in “The Matrix” 28 Round-mouthed cries 29 Holder of many bills 33 “Blue Bloods” network 34 Cruise liner stops 36 Tommie of baseball or James of writing 37 ___ generis (unique) 38 FDR’s health affliction 40 Be over by 45 “Crazy” bird 46 Dr. Robert Young 49 Move like the Blob 50 Reckless, impetuous, irresponsible people 52 Novelist Anais 53 “Aren’t ___ fine pair of misfits?”

54 Automatons (Abbr.)

55 Give-go link 56 Concerning this, to lawyers 58 Psychic’s claim 59 Plan ___-together (schedule a meeting) 60 Buddhist’s goal 62 Nonclergy 66 Stuff used in making glass 68 Mr. Aykroyd 69 In a rational manner 72 Ending for spin or grid 73 Rocked out 76 Any mom or dad 77 Musket output

81 Big name in gas stations 82 Have a loan out 84 Snacks 86 Out-limb link 87 Art ___ (Miami Beach’s design style) 88 Little Ms. Bobbsey 89 Guevara the revolutionary 91 Screeching night birds 93 “The Dukes of Hazzard” deputy sheriff 94 Dr. Wayne Rogers 97 “Join ___ the grand opening!” (new store’s invitation) 98 Attachment to nay or sooth 100 Devoutly religious 101 Wife of John Lennon 102 Head of France?

103 Genre of illusory, eyeball-bending drawings 105 Billiards stick 106 More expensive or beloved 108 Good card to have in a casino 111 “Sesame Street” viewer 112 Map collection between two covers 115 Certain vegetable 116 Dr. Harry Shearer 119 Less acute 124 Big name in low-carb diets 125 Does backbreaking work 126 Sign of something about to happen 127 Dwell 128 Kind of system, raise or badge 129 Not digital DOWN 1 Scottish head covering 2 Manning the passer 3 “... and to ___ a good night” 4 “The Fresh Prince of ___-Air”

5 Correspond grammatically 6 Sound from a hog 7 Snatches 8 T. ___ Price (investment firm) 9 Calligraphers’ necessities 10 It may contain a belfry 11 Pixar’s “___ Story” 12 Lab measuring tube (var.)

13 Melodic 14 Word before a maiden name 15 Picked-out hairstyle 16 “___ obliged” 17 Drinks by the yard 19 “Go on ...”

20 Having irrational fears 24 Covers up or dresses up 29 Build a room around 30 Guinea pig relative 31 Dr. DeForest Kelley 32 Horne the entertainment legend 33 It’s certainly not a blessing 35 What it produces is crude 37 Pertaining to religious rites 38 Stat for a tire inflator 39 Have possession of 41 What an 0-2 count on a batter indicates 42 Dr. Neil Patrick Harris 43 Cortes foe and victim 44 Protective outer layer of a seed 46 One’s demeanor 47 What pessimists say life is 48 Does more than chats 51 “Macbeth” title 57 Russian gymnast Korbut 61 “Scram!”

63 “PUSH FOR ___”

Universal sUnday Crossword

64 Certain type of food preserver 65 Saxophone range 67 Nero’s “that is” 70 Kind of concert or market 71 Rum drinker’s sing-song refrain 73 Green gems 74 Indoor sports venue 75 “Cease and desist” 78 Like many signs on the Vegas strip 79 Like any after-midnight TV show 80 Wine sampler 83 Hostile or belligerent mood 85 Glimmered 89 “Thinking” part of a computer 90 Shes’ counterparts 92 Go ___ winner (retire on top) 95 Suitable for drinking 96 Contests between knights on horseback 99 Plump 104 Western band that chased outlaws 105 Editor’s insert mark 106 Actress Winger 107 In one’s stomach 108 Slightly open, as a door 109 Like all babies 110 Moose relatives 113 Skier’s alpine transport 114 Jeans inventor Strauss 115 Soda, in slang 117 Grandfather clock’s three 118 Suffix with colonial or alcohol 120 Trump’s Olympic team 121 “My Gal ___” (1942 film) 122 Inhibitor of teamwork 123 Old gas pump abbreviation

BUT i Play one on Tv

By Timothy e. Parker

© 2017 Andrews McMeel Syndication

5/7

WE’RE HIRING! Dog Training and Assessment Specialist Under the direction of the Tulsa SPCA director of operations and the veterinarian, the dog training and assessment specialist will provide leadership and direction for the following activities: assessments, intake and outcome decisions, training, and behavior advice.

Qualifications include: • Thorough understanding of canine behavior • Ability to work with and train others • Strong attention to detail • High school diploma required, college degree preferred • Completed or in process of completing certified training program (full list of certif ications can be found at www.tulsaspca.org) This is a part-time, non-exempt position with $15.00 per hour starting pay, 20 hours per week maximum. Work days for this position: Monday, Wednesday, Thursday, and Saturday. Hours are negotiable.

To see a full list of qualifications and to apply, visit www.tulsaspca.org/careers/.

THE TULSA VOICE // May 3 – 16, 2017

ETC. // 51

Pleas e re cycle this issue.