Luxiere - Oklahoma Lifestyle & Real Estate // Edition 53
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18 A Sublime Season
Plaid or stripes, playful fringed bags or pure white dresses — the new season means it’s time for a wardrobe refresh, and these are the essential trends for Spring 2025.
STORY BY KATE FRANK
40 Music Makes a Way
A choice made in childhood shaped the course of Anjelica Lindsey’s life. Now she’s set to mark a major milestone with the premiere of the Oklahoma Woman Quartet.
STORY BY MICHAEL KINNEY
46 The Peruvian Palate
The new downtown restaurant Tayta is more than a chance to broaden OKC palates a bit; it’s the next step in Madeline and Niel Zambrano’s delicious family legacy.
STORY BY GREG HORTON
of the Tiger
Director Loren Waters was the perfect person to tell the story of her friend, Indigenous artist Dana Tiger, and the proof is in the prize Tiger won at Sundance.
STORY BY ALEXANDRA BOHANNON
68 Designing for Decades
Though he studied architecture, David Caldwell has since become renowned for his skill working with leather and creating pieces meant to be worn for a lifetime.
STORY
BY
MEGAN SHEPHERD
STORY BY MEGAN SHEPHERD
53 FROM THE PUBLISHER
In this, our first publication of 2025, we’ve gone big. Edition 53 is filled with big ideas, bold dreamers and unstoppable creativity. In short, it’s what Oklahoma does best. We love the unexpected, we embrace the enigmatic and we celebrate all of it. We know you’ll love this issue as much as we do.
How old were you when you understood — and embraced — your primary life path? Has it happened yet? Anjelica Lindsey realized as a child that music was her path. She began playing violin at 11, taught herself piano and guitar as well, is Juilliard-trained and cites Michael Jackson as a key source of musical inspo. Intrigued? You should be. Writer Michael Kinney talked to the musician about all of this plus her latest project.
Filmmaker Loren Waters and artist Dana Tiger crossed paths thanks in part to Tiger’s prayers and a friend the woman had in common: Sterlin Harjo, award-winning creator of the Hulu comedy series “Reservation Dogs.” The more Waters learned about the Tiger family, the more she understood that there was a potent story there and a multi-generational family legacy of art that needed to be shared, which Waters has done beautifully in her documentary short film that made a splash at Sundance.
Making beautiful garments designed to last a lifetime is the life’s work of Tulsa-based designer David Caldwell. His specialty? Leather jackets. As he puts it, “Leather is timeless … there’s always a story behind a leather jacket.” His own story starts when, as a teen, his passion for fashion began to blossom. After a stint in the Big Apple (yes, he met Anna!), he returned to Oklahoma where, one day, he bought a hide, made a shirt pattern and hand-stitched his first jacket.
Writer Kate Frank has taken a deep dive into spring fashion, where classics reign and stripes of every stripe are being reimagined by some of fashion’s biggest names: Think Prada,
Louis Vuitton and Dior. While we’ve yet to see this trend along Route 66 or, say, at Eischen’s, the infamous “no pants” look is in full swing, this time in the form of miniskirts. Miu Miu went ultra tiny, Ralph Lauren went tailored and Fendi brought the embellishment with sequins and muted pattern.
We (re)visited Tulsa’s multilayered Bob Dylan Center — loved it — and then, back in Oklahoma City, writer Greg Horton took us for a Peruvian feast at the family-run delight, Tayta. Niel and Madeline Zambrano have brought a bold concept to downtown, and the parihuela (seafood soup) must not be missed. Speaking of food, our Woman of Influence this edition is Rachel Cope, founder of 84 Hospitality, who started her statewide restaurant empire by losing a contest. You’ll know her food: Empire Slice House and Burger Punk are Oklahoma City staples and she’s taken her menus north to Tulsa and Stillwater.
As I read our writers’ work and see their stories brought to life with incredible images and beautiful design, I can’t help but think to myself, “What a wonderful world.” Don’t you agree?
Until next time,
STACY D. JOHNSON Publisher, Owner
STACY D. JOHNSON
Owner/Publisher/Editor in Chief
nvsble.studio
LUXIERE MAGAZINE
A Sublime Season
Spotlighting spring’s must-have trends
BY KATE FRANK
From bold patterns to timeless textures, designers are reimagining classics with fresh twists, giving us everything we need to elevate our wardrobes this season. Stripes are making waves, miniskirts are having their moment and white dresses are an enduring spring staple. Chic plaids and playful fringe bring movement to the season, proving that right now is all about balance. Here are five trends shaping Spring 2025 and how top designers are showcasing them.
OPPOSITE: Ralph Lauren Spring-Summer 2025 Runway Show
STRIPES: THE BOLD AND THE BEAUTIFUL
Stripes are making a bold arrival this spring. This versatile pattern has been reimagined by some of fashion’s biggest names, bringing fresh energy to the Spring 2025 runways.
At Louis Vuitton, stripes took center stage with striking vertical patterns in vibrant colors. From flowing maxi dresses to tailored blazers, LV showed us that stripes can be both playful and sophisticated. Paired with sleek accessories, these pieces are perfect for making a statement.
Prada kept things minimalist yet striking, as it showcased monochromatic striped sets that exuded modern elegance. Think tailored trousers paired with matching striped blouses for an effortlessly chic look. Meanwhile, Dior brought a more classic approach, incorporating nautical-inspired horizontal stripes into dresses and knitwear, proving this pattern’s versatility. Historically, stripes have symbolized everything from rebellion to refinement. Coco Chanel popularized the Breton stripe in the early 20th century, and today, designers are breathing new life into this classic pattern. The versatility of stripes ensures they’re adaptable for any occasion, whether you’re lounging at the beach or attending a formal dinner.
Eden Turrentine, the owner of Eden Boutique in Oklahoma City, shared her love for stripes, saying, “We always do a lot of stripes; I love the masculine pattern of stripes to the hyperfeminine feel in the spring.” Eden Boutique, located in the Paseo Arts District, offers a special blend of exclusive fashions, bold accessories and expert styling. With over 20 years of experience in the fashion and beauty industry, Turrentine is passionate about helping customers find pieces that make them feel confident and express their individuality. Ready to embrace stripes? Breathe new life into your classic striped button-down by layering it with bold hues and fresh textures. Or, take it up a notch with a statement striped blazer or skirt to add a chic edge to your spring wardrobe. Whether you lean toward vibrant tones or subtle sophistication, this pattern is a must-have for the season.
LESS IS MORE: THE RISE OF THE ‘NO PANT’ LOOK
Mini skirts and shorts are just what the tailor ordered for spring, bringing a playful, youthful energy to the season. From casual daytime looks to elegant evening ensembles, these pieces are giving legs for days! Miu Miu’s collection was a celebration of the mini, with ultrashort skirts styled with fitted shirts and oversized jackets. The brand embraced a mix of textures, from denim to sequins, proving that mini shorts can be as versatile as they are chic.
Ralph Lauren offered a more tailored take on the trend, with high-waisted shorts and structured mini skirts in neutral tones. Paired with crisp button-downs and sweaters, these looks took an elegant approach to short shorts.
Fendi’s runway brought a playful twist, showcasing mini skirts with intricate embroidered sequins and muted patterns. Styled with oversized coats and sheer tops, this collection recalls the effectiveness of a short skirt.
Beyond the runway, the “no pant” look has captured the attention of street style enthusiasts. Celebrities like Hailey Bieber and Bella Hadid have been seen embracing ultra-mini styles, proving that confidence is a key accessory for pulling off this trend. When paired with oversized blazers or knee-high boots, the look makes a seamless transition from edgy to sophisticated.
Whether you’re dressing up for a night out or keeping it casual, the mini is your go-to for effortless style this season. Add a tailored blazer for structure or play with bold textures for an on-trend look.
PLAID, BUT MAKE IT CHIC
Plaid is no longer just for the winter months. This season, it’s getting a chic upgrade with lighter fabrics and fresh styling, proving that this pattern can be as versatile as it is stylish.
Bottega Veneta’s collection featured plaid in unexpected ways, from oversized blazers to flowing midi skirts. The brand’s use of soft pastels and muted tones brought a modern, spring-ready feel to this classic pattern.
Burberry stayed true to its roots, showcasing plaid matching sets and reimagined plaid trench coats. Paired with sleek boots and minimalist handbags, these looks were effortlessly polished. Barbara Jansen, buyer for Balliets in Oklahoma City, also spotted this trend at the New York market, noting, “We saw so many darling plaid and gingham patterns in joyful spring colors. One of our favorite midi dresses by Hunter Bell features a bright plaid of pink, yellow and blue with a sweetheart neckline. Hunter Bell also designed patriotic gingham tops, dresses and shorts perfect for a summer holiday.” Located in the stylish Nichols Hills Plaza, Balliets has been a fashion staple in Oklahoma City since its founding in 1936 by Edna Balliet. It offers a curated collection of apparel, accessories, jewelry and cosmetics.
Plaid’s origins date back centuries, with tartan patterns representing Scottish clans. Today, designers are using plaid to evoke both heritage and innovation, making it an essential part of the modern wardrobe. Spring’s lighter fabrics and pastel tones breathe new life into this pattern, transforming it from a winter staple to a warm-weather favorite.
If you’re ready to put a fresh twist on this closet staple, start with a plaid coat or skirt. Pair it with neutral pieces for a sophisticated look, or mix patterns for a bold, fashion-forward vibe. Don’t shy away from experimenting with layering to give plaid a contemporary edge.
TIMELESS ELEGANCE: THE WHITE DRESS
Nothing says spring like a white dress, and this season, designers are taking simplicity and sophistication to new heights. From flowing silhouettes to tailored fits, a white dress is a spring staple you can’t go without.
Gucci’s collection featured flowy white dresses blending chic with modernity. These pieces were paired with bold gold accessories, creating a striking contrast for any occasion.
Chloé embraced its boho style, showcasing flowy white dresses with lace details and soft fabrics. The brand’s approach emphasized effortless elegance, making these dresses ideal for everything from a brunch outing to a beach wedding.
Balenciaga brought an edgy feel to the trend, with sculptural white dresses that played with asymmetry and texture. These bold designs are just right for those looking to impress with a classic spring staple.
Amber Kern, owner of Rosegold Boutique in Oklahoma City, has curated her collection to feature all the must-haves for this season.
“Spring is always a good refresh,” she says. “By the time winter’s over, everyone is ready for brighter fabrics, beautiful white gauzy dresses and pieces that feel like summer.” Rosegold reflects Kern’s passion for stylish, high-quality women’s wear, focusing on ethically and sustainably sourced brands. Since opening in 2016, Rosegold has offered a laid-back, feminine aesthetic with a mix of established favorites and indie designers. Kern, who has over a decade of fashion experience in Austin and Los Angeles, also added designer consignment items in 2020 as part of her sustainability efforts. The boutique’s collection includes everything from casual apparel to chic accessories, helping customers embrace spring with sophistication while promoting a sustainable approach to fashion.
A white dress is the ultimate canvas for accessorizing. Add a pop of color with shoes or jewelry, or keep it monochromatic for a classic look. Either way, it’s a timeless choice. This wardrobe staple is more than just a spring favorite; it’s a symbol of renewal and simplicity, perfect for celebrating the season.
A FRINGE-FILLED SUMMER
Fringe is here for fun, and it’s more playful and eye-catching than ever. From subtle accents to full-on fringe ensembles, this trend brings movement and texture to your spring wardrobe.
Gucci showcased its collection with fringe-laden trenches and skirts that swayed with every step. Paired with sleek heels and bold jewelry, these pieces were equal parts fun and glamorous.
Proenza Schouler’s collection took a street-style approach, featuring fringe accents on blouses and skirts. These subtle touches added a sense of whimsy without overpowering the look.
Burberry brought a dramatic flair, showcasing sequin fringe dresses in vibrant colors. Styled with minimalist accessories, these pieces made a bold statement while remaining chic.
Fringe dates back to the 1920s flapper era, a time when it represented liberation and a break from traditional fashion norms. This season, fringe embodies that same sense of freedom and self-expression, making it a priority for those who love to make waves.
Fringe is all about movement, so don’t be afraid to embrace it in your accessories or outerwear. Whether you opt for a fringe bag or a full-on fringe dress, this trend is sure to turn heads. For a subtler approach, consider fringe-trimmed sleeves or hemlines that add just the right amount of flair.
THE SEASON’S FINAL WORD
Spring 2025 is shaping up to be a season of bold patterns, timeless silhouettes and playful textures. Whether you’re drawn to the simplicity of a white dress, the energy of fringe or the chicness of plaid, there’s something for everyone. Designers have delivered collections that are equal parts innovative and wearable, ensuring you can incorporate these trends into your everyday wardrobe. With so many exciting styles to choose from, this spring is your time to shine. •
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Woman of Influence
Rachel Cope
BY CHRISTINE EDDINGTON
Rachel Cope, founder and CEO of 84 Hospitality Group, got her start in restaurant ownership by losing a contest. It’s something she still talks about with some incredulity. The year was 2013, and Oklahoma City’s mini-Portlandia, AKA the Plaza District, was just donning its beanie, growing a lumberjack beard and lacing up its Red Wings. An early investor in the area, Steve Mason, guided in part by the vision developer Aimee Ahpeatone had for the district, was in possession of a former laundromat awaiting transformation, so a pitch contest was held for budding business owners, sort of like “Shark Tank.”
Fun fact about Cope: she is incredibly competitive. Fiercely. Hates to lose. She played shortstop for years, including in college at Oklahoma City University, a career which culminated in an NAIA national softball championship her senior year. Of the Plaza District contest she says, “You were seeing everything from flower shops to laundromats to an arcade to all these different restaurants, and I decided that I was going to make a business plan and pitch that.”
Cope had, by this time, been working in the hospitality biz for years, spending time at the Deep Fork Group, and as she puts it, “Everywhere on Western [Avenue]. I was at VZDs, I was at Café Nova, at Deep Fork and at the Wedge.” Long-time Oklahoma Cityans will remember these old favorites — alas, none remain.
As Cope was working her way through the Oklahoma City restaurant scene, she met a woman who opened her eyes to what a restaurant could be. Maybe even should be. Elena Farrar, who had helped found OKC’s Elemental Coffee, with its exceptional food and warm vibe, was a mentor for Cope. Of meeting Farrar, Cope says, “That was the first time I got to see someone who played the music that they felt like fit the guests and made decisions on behalf of the guest.”
But back to the Plaza District competition: Cope teamed up with a chef friend of hers, saying, “I want to put an idea in for this … what are you good at cooking?” Eastern European, he told her. Pierogies. Things like that. “We pitch this idea, they interview us. We don’t win. Go figure.” The loss stung.
“So I took off to Austin about two weeks after the contest ended, and I went to a pizza place called Home Slice on South Congress, before South Congress is what it is now. It was pretty cool and still kind of low-key then. But I sat there and I was like, damn it … this neighborhood is what I think the Plaza is going to be, and we should have done pizza,” she says. Cope came back to OKC and told her friend, essentially, to buckle up — because she had a new plan.
In the meantime, unbeknownst to Cope and company, Mason and Ahpeatone had been unable to strike a deal with the contest winners. So they called Cope. “They told me, ‘We think you have the experience running restaurants and that you have the knowledge, but do you have any other ideas?’ And I just said pizza.” Never mind that Cope didn’t know how to make pizza.
The pressure was on. She had 30 days to prepare a menu for tasting. “It didn’t go that great. The appetizers and salads and things were fine, but the pizza itself was terrible. We didn’t know what we were doing. We were making dough in a small Kitchen-Aid mixer in my rent house and not letting it proof … it was just hard and not pliable when we were trying to stretch it.” They were given 60 days to figure it out and try again.
Cope panicked, but then her competitive spirit kicked in. “I start researching pizza schools, and I found one in San Francisco called Tony Gemignani’s International School of Pizza,” she says, which had an upcoming class on American and New York style pizza. “It was a week long. My parents took money out of their stock market account and sent me to San Fran. I didn’t grow up in a wealthy family, so giving me 10 grand was all the extra cash they had at the time.” She returned home with the distinction of being the first woman in Oklahoma certified in making pizza in that style. “It changed everything.”
That was the beginning of Empire Slice House, and Cope’s culinary empire. She’s repaid her parents many times over. Her company created and now operates a clever collection of restaurants in Oklahoma City and Tulsa, including Empire Slice House, with locations in Oklahoma City, Tulsa, Edmond and Stillwater; Goro Ramen in OKC’s Paseo Arts District; two Burger Punks, both in Oklahoma City; and most recently Elisabetta, Cope’s first finer dining concept.
The new restaurant’s name is the Italian version of Cope’s middle name, Elizabeth. Its location, at NW 73rd St. and Western Ave., will be familiar to many. Over the years the building has housed coffee shops and multiple restaurants like Louie’s and, way back in the day, TerraLuna. For Cope, though, it was about a vibe. “It had sat vacant for over a year. I just kept driving past it. Almost every space we’ve ever had has come from me driving by and feeling something.”
Elisabetta is Cope’s first collab with Excelsior Hospitality, an Austin-based restaurant consultancy. They’ve helped develop Elisabetta’s menu, working with Cope’s local team. She also brought Chris Pardo Design in on the interior design, a company which has created truly beautiful hotels, villas and restaurants across the United States and beyond.
In an interview with EatingOKC , Elisabetta is described as a “slowed-down, upscale casual dining experience with traditional Italian fare, a robust wine list and full bar set in an elegant space,” and Cope calls it her first “grown-up restaurant.” As she enters her 40s, she jokes, “We can’t eat pizza and cheeseburgers every day anymore.” •
PHOTOGRAPH
The Warmth of Bronze
Liliana
M. Gutiérrez’s passion for creation
BY VALENTINA GUTIÉRREZ
Art has a unique way of connecting us to the intangible: feelings, memories and dreams that words often fail to capture. For artist Liliana M. Gutiérrez, the journey began with a childlike fascination for creating something with her hands, sparked by a dream of carving her own Pinocchio. Over the years, this curiosity evolved into a profound passion for sculpture, a medium that allows her to shape not just forms but emotions. Inspired by the tenderness of children, the grace of women and the vibrant colors of the tropics, her works transcend mere materials like bronze or marble to tell deeply human stories. In this exclusive feature for Luxiere, she shares her creative process, the magic of patinas and her vision for making her art accessible to the world.
Can you share the moment or experience that first inspired your journey into sculpting, particularly working with bronze?
I have always loved sculpture, even without realizing it. I was just a little girl when I dreamed of making a wooden Pinocchio with my own hands. In fact, I did make one, but using paper bags. My mother enrolled me in art and painting classes, but my true passion was sculpture. Being able to touch, hold and enjoy the third dimension felt like an incredible dream. Years later, I had the opportunity to go to Washington, D.C., to the Corcoran School of Art. It was there that I saw, for the first time, a student working on a bronze sculpture of a mother embracing her child. I thought, “I want to make one of those.” That was the moment I realized sculpture was my calling and passion, because I fell completely in love with it.
Your work often highlights the human form, with a special focus on children and women. What draws you to these subjects, and what story are you hoping to tell through them?
The truth is, children and women inspire me the most. Their innocence, sincerity, simplicity, tenderness and love are unparalleled. Women, with their rounded forms — especially in adulthood — are subtle, and through them, I convey the maternal love they embody. It is the greatest kind of love: eternal, selfless and unique, just like children.
The lost wax technique and your practice of patinating your sculptures yourself are rare and meticulous processes. What inspired you to take such a hands-on approach, and how does it influence the final piece?
I never delegate the patinas because, even before finishing the piece, I have already visualized how it will look completed, including its tones and colors. For me, patinas bring the work to life through their nuances, expressing emotions that only the creator of the piece can convey, as they come from the deepest parts of their being and mind.
Your sculptures have been described as serene yet dynamic, capturing extraordinary moments in ordinary lives. How do you achieve such depth and emotion through the cold, rigid medium of bronze?
To create, you must imagine, feel and live what you are doing. When I start a piece, I never think about the cold bronze, marble or any material that might be used for its final finish. My focus is on bringing those characters to life through the emotions they and I are feeling. Sometimes, I’ve even kissed some of the sculptures, because the connection is so profound that I begin to feel what they feel and express those emotions with them. This is why, even when cast in bronze — a cold metal — the sculptures radiate warmth.
Having studied at both the Corcoran School of Art in Washington, D.C., and Neptalí Rincón School of Art in Venezuela, how did these diverse artistic environments shape your style and vision as a sculptor?
Undoubtedly, what influenced me the most in patinas were the colors of the tropics. Both schools I attended were extraordinary, but in Venezuela, I had a teacher who was out of this world — José Nicanor Fajardo. He believed in me and motivated me.
Your heritage and upbringing in Maracaibo, Venezuela, are rich with culture and history. How does your background influence your artistic expression today?
The traits of my characters, the diversity of races I depict in my works and the sensitivity and empathy I feel for the poorest or those most in need of love all influence my art.
You name many of your characters, like Nathaly, La Griega, Sofia and Sebastian, giving them identities and stories. Can you tell us about the process of creating these characters and what they mean to you?
I often give my sculptures names because I bring them to life and share their emotions along with my own. I come to know their lives—what they’ve lived through, what they are experiencing, their projects and their desires. Some of them I’ve even dreamed about, seeing them in my dreams, sharing their thoughts and intimacy, like the young French girl Nathaly. Other sculptures become like children, confidants or great friends to me.
Your work has found a place among international art lovers and collectors. What does it mean to you to see your sculptures appreciated across different cultures and continents?
It means a lot to me, and I conclude that we are a beautiful species on this lovely planet. Language doesn’t matter because there is a universal one: art. We feel similarly anywhere in the world and live in a shared home called planet Earth. No matter our latitude, we can understand each other’s emotions through art.
Bronze sculptures often carry a timeless quality, yet your pieces are described as continuously revealing something new to the viewer. How do you design your work to evoke this enduring intrigue?
Although my work is quite classical, in recent years, I’ve added a touch of magic, making the heavy bronze appear weightless, as if floating in the air. I’ve incorporated balance as part of the piece. For instance, I’ve created boats suspended by oars or a net hanging from the boat, or the outstretched arm of a child climbing onto it. Another example is a woman in a hammock, lying down and relaxed, with only one foot touching the ground to support the immense weight of the entire sculpture. These details make my work very interesting, but, as I mentioned earlier, the expressions on the faces make each piece unique.
Looking back at your journey and forward to the future, what legacy do you hope your sculptures leave behind in the art world? The truth is, I dream of seeing some of my works in large formats for urban open spaces, where many people can enjoy them, rather than being limited to private homes or collectors. I think they would look incredible, and it would be a significant challenge for me. I have gotten the opportunity to do so in Venezuela, but being able to have my work in public spaces in this country I now call home would be a dream come true. •
Artist Liliana Gutiérrez applying patina to one of her bronze pieces
“The Kites” bronze relief
“On the Way” bronze sculpture
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Music Makes a Way
Anjelica Lindsey’s pioneering performance
BY MICHAEL KINNEY
Somewhere in the back of Anjelica Lindsey’s closet are a couple of her prized possessions. It’s not often she has cause to bring them out, but she knows exactly where her vintage Michael Jackson red Thriller jacket and silver rhinestone glove can be found just in case of an emergency.
While Lindsey doesn’t expect to be called upon to recreate any of the King of Pop’s iconic moves, they are a reminder of where her classical music career began.
“My big influence since literally before I can remember is the music of Michael Jackson. There are home videos of me watching his performances when I was 3 years old. Studying his music was something that has continued even to this day,” Lindsey says. “My uncle gave me a glove as a kid, and there’s a picture of me when I was little wearing a black leather jacket, and I’m standing up on my toes like I’m in the ‘Beat It’ video or something.”
It may seem unusual for a Juilliard-trained composer, musician and vocalist to still get giddy about a childhood fandom. But according to Lindsey, it was Jackson, along with other artists and composers, that she grew up listening to, whose essence can still be found in the music she creates today.
Even more than that, they represent what has become a foundational element of her career and life in that we are all connected, whether we know it or not.
“I’m a huge fan of Quincy Jones and the way that he produced those records, and the way that Quincy Jones actually moved to Paris in the 1950s to study with Nadia Boulanger, one of the greatest music teachers in the last couple hundred years,” Lindsey says. “When I discovered that her [music] influenced Quincy, which influenced the music that I heard as a child, that sort of made a lot of sense — that the classical music was what I had connected with, and I didn’t know that until after I started at Juilliard.”
Born at Hillcrest Hospital in Tulsa, Lindsey grew up in Broken Arrow in a household filled with music. Her father had a recording studio in their home; he and his brother had put together an impressive collection of synthesizers, tape machines and recording equipment that was passed on to her. She and her husband, Mark, would use it to start Wild Mountain Studios in their Osage Hills home. Lindsey, who is part Cherokee, began playing the violin at age 11. But she wasn’t done there: She taught herself to play the piano and guitar as well.
“I have known that music was my primary life path since I was a child, and it’s guided every decision,” Lindsey says. “I always like to say that choosing to play the violin was the best decision I ever made, and it guided everything else that has unfolded in my life. One instrument leads to other music, which leads to relationships, which leads to communities, which leads to all kinds of inspiration, and that’s definitely been it for me forever.”
That inspiration is the basis of Lindsey’s upcoming show, The Oklahoma Woman Quartet. With the backing of a grant from the Artist Creative Fund, the groundbreaking chamber performance will debut on March 1 at All Souls Unitarian Church in Tulsa.
“The grant is part of CACHE, an organization that partnered with the George Kaiser Family Foundation to help artists like me be able to experiment and bring their work to life,” Lindsey says. “This opportunity allowed me to hire players from the Tulsa Symphony and the Bartlesville Symphony to bring a quartet to life that I have had completed since 2017, and have just now had the amazing opportunity to bring it into the world.”
Lindsey will join handpicked musicians to perform music she has composed and crafted during the past two decades. They include Associate Concertmaster Ronnamarie Jensen (violin), Paulo Eskitch (violin), Ashley Allison (cello) and Ethan Landis (viola).
“I have known that music was my primary life path since I was a child, and it’s guided every decision.”
ANJELICA LINDSEY
The Oklahoma Woman Quartet is not just a musical experience, but also a historical journey.
“I’m the Oklahoma Woman, and the women of my past are the Oklahoma Woman,” Lindsey says. “I like the idea that we have had this shared experience in our life, even though every generation has a little bit different experience in life. The Oklahoma Woman has faced things that overlap. So the Oklahoma Woman Quartet is the launch of my ensemble, and this time it is a quartet. And it may be a quintet in the future; it may be a different instrumentation; it may be an orchestra. But the Oklahoma Woman Ensemble launch, we will start with the quartet.”
According to Lindsey, the event marks the first time a Cherokee woman has composed and premiered a string quartet in U.S. history. While she is flattered at being a pioneer and innovator, she also knows others may just not have had the same opportunity to have their story told.
“When I realized it, I talked to musicologists and studied extensively looking for other Cherokee women composers, other native women composers, and have not found any to my knowledge,” Lindsey says. “I hope that they are out there, I hope so. I hope that if nothing else, that I inspire them to come forward and bring their work to life as well. But when I realized how rare my combination of skills and my ambition was, just not like anybody else, it actually was very validating and made a lot more sense of why I had the experience that I had in life in general — because I was a trailblazer and really didn’t realize it.”
Tickets for the Oklahoma Woman Quartet went on sale Jan. 11. By Jan. 12 the show was almost completely sold out. Even Lindsey was surprised at the demand, since she hadn’t had a chance to launch a serious promotional campaign.
Yet, for the lucky ones who are able to experience the premiere of The Oklahoma Woman Quartet, Lindsey wants them to not only see and hear her, but also the women whose story has yet to be told.
“I hope that it just spreads the music and just grows, and that people are excited to know that Cherokee music has a whole new sound — because Cherokees are making music that doesn’t sound stereotypical, that doesn’t sound like maybe what a misrepresentation in their mind thought it sounded like. I could kind of break through some of those misconceptions and tell the stories of what it’s really been like. And maybe there are others that have thought, ‘I always wanted to do music, but I didn’t know how’ or thought, ‘I wasn’t sure how to make it happen.’
“I
could perhaps show a way.” •
The Peruvian Palate
A family legacy that fills Tayta with flavor
BY GREG HORTON
PHOTOGRAPHY BY LEXI HOEBING
In the beginning, there was El Pollon. As far as anyone we spoke to can remember, it was the first explicitly Peruvian restaurant in Oklahoma City, opening in 2007. To be accurate, though, the history of Peruvian food in the metro begins in Mexican restaurants, like Nino’s and Ricky’s Cafe. In some ways, the history of Tayta, the new Latin American concept at 25 N. Hudson Ave. downtown, begins at Nino’s.
“I met Niel at Nino’s,” Madeline Zambrano says. Niel is Niel Zambrano, who, with Madeline, owns Tayta, and they were the founding owners of El Pollon, La Brasa and Inca Trail. “My uncle played guitar at Nino’s — it was Peruvian owned, just like Ricky’s.”
Madeline came to the U.S. from Chiriqui, Panama, in 2004 to join her mother and uncle, the latter of whom was a music teacher who played gigs for extra money. Niel Zambrano worked at Nino’s a few years before opening El Pollon with then partners Juan Castro and Raul Ramos. Niel came to the U.S. from Chiclayo, Peru.
“I wanted to be an architect in Peru, so I came to the U.S. to study at OCCC and OU, but I didn’t finish the program,” Niel says.
OPPOSITE: Samara Zambrano, Niel Zambrando and Madeline Zambrano
Instead, he fell in love with the food service industry, having worked at Spaghetti Warehouse and Cilantro’s while he was in college. Nino’s was the last gig before he and Madeline, with his sister Samara and friends, opened El Pollon, which is now the original Naylamp at SW 44th and Penn.
“We opened El Pollon after making chicken in our house for three or four months,” Niel says. “The baby was only a month or two old at the time.”
The kids are now 17, 16 and 10, and Madeline has moved from back of house to front of house, with Niel holding down the kitchen; and the menu has expanded beyond pollo a la brasa, papa a la huancaina and lomo saltado to include Cuban, Panamanian and Venezuelan dishes, like ropa vieja and hojaldres.
Just trotting the words out there introduces the first and biggest problem for a Peruvian restaurant in OKC: a lack of local familiarity with the names of dishes. People who spend any time seeking out new experiences of food can tell you that Peru has more species of potatoes than you can name, and it’s also the place of origin for ceviche — 2,000 miles of coastline makes that pretty easy to understand, and given that ceviche has extended all the way up the Pacific Coast of Mexico, familiarity with it, at least, isn’t a problem here.
“We want to help people get more comfortable and familiar with Peruvian food,” Niel says. “We use American food to help.”
What he means is that you begin with the basics: pollo a la brasa is roasted chicken, lomo saltado is stir-fried beef, lechon is roasted pork, etc. The ingredients themselves are part of our Oklahoma pantry: pork, chicken, beef, potatoes, peppers, soy sauce, eggs and bread. The way they’re recombined and the sauces may make them look different and sound “foreign,” but we’re at a point where food television, celebrity chefs and social media have brought international foods into sharper focus and made them more accessible.
To round out the formula, though, it’s important to note that we have access to these dishes in their traditional forms thanks to immigrant families who brought recipes from home with them — delicious anchors and reminders of the culture and people left behind. Just as Lebanese food has become part of Oklahoma’s culinary DNA by dint of being here since before statehood (same for Mexican food), Peruvian food has now been making inroads for more than two decades. At some point, immigrant food becomes “our” food, and the word our should include the people who brought the food with them. When James Beard Award finalist Chef Jeff Chanchaleune brought Lao food to the Plaza District at Ma Der Lao Kitchen, he knew there would be a learning curve. Nam khao doesn’t benefit from the similarities in ingredients that lomo saltado has going for it, so in a best-case scenario, Peruvian food should have an easier road to acceptance. That Tayta makes delicious food makes that even more likely.
Samara Zambrano kept the original El Pollon after the founders left and renamed it Naylamp in 2010, the same year Niel started Inca Trail. Naylamp is the Moche name for the god of the ocean, a South American Poseidon or Neptune. She came to the U.S. in 2001 to, in her words, “look for opportunities to have a better life for my family.” Her grown son and daughter now work at Naylamp while she focuses on Zambrano’s in Edmond. Her parihuela at Zambrano’s is a candidate for best seafood soup in the metro, and the chicken salad in her causa a la limeña at Naylamp has similar standing in that category.
When asked why she chose Edmond for another location, she had a surprising answer. “Churches in Edmond have missions to Peru, so there was already broad familiarity with the food.” Turns out culture spreads through various, unrelated tracks. This in no way insulates the Zambrano family from the occasional Okie who will sit down, ask for chips and salsa, and leave angry when a server politely explains they don’t offer that. (Bolero, a Spanish restaurant, had the same problem when it opened in Bricktown years ago.)
Niel and Madeline have ventured into untested territory with Tayta. They brought a menu that is 75% Peruvian to downtown, and conventional wisdom holds that immigrant food does better closer to immigrant populations, not in central business districts or suburbs. But it’s possible Peruvian food has been around just long enough to make the jump. Dinner service started Jan. 17, and Tayta will have live music on weekends. Madeline can’t help but say with a smile, “Maybe some nights we push the tables back and dance, too.” •
Niel Zambrando and Madeline Zambrano fire the lomo saltado.
Eye of the Tiger
Loren Waters’ experimental documentary Tiger at acclaimed film festivals
BY ALEXANDRA BOHANNON
It was a coincidence that director Loren Waters started shooting Tiger on the day Dana Tiger returned to silk-screening T-shirts at her art gallery after three decades.
“It was, like, just totally serendipitous, total destiny that we were there with the camera, and I had no idea that’s what she was going to be doing that day,” Waters recalls.
Of course, at the time, Waters also didn’t know she was shooting what would become Tiger, a short documentary about a family of globally influential Native artists, or that this story would get into Sundance and SXSW in 2025. What she had was a nice camera package gathering dust between jobs, a knack for storytelling and an instinct that she was in the right place.
“I think of Loren coming into my life as a result of the prayers that I do make,” says Muscogee painter Dana Tiger, the point-of-view figure and beating heart of Waters’ almost 13-minute film about the Tiger family. “It’s like a fairy tale, considering how it all came about.”
Tiger Director and Executive Producer Loren Waters with Dana Tiger
THE FIRST CHAPTER
Waters, a Norman native and University of Oklahoma graduate, has worked in film since 2019, starting at the Cherokee Nation Film Office. As a citizen of the Cherokee Nation and the Kiowa Tribe, she has been captivated by using film as a medium to share Indigenous stories for years.
Her career quickly expanded to working in production for Apple and Netflix, with Sterlin Harjo’s Hulu comedy series “Reservation Dogs” being her big break. She rose through the ranks to become the show’s background talent casting director, and that’s how she met Dana Tiger.
“I think Sterlin actually sent me her number because he wanted her very particularly for this [role],” says Waters. “We just clicked instantly.”
After deepening their friendship on and off the set, Waters asked to record the Tiger family stories on her iPhone. The more she heard about the Tiger legacy, the more she knew she was witnessing something special — and that it needed to be shared.
Independently from “Reservation Dogs” and her film gigs, Waters had begun to work on personal documentary projects. First was Restoring Néške’emāne in 2021, about the environmentally hazardous site of a former Cheyenne and Arapaho Indian boarding school shut down by the Bureau of Indian Affairs. Next was Meet Me at the Creek in 2024 about the attempted restoration of the Tar Creek Superfund site in Miami, Oklahoma. Falling into the themes of Indigenous communities, love and loss she had shot before, Waters asked if the Tiger family could be her next documentary subject; Dana Tiger agreed. “So I called Dana, and I was like, ‘Hey, what do you think about me coming out to film with you?’ I had heard some of her story and had recorded some of it on my phone, and was blown away by the things that [she] and her sister and her family had been through,” says Waters.
On day one of shooting, Waters showed up at the family’s house with no initial plan. Seeing Tiger silk-screen shirts with her son helped her focus the narrative.
“And then, from there, the story really started to sink in. Like, ‘Oh, wow.’ This is a huge deal for the Native community that they’re bringing [silk-screening t-shirts] back. Those shirts have been in ‘Reservation Dogs,’ several movies now, around since the ’80s.”
OPPOSITE:
One
TIGER POWER
The arts run in the Tiger family’s blood: Dana Tiger is the eldest daughter of Jerome Tiger, a prolific Muscogee Creek-Seminole painter from Tahlequah. Some critics laude Jerome as the “Rembrandt of American Indian art.” Jerome’s children (Dana, Lisa and Chris) became artists as they grew older, as did Lisa’s children Christie and Lisan. The arts also were a source of healing for the family: After Dana’s father died tragically young at 26, Dana’s mother, Peggy Richmond Tiger, began to create and sell prints of Jerome’s work — which was as challenging as it was fulfilling.
“When she started the Jerome Tiger Art Company after dad’s death, so the world would know what a genius he was, she had these beautifully done prints,” remembers Dana. She said her mother Peggy and her mother’s cousin Molly would try to sell the prints, but weren’t having much success. After being told by a Texas businessman that Peggy and Molly were “fighting a big battle with a short stick” and that they should let a big publishing company handle the print sales for them, Peggy wouldn’t back down.
“Mom said, ‘Okay, I’ll pretend to be the secretary. You’re going to be a saleswoman. Mr. M.A. Babcock, the fictitious owner, is going to be in the back, too busy to talk to anybody.’ Mom would answer the phone. ‘I can help you.’ ‘I want to talk to the owner.’ ‘No, I can help you with anything. He’s busy right now,”’ says Dana. The plan worked, and print sales skyrocketed.
“And so after several years, she wrote or called that guy, and she said, ‘Now I’ve got a big stick,’” says Dana with a smile.
Working in art sales prepared the family for the next stage: the founding of the Tiger Art Gallery.
In the early 1980s, Peggy Tiger and Dana’s uncle Johnny Moore Tiger Jr. founded the gallery to sell silk-screened shirts featuring his work. His captivating prints, when silk-screened on shirts, quickly grabbed the public consciousness beyond Native art enthusiasts. The art on the shirts also expanded to incorporate the rest of the family’s paintings and work.
As Dana states in Tiger while lying on a pool diving board, “I’m talking 24 hours a day, in that gallery, silk-screening shirts to fill the orders with JC Penney and all over the world.”
But after the death of her brother Chris at 22, the Tiger Art Gallery and the entire operation were put on pause. The family went their separate ways for a time, and the silk-screening area of the gallery gathered dust and trickled into disrepair.
In the meantime, Dana flourished with her own powerful artistic career, being inducted into the Oklahoma Women’s Hall of Fame in 2001. Her art, which centers on strong Native women, has been shown in local exhibitions in Tulsa and global exhibitions in Paris.
“I painted what I saw all women were. But I didn’t feel it myself, but I knew the world, the world could.”
LEFT: Dana Tiger painting on glass as seen in Tiger
of many of the Tigers’ unique shirt designs featuring stickball players
Tiger tee silk screen used in the 1980s
WHERE THE HEART IS
The Tiger family home, where they still reside, is a museum of their family’s artistic legacy. Art from every generation hangs on the walls, and Chris’ pickup truck is parked in the driveway. Waters and Director of Photography Robert L. Hunter chose to capture this setting and Dana’s story in a way far from traditional.
Waters blended newly digitized 8mm and 16mm family footage that Dana and her sister Lisa hadn’t been able to see before, archival photography and newsreels with a gossamer, floaty and experimental approach to shooting Dana and her family in their home. Matching this creative approach with the spirits of the artists who lived there, Waters chose to interview Dana in unusual locations and with nontraditional framing. After not having a plan for day one, each subsequent day required storyboarding.
“I was like, ‘OK, how can we showcase Dana’s art in a beautiful way that’s not just filming it on the wall? How can we do an interesting interview of her?’ Maybe I was like, ‘Dana, how do you feel about doing an interview on the diving board of your swimming pool? And she’s like, ‘That’s great. I do that all the time; I go out there and talk to the fish,’” says Waters. “So it ended up being something that I felt like was truly Dana in that way.”
“I’m the quirkiest, weirdest person on the planet, and I don’t know, you know, nothing fazes me like that. I never, ever get embarrassed, really,” adds Tiger.
A whisper of Tiger’s voice pervades the film’s sound design, saying the names of family members and the titles of the art that was printed on the shirts. The rest of the soundtrack incorporates a song from artist Wotko Long, “Estvmvn Estomen Fullastskis,” (which is about two sisters separated from each other on the Trail of Tears), contrasted with the garage rock song “Soft Stud” by Black Belt Eagle Scout (one of Dana’s favorites). This is all cohesively blended with an original score by Trevor Kowalski.
The final assembly of the film by editors Amanda Moy and Eva Dubovoy feels personal and intimate but not voyeuristic. As Tiger is the only person who speaks during the film’s entire runtime, audiences will feel they’re sharing the space with her, hearing these tender moments directly from the person who experienced them.
“It’s just, it’s overpowering. I just feel it throughout my whole body because it’s, you know, it’s living our lives now, but it’s carrying and caressing and holding what all happened before,” says Tiger.
“I’m sitting in Uncle’s room. I’m looking over here where they were filming, but the spirit of my uncle and my dad, my brother, all are here in this house.”
“It’s up to me to see the world doesn’t forget what they did.”
DANA TIGER IN TIGER (2025)
THE ROAR OF THE CROWD
After the picture was locked and it was time to send it off to film festivals, Waters knew this film was special — and the programmers of some of the most renowned film festivals in the country agreed. Sundance received 11,000 short film submissions for the 2025 festival, which took place Jan. 23-Feb. 2. Only 57 short films were accepted, Tiger being one of them.
“So those numbers are wild to me,” explains Waters. “We were chosen out of 11,000; that’s crazy. But at the same time, I also knew how special this story was, and I really believed in it, and I believed in the work that my collaborators did to help bring this to life.” Waters’ belief in her and her team’s work led her to rent an Airbnb for Sundance a couple of months before they knew they got into the festival — “for safety,” she notes. After her Sundance acceptance, she started a GoFundMe on behalf of the Tiger family’s non-profit, the Legacy Cultural Learning Community, so the entire family and crew could attend the world premiere. The campaign was fully funded by mid-January.
At Sundance, Waters and the Tiger film team won the Short Film Special Jury Award for Directing. As she shared on Instagram, Waters was so surprised and honored by the recognition, she “almost walked off the stage without an acceptance speech.”
Additional high-profile acceptances soon followed the Sundance announcement, like music, art and tech festival SXSW, which takes place March 7-15 in Austin, Texas. Adding more evidence that Waters is on the right track with her career, Forbes inducted her into the 2025 class of 30 Under 30. Unsurprisingly, Tiger and Waters deeply respect and admire each other, especially each other’s art.
“When I look back on when I first met Dana and saw some of her paintings, I was so drawn to her art, and that was the first time that I had realized, like, ‘Oh, that painting looks like me,’” says Waters.
“‘She Means Business’ is one of her paintings that I love. I’m like, ‘I want to be like that woman in that painting.’”
A story that started as sharing the power of the Tiger family legacy has expanded to include a young Native woman whose own star is growing brighter.
“I just feel empowered and I just feel my children and Loren and all these filmmakers, their empowerment just spread through all of them, you know, the whole community,” says Tiger. “My mother would be so damn happy.” •
To learn about the short documentary Tiger, visit tigerfilm.co or follow the film on Instagram @tigerteefilm. You can also keep up with Waters and Tiger on Instagram @lorenkwaters and @danatigerart.
Dana Tiger with Chris Tiger’s truck as seen in Tiger
DENTISTRY REIMAGINED
TM
Perfecting the Patient Experience
Reinventing dental care doesn’t mean doing things the easy way. It means doing things the right way. Earning our patients’ trust is a journey, privilege, and the foundation for everything we do.
BRYAN SORGEN, DDS
Into the Great Unknown
Revisiting the future at Tulsa’s Bob Dylan Center
BY MEGAN SHEPHERD
How do we begin to understand Bob Dylan, the inimitable folk artist, the musical visionary, the “complete unknown” turned unknowable force? It’s hard not to start with the past, but it might make more sense to look to the future.
Widely considered the most influential songwriter of all time, Dylan’s work set the tone for the American musical canon, offering a soundtrack that captured and created the cultural zeitgeist of entire eras. Rolling Stone certified his status as the Greatest Songwriter of all time, and the originator of Greatest Song ever written for “Like a Rolling Stone,” largely due to Dylan’s mastery of creating songs that feel current — necessary, even — in any era. For all its timelessness, there’s a futurism to his music; Dylan’s lyrics speak across time and space, capturing feelings and memories so universal that they feel like our own.
Although it would take years to comprehend the scope of his influence, The Bob Dylan Center in Tulsa makes a formidable attempt.
The Bob Dylan Center houses The Bob Dylan Archive®, where curated exhibits portray the influence, struggles and inspirations of Dylan’s decades-deep career. The Archive was purchased by The George Kaiser Family Foundation in 2016 for a reported $15-$20 million (Kaiser is a lifelong fan), after bringing Woody Guthrie’s archives to Tulsa in 2011. The American Song Archives now manages both.
What started as a collection of 6,000 items saved by Dylan has grown to nearly 100,000 artifacts, including handwritten lyrics and letters, photographs, recordings, a recreation of the Columbia Records studio where Dylan logged many hits, mementos from famous friends and his coveted original Royal Caravan songwriting typewriter. Since opening, it’s become a pilgrimage destination for fans and Dylanologists from all over the world who want to study the singer’s creative process and feel his import up close.
“As with any museum or archival connection, there’s far more on vault shelves than we can display at any one time,” explains Bob Dylan Center Director Steven Jenkins. “So we start from a place of ‘What stories can we tell? What’s going to convey the most about this person?’”
This focus on storytelling helps distinguish the archive from mere memorabilia, creating a dialogue about creativity and making at large, with Dylan as primary exemplar. Much of the gallery is thanks to the vision of Senior Director of Archives and Exhibitions Mark Davidson, who spent two years archiving and curating the artifacts within their historic and sociopolitical context. It also includes some of Dylan’s visual art, a jukebox of Dylan-inspired music curated by Elvis Costello and work from artists inspired by Dylan’s legacy. Notable among these is the Center’s inaugural Artist in Residence, the poet, musician, activist and 23rd United States Poet Laureate, Joy Harjo (Mvskoke).
A cultural pioneer herself, Harjo describes Dylan’s work as calling back the original poetry of history and humankind, and him as “cultural messenger, prophet, storyteller, philosopher.”
“It’s not just his lyrics,” she insists. “It’s his art, music, but also the creativity of being a cultural figure, and being led to the right place at the right time. There’s no one else really like him.”
Importantly, the Center also spotlights musicians who made significant contributions to Dylan and rock ‘n’ roll. Currently on exhibit is “Jesse Ed Davis: Natural Anthem,” co-curated by Harjo and biographer Doug Miller. OKC-born Davis was a Native American Music Hall of Famer who performed on several of Dylan’s most famous songs. Despite being a collaborator of renegades like Jackson Browne, Taj Mahal, John Lennon, Leon Russell and Eric Clapton, his own influence has been relatively unsung to date.
Walking through the Center is visually, sonically and emotionally arresting. Iterative recordings of famous songs that showcase Dylan’s painstaking creative process, plus an album timeline and a projected film experience render what Jenkins calls a “multiplicity of Dylans.” Together, they offer fractals of a kaleidoscopic career, mere puzzle pieces within a sprawling portrait of the artist’s influence on American culture.
“I love it all, but his words are the most appealing thing to me,” gushes former Bob Dylan Center member Bob Young. “They have this mesmerizing effect. ‘Chimes of freedom flashing’ ? Oh my gosh. Those words just blow me away.
“Dylan had this plan,” Young continues, “and it worked out in the long run. He could see into the future. He isn’t normal. He’s a genius.” Genius, iconoclast, prophet. These reflections attempt to capture Dylan’s visionary essence, and gift for writing songs that predict the future. Or at minimum, make sense of it. His transcendent protest anthem, “The Times They Are a-Changin’” is as relevant and alive today as when written in 1964:
Come senators, congressmen
Please heed the call
Don’t stand in the doorway
Don’t block up the hall
For he that gets hurt
Will be he who has stalled
The battle outside ragin’
Will soon shake your windows
And rattle your walls
For the times they are a-changin’
Come mothers and fathers
Throughout the land
And don’t criticize
What you can’t understand
Your sons and your daughters
Are beyond your command
Your old road is rapidly agin’
Please get out of the new one
If you can’t lend your hand
For the times they are a-changin’
Plenty has changed since Dylan first sang a voice unto America’s unsung youth 50 years ago, but with our modern socio-political divide deepening in the face of Capitol raids, contentious election cycles and a world literally on fire, America needs the wail, grief and charged relief of a populist anthem like “The Times They Are a-Changin’” as much today as it ever has.
I am not alone in this sentiment, evidenced by the 25 musicians and celebrities who journeyed to Cain’s Ballroom on Jan. 24 to lend their own voices and essence to a show hosted by The Center titled Shelter from the Storm: A Celebration of the 50th Anniversary of Blood on the Tracks
Harjo, one of several artists to perform, thought it would offer a catharsis. “It’s a way to come together,” she says, “and sing songs that carry social, political and spiritual import at a time when our culture and our society is in desperate need of voices like these.
“We just had an inauguration, there’s the fires, what’s been going on in Gaza and the Middle East. I’m just excited to hear everybody, and to be in that moment thinking about legacy … and this voice that probably helped bring a certain kind of consciousness to the surface.”
Harjo’s predictions were right, as the evening delivered a cosmic, entrancing set of performances that had a sold-out Cain’s Ballroom transfixed. Elvis Costello, Diana Krall, Lucinda Williams, Amy Ray, Adam Granduciel, Kevin Morby, Sharon Van Etten, Lonnie Holley and Harjo, among several others, performed the iconic Blood on the Tracks album front-to-back, followed by two hours of favorites and deep cuts from the broader Dylan catalog. The bill even featured three musicians from the original album session: Gregg Inhofer, Billy Peterson and Kevin Odegard, who played the same acoustic guitar used in the original recording sessions, now on display at BDC.
Actor Michael Shannon mesmerized the audience with a stunning harmonica-ripping performance of the almost nine-minute long “Lily, Rosemary and the Jack of Hearts,” played entirely from memory. Amy Ray of Indigo Girls sang a gut-wrenching rendition of “You’re a Big Girl Now,” reminding us that “Time is a jet plane that moves too fast,” and that shows like this come around once in a lifetime.
In a bit of synchronicity, Blood on the Tracks was released on Jan. 20, 1975, meaning its 50th anniversary fell on Inauguration Day, an apt day to revisit Dylan’s catalog. And Dylan played his first show at historic Cafe Wha in New York — the one that forever changed the tide of his career — on Jan. 24, 1961, with a set of Woody Guthrie songs. Ironically, the Blood on the Tracks anniversary show happened 54 years later to the day in Guthrie’s home state, where Dylan’s archives now sit just two doors down from Guthrie’s own; that building is emblazoned with a portrait of Guthrie and his “fascist-killing” machine, at a moment when the specter of fascism creeps closer every day. Is it fate? A prophecy fulfilled? Good planning?
One would imagine Greenwich Village or even Dylan’s home state of Minnesota might make for a more apt resting place for his archives. When asked why he chose Tulsa, Dylan told Vanity Fair that although the coasts boast vibrations, “I like the casual hum of the heartland.”
In the biopic A Complete Unknown Timothee Chalamet’s Dylan shows us that Bob kept his dearest relationships close. It’s only natural that he’d choose to park his life’s work right next door to Guthrie’s in Tulsa, especially after being so taken with the Guthrie Center on a visit in 2013. In true Dylan fashion, he has famously not visited his own eponymous center.
“It’s not just his lyrics. It’s his art, music, but also the creativity of being a cultural figure, and being led to the right place at the right time. There’s no one else really like him.”
JOY HARJO
But that’s not to suggest we shouldn’t. Especially for younger folks, who may be less familiar with his storied canon, the recent convergence of Dylanology in film, television and sound, coupled with his upcoming show at The Tulsa Theatre on March 25, offers a new doorway into his work. For those eager to peek through it, the Bob Dylan Center is a great place to start.
It’s impossible not to wonder about the next Dylan; who from this era may someday command the same significance. Harjo said that our closest examples are probably Beyonce and Taylor Swift, for all their poetry and artistry, despite perhaps not being taken as seriously by some of Dylan’s fans.
“He came of age during [the Vietnam war era] in a time of social change …” she says. “In a way, we’re in a similar moment in history, and I wonder who those younger voices are coming up.”
Thankfully, The Dylan Center doesn’t just catalog decades of Dylan. Rather, it pushes into how Dylan did and does his work; how others are inspired by it; and what it all means for those of us listening today, on the other side.
“Something as obvious as ‘Like a Rolling Stone,’” Jenkins says, “which I’ve heard thousands of times, as many people have: To me it still sounds like the future. And we will never catch up with that.
“The whole body of work strikes me that way. These are songs about real people and real tragedies. They’re pushing against any boundaries that might have been established previously about what a pop song could be, and there’s a timelessness to them. Decades from now, people will still be listening to them, and I think they’ll still sound like they’re beamed in from the future.” •
Gregg Inhofer performing at Cain’s Ballroom in Tulsa PHOTOGRAPH BY GRAHAM TOLBERT PHOTOGRAPH
FROM LEFT TO RIGHT: Phil Cook, Greg Readling, Dave Wilson, Brad Cook, Doug Keith, Darren Jessee, and John Teer perform at the legendary Cain’s Ballroom in Tulsa
The Bob Dylan Center is open 10 a.m.-6 p.m. Wednesday through Sunday in The Tulsa Arts District. Admission is $15 for adults, $22 for a dual ticket to The Bob Dylan Center and The Woody Guthrie Center and free for Bob Dylan Center members.
Adam Granduciel at Cain’s Ballroom in Tulsa
PHOTOGRAPH
Designing for Decades
David Caldwell creates luxury leather heirlooms for the next generation
BY MEGAN SHEPHERD
In a time when nondescript sites like Shein and TikTok Shop have made fast fashion more ubiquitous than ever, Tulsa-based designer David Caldwell is pushing against the trend and reaching back into the wardrobe to reimagine an old staple: the leather jacket.
As someone drawn to the meaning behind making, leather makes sense for Caldwell. “Leather is timeless, classic, elevated,” he explains. “There’s always a story behind a leather jacket, no matter where it’s from.”
It’s a proven formula, but Caldwell finds ways to innovate. His work is about longevity: What kind of design will look as good in 30 years as it does today? What’s the most beautiful thing he can make with the smallest amount of waste? At the heart of his ethos is an appreciation for things that last — heirlooms meant to be savored, preserved and passed on.
David Caldwell
Though just a year into his current collection, Caldwell has spent decades designing. Fascinated by fashion from a young age (he was the kid in a suit on school picture day) he spent his teen years flipping through issues of Vogue and Cosmo, transfixed by the models and clean lines in the clothing. But despite the interest in fashion, Caldwell pursued a degree in architecture.
At OU, Caldwell drew inspiration from the inventive works of famed Oklahoma architect Bruce Goff, until a study abroad experience in Italy gave him a firsthand introduction to the fashionable world he’d only read about in magazines — one where style was central, and everyone from children to grandparents took dressing seriously. The experience inspired him to start making hats out of old sweaters, and awakened curiosity about fashion design. He eventually transferred to Oklahoma State University’s design program, and after graduation moved to New York to work as an unpaid intern in a coveted role at the buzzy Zac Posen label.
“It was very much like The Devil Wears Prada,” he recalls. “No one was allowed to be around Anna [Wintour]!”
Caldwell spent his days working on a line of vinyl pieces for Posen’s 2009 collection, hand-cutting flowers and leopards out of vinyl with an X-acto knife, hoping Wintour would greenlight something for the collection. “I think she nixed most of the vinyl,” he says with a laugh, “but it was still fun to work on.”
He kept at it for a while, and even made an appearance on Bravo’s “The Fashion Show” (the network’s precursor to “Project Runway”). But eventually life caught up, and designing and sewing fell by the wayside. Years later, Caldwell started working at Black Optical in Tulsa, inspired to be in fashion and styling again, albeit from a different angle. When a buying trip to Paris came up, he felt the familiar itch to create.
“I knew I needed to make some garments for myself to wear,” he says almost too casually — as if anyone headed to Paris could simply hand-stitch the perfect looks for the trip. “I hadn’t sewn in 10 years, but I made myself two jackets and a pair of jeans to wear around, and it reinvigorated my love of sewing.”
After the trip, he went to Tandy Leather in Tulsa and bought a hide, made a shirt pattern and hand-stitched his first jacket. He called it The Heirloom Jacket, and it would become the anchor of his collection. The Heirloom is a stunning leather utility jacket, tailored with saddle-stitching (criss-crossing needles of waxed thread through hand-punched holes) and hand-sewn pockets — it was a time-intensive piece well worth its construction. Caldwell started wearing it around town, folks caught a glimpse, inquiries streamed in and a business was born.
2024 brought noteworthy commissions and partnerships. Caldwell’s designs even found their way to the red carpet, when he created a custom leather suit jacket for director and “Reservation Dogs” creator Sterlin Harjo to wear at the Emmys. Harjo wanted something classic to pair with a Nick Fouquet fedora. Caldwell landed on a lambskin tuxedo jacket with a black calf hair lapel, “to give it that pop and sheen so it’d really glow under the light.”
Other notable Caldwell jacket owners include actor Ethan Hawke, who received an Heirloom jacket as a “Welcome to Tulsa” gift from Harjo, Eric Edelstein and Daniel “Danny Boy” O’Connor, member of hip-hop group House of Pain and Executive Director of The Outsiders House in Tulsa.
Like many of Caldwell’s clients, O’Connor had leaned on him as a stylist at Black Optical for years, and was eager to get his hands on an Heirloom jacket of his own.
“I think he does the utilitarian stuff best — a vintage chore coat or the prism jackets like we used to wear in the ’90s, in these rustic earth tone colors and muted pastels,” O’Connor says.
“I know he likes to find two hides of a weird color to work with, maybe a moss green color that’s not commercially available. He is so good at repurposing, taking oddball things and turning them into high-end, utilitarian vibes. I think that’s where his genius is: taking a practical design aesthetic from the past and making it look very functional and high-end, very ‘of the future.’”
O’Connor, spotted around town almost exclusively in a hoodie, commissioned Caldwell to create a special leather hooded jacket for him to wear to the premiere of The Outsiders musical on Broadway in New York City. The result was a retro, ’90s-era oversized hoodie, which O’Connor describes as having a bit of a “Greaser” feel to it. The design can now be purchased at The Outsiders Museum in Tulsa.
O’Connor said Caldwell’s talent is rare; the sort of thing that’s hard to find away from the coasts.
“Coincidentally enough,” he says, “I grew up around Richard Stark and Henry Duarte,” two notable L.A.-based designers known for leather making and suits. “David reminded me a bit of them. To have come here and found something like that in Tulsa in 2025 was incredible. You hold it in your hands and you can just feel that it’s worth it.”
“It was very much like The Devil Wears Prada. No one was allowed to be around
Anna [Wintour]!”
DAVID CALDWELL
While Caldwell understands that a leather jacket is an investment, he doesn’t worry about fast fashion erasing demand for real, premium heirlooms.
“Leather will always hold its place in culture,” he says. “There’s a lot of non-leather options that give it that same look, but I think leather will always have the touch, and the smell, and a way of transporting you through time. It can take you to another place.”
Caldwell is currently at work on a few new styles that he’ll debut at Abersons in Tulsa on April 17, from a biker jacket to a bomber to a varsity jacket, and even a trench. And of course, the Heirloom. Making jackets by hand is time-intensive, so Caldwell is looking for a production partner who can help him scale his inventory. But even as the business grows, Caldwell wants to keep the operation small, mostly commission-based, so he can continue to sustain the custom details that make his pieces one of a kind. For instance, the laser-etched personal touches he leaves on the inside pocket of each customer’s jacket — perhaps a saying, a birthdate, or in Harjo’s case, a photo from the show. It’s the kind of thing that takes time and care, but will never lose its meaning; a one-of-a-kind heirloom made to be preserved.
“Leather’s meant to last a lifetime,” Caldwell says. “I want you to buy one piece that’s going to stand out in your wardrobe and last forever.” •
David Caldwell with Daniel “Danny Boy” O’Connor
Everyday Intention
Multifaceted artist Rachel Minick explores
ritual beyond religion
BY GREG HORTON
In the middle of a pollo asado brunch at a Guatemalan joint, Rachel Minick drops this gem: “Ritual keeps the scope of what can happen during an event scaled down.” She’s referring to chaos, and the trope goes as far back as all the “gods vs. chaos monsters” struggles of the earliest religious epics. She says it in a way so you know she’s thought about it, practiced it, applied it — and speaking as someone who worked in professional religious circles for more than a decade, it took me a second to realize this 20-something just dropped a deeply profound insight that provided connective tissue to what I did as a pastor for 14 years.
Ritual often finds its home in religion, but it’s not confined there, and a shared meal is one of the places we tend to find it outside of faith traditions. Minick has worked for star OKC restaurant Nonesuch in various capacities since graduating OSU in 2023, so she’s seen how ritual plays out in the components of a dinner service. But it was COVID that ritualized her life, after she’d left behind the rote practices of her Christian upbringing.
Rachel Minick
“During the lockdown, I had to make a ritual of daily activities to get through the days,” she says. “I had to force myself to do simple things so I wouldn’t lie in bed all day, and when I started at Nonesuch, I could see how ritualized their service is.”
Minick’s passions are hospitality-related but restaurant-adjacent. She is a creative first, and this is a story about art, not food, but it’s hard to find a clear point of demarcation between art and food when creatives get involved. Seemingly without intending to, she’s creating an art scene in Oklahoma City, a place that has long trailed behind our sister city Tulsa in realizing a transformative art scene.
Minick has staged events in both cities, and it was in Tulsa where she had put together a dinner for artist Rebekah Danae that she realized her services were going to need something a little extra: “I realized I needed to get my **** together,” she says. “When I saw what she wanted for the dinner, I realized I needed a team.”
That team looks like Minick’s social circle: young women and gay men. “I’ve worked with men in hospitality and other areas, and I don’t like the way they talk to and interact with each other. It doesn’t have to be that way.”
Her first dinner was a bunch of friends, and no team was required. The potluck style de-emphasized the food, focusing instead on the friendships, conversations and experience of being together.
“I’m a spiritual person,” Minick says. “I lean toward Buddhism, but I find meaning in many traditions — and for me, being intentional about time with friends is a holy act. The difference between ritual and rote is mindfulness, and so intentionality is at the core of what we do; that and love.”
Her creative partner in the photoshoots that are the face of Minick’s projects is Logan Peltier, a stylist and model who helps Minick with what she calls “avant garde projects.” The most recent was a collaboration with Myranda Bahr at Goodwill. All the models were in thrifted clothing. Each of the photoshoots happens under the banner of “Suburbia.” “Suburbia is essentially a model workshop,” Minick says. “We do one or two a year, and they’re themed. Previous ones were ‘The Workout Tapes’ and ‘A Social Affair.’”
The models are able to use the photos for their own portfolios, and Minick and Peltier get the satisfaction of creating clever and insightful art, flexing their creative muscles and providing training for young models to work in a professional setting. All of the shoots feature Minick’s talents as a photographer, a pursuit that began when her father bought a camera when she was 13. “I just took it, and started taking pictures,” she says. “I made family and friends dress in coordinated outfits, stage scenes and go to random places for backdrops.”
“I like to put 12 people in a room [for] a meal and then they have to talk to each other. You can’t avoid the conversations.”
RACHEL MINICK
She started to study architecture, but COVID redirected her toward other creative pursuits, and the graphic design and fashion that were part of her merchandising degree have been very useful in Suburbia. If it’s possible to divide our lives into work and play, or work and art, then Suburbia is the work and the dinners are the play, and the latter seem to bring out a more fleshed out, more emergent form of Minick. We’re finishing brunch, and she says of the dinners: “I like to put 12 people in a room [for] a meal and then they have to talk to each other. You can’t avoid the conversations.”
She has mentioned a meal; the numbers 4 and 12; and love as she tells the story, and I point out that she’s used Biblical imagery and numerology throughout: eucharist, 4 Gospels, 12 disciples, a meal in John 13. She is surprised, but acknowledges that the archetypes live in our heads even after we reject the framework, and they shape the way we view and navigate the world, friendship, work and love. Her ability to accept all of who she is and all of what’s happened so far makes for very good art. •
