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5.8.15 Krystal Keith, daugther of country music star Toby Keith, returns to perform in Norman for the first time since Norman Music Festival 5, May 8 at the Sooner Theatre. Tickets start at $25.
I don’t take it personally. I’m very open to constructive criticism and I take it very seriously. NTown: What’s his favorite song of yours? Keith: He’d probably say “Daddy Dance with Me,” because it’s such a sentimental, personal song for he and I both. That was a song that I wrote for my father-daughter dance for my wedding and it was a surprise for him. He didn’t even know that I had written it until we danced to it at the wedding. NTown: When was the wedding? Keith: I got married in 2010 in Cabo San Lucas, Mexico. NTown: Where do you get your sound? Who inspires you?
Keith: I listen to pretty much everything. Obviously, as far as influences on my own music, my Dad’s probably my largest influence, just because he was the only music I knew existed for a long time. I grew up on Willy Nelson and Merle Haggard and Patsy Cline was always my favorite. (I like) Loretta Lynn and Tanya Tucker, because she’s really gritty and I have a lot of that grit in my voice. Janis Joplin was another. I grew up with a lot of traditional stuff, but I also grew up in the 90s, so there was always Hanson and the Nsync. I listen to everything. Hip hop, pop, I still love old school country. That’s pretty much was stays on in my car. At home, if I’m cleaning the house or something, I listen to pop or hip hop, because it’s so up beat and keeps me moving.
NTown: Where do you think country music as a genre is headed, specifically in regards to pop music’s influence in the genre? When you hear
Photos Provided
country music on the radio today, there seems to be no delineation between pop and country. It seems like everything’s being tossed into one vat and mixed up, homogenized in a way … Do you think that country still has an identity of its own? Keith: I think it does have an identity of its own, you just have to look for it a little harder. Country music has always gone through phases. When my dad first started out, he was traditional country and then when he started to do the music he wanted to do, all the old school guys took a step back and said ‘Whoa. Who is this guy? What does he think he’s doing?’ So it’s gone through phases. There’s going to be people who like the new phases and some people who hate them. They’ll just have to deal with it until that phase is over and a new one moves in. That’s kind of the cycle that country’s always had. The one thing I will say right now is that country music has become one See Q&A, Page 22
Johnny Polygon performs at NMF 8, bringing hip hop back to the main stage, and then, into the crowd.
book reviews By Mary Newport
“Herbie’s Game” Timothy Hallinan 2015
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Readers may remember my rave review of “The Fame Thief,” the first Timothy Hallinan work I had the pleasure to pick up. It introduced me to the Junior Bender mysteries and their eponymous hero, Junior Bender, a smartmouthed thief who stumbles into the role of ace detective for the criminal elements. The books are sharp and satisfying, featuring perfectly strung suspense and characters three-dimensional enough to poke you in the eye. The hallmark of the series, though, is humor. Through it all, Junior never loses his biting wit, and you can’t help but chuckle as the author plays with genre tropes, reader expectations and sarcastic repartee. “Herbie’s Game” is different. “Herbie’s Game” will break your heart. There’s an element of tragedy in every mystery. They start with a body, after all, and frequently end with one. But Junior’s tragedies usually happen to other people, and it’s easy to lose some of that sadness in the thrill of the chase. Now, catastrophe hits home. Junior’s burglar mentor, Herbie, is dead — and he didn’t die pretty. As Junior struggles to trace a chain of criminals and find the one responsible for Herbie’s death, unpleasant truths start to bubble up. Junior’s erstwhile father figure may not be the man Junior though he was. Already uncomfortable balancing his devotion to his family and his criminal activities, Junior starts to doubt everything he knows about himself, his friends and the lawless lifestyle he calls Herbie’s game. An uninitiated reader might find the book to be nothing more than a good mystery, with tight pacing, flawless tension and a conflicted hero. But for those who know and love the character, it cuts deep, and even the well-timed patches of sass and levity can’t quite shake the gloom that gathers around Junior as he questions himself and his loyalties. Throw in a man’s slow death from cancer, little girls mixed up in murder and the redemption of damned souls, and it gets even heavier. Hallinan has a habit of mixing brutality and humor, and this book isn’t really much darker than the rest of the series — but for the first time, heartbreak wins out over laughter. Whether the triumph of woe is a new direction or a disaster comes down to individual opinion. The work is keenly absorbing, wrapping the reader in vivid descriptions and barbed wit. Hallinan pulls readers into the soul of his hero, and it’s both a visceral and an intellectual pleasure to slide through his world of bloody-handed killers and over-the-top charlatans as part of Junior’s churning mind and slippery conscience. It’s jarring in the best way, a series of shocks and surprises liberally peppered with the surreal, the absurd and the viciously amusing. Overall, “Herbie’s Game” is definitely recommended reading, but some might want to save it. It’s bound to be good all on its own, but for full effect, finish the rest of the series first — and bring a tissue. Read if: You’ve got a soft spot for good men who do bad things. Don’t read if: You want to keep looking at rubber gloves the same way.
“Dance of the Reptiles: Rampaging Tourists, Marauding Pythons, Larcenous Legislators, Crazed Celebrities, and Tar-Balled Beaches: Selected Columns” Carl Hiaasen 2014 “Wacky,” the back cover says. “Zany,” reviewers cry. “Frequently hilarious,” the author’s website states. “Absolute cow manure,” I reply, because you can’t swear in a classy publication like this. It seems to be my month for books that are not as funny as they look. “Dance of the Reptiles” is a collection of columns from former Miami Herald journalist and current novelist Carl Hiaasen, who has a wellknown — and undoubtedly well-earned — reputation for comic wit. His works are full of ludicrous premises spun into side-splitting satire, and this book seems to have been marketed with that in mind. It’s primarily a look at all the weirdest bits of Florida and the U.S., the headlines too strange to be fake and the scandals too surreal to take place anywhere else. Columns about snake invasions, proposed punishments for out-of-control tourists and the indefatigable cheek of elected officials look like fertile ground for humor, and in other hands they might be. Hiaasen, however, isn’t just out to skewer events with his pointed wit. He’s out for blood, and boy, does he draw it. Over the course of the collection, he turns his acid rhetoric on the controversial issues of the 2000’s, from Florida’s problems with pollution and reckless residential development to the nation’s problems with the Iraq War, George W. Bush and Barack Obama. His analysis in each case is deftly written, well-organized, strongly supported and, above all, bitterly angry. Reading Hiaasen’s columns is at once fascinating and deeply depressing. He is full of righteous fury, unashamed of his decidedly liberal stance and a strong proponent of common sense in the face of adversity. He cuts to the heart of each matter with swift decisiveness, and — for people who share his political stance, at least — his no-nonsense arguments will draw grim agreement. There are times when the fury dies down to a quiet smolder and it seems like the writer is right on the cusp of making a joke. Inevitably, this anticipations leads only to a moment of casual nonchalance. It’s far more sad than humorous when he observes that the Miami Cannibal Attack — wherein Rudy Eugene assaulted a homeless man and chewed off most of his face — was considered near normal for Florida. Taken all together, “Dance of the Reptiles” paints a bleak picture of humanity with its unrelenting spotlight on greed, stupidity and malevolent oddities. Overall, if you’re looking for a review of the nation’s big news by a savvy writer who shows no mercy to politicians and policymakers, this is a good bet. If you want a hilarious collection of zany antics and silly scandals, steer clear of this badly advertised book and find something by Dave Barry instead. Read if: You wish political discussion was a little more gladiatorial. Don’t read if: You came out to have a good time and you’re honestly feeling so attacked right now.
album reviews
By Doug Hill
Artist: Roberta Donnay and the Prohibition Mob Band Album: “Bathtub Gin”
Roberta Donnay named her 21st century recording after a term that first appeared nearly 100 years ago. It was cheap booze that fired the Roaring Twenties and America’s first tastes of jazz, sexual revolution and women’s suffrage. “Bathtub Gin” is a concept album that is Donnay’s personal tribute to dozens of vocalists and musicians of primarily the 1930s. Most of the songs are vintage covers while others are modern originals that the Oakland, Ca.-based singer co-wrote with members of her band. All arrangements are Donnay’s and the band is heavily populated by horn players with John R. Burr on piano. Even the attractive album package is a salute to the era with photos of Donnay dressed in period attire with elegant 1936 Chrysler convertible waiting to carry her to jazzy adventures. A small booklet tucked inside has short essays she wrote about each cut and the inspiration she takes from the songs or the artists closely associated with them. The first and title track is an original. It’s a jumper and shouter about party-time speakeasies where gin flowed, people cut a rug and jazz wailed.
By Doug Hill
“Why Don’t You Do Right” is a certified chestnut but Donnay breathes sexy life into it. And she doesn’t let some guy’s clarinet solos dominate the tune like Peggy Lee did back in the day. Her cute phrasings and playful take on the lyrics showcase the abundance of personality she brings to these songs. “ Throw Your Heart (Over the Fence)” is another of the originals that captures the excitement that made New Orleans, Chicago and Kansas City juke joints legendary. Danny Grewen’s trombone in this number is smoking. Part of “Bathtub Gin’s” charm is that a few of the numbers such as “(We’ve Got To) Put the Sun Back in the Sky” (1932) have rarely been heard for decades outside 78 rpm platters. “Kitchen Man” is one of those, too. Most often associated with Bessie Smith, it’s a sly ditty extolling the house cook’s considerable carnal capabilities couched in culinary catch phrases. Ostensibly about sausages, clams and sugar bowls, Donnay turns the song’s burners to high. Her love for these old compositions, the people who wrote them and artists that performed them comes across in all 15 tracks. Donnay brought solid originals to the mix and fresh interest to some that have long gathered dust. ——— hillreviews@hotmail.com
Artist: Jon Spencer Blues Explosion Album: “Freedom Tower/ No Wave Dance Party 2015”
Jon Spencer can be an abrasive guy. Before a 2013 concert appearance in Norman he was scheduled for an interview but declined to answer questions until his were answered first. The episode was more amusing and memorable than irritating and Spencer’s questions about the venue and town were wholly reasonable. But it gets to the chutzpah of his personality and the music Jon Spencer Blues Explosion has been producing for nearly a quarter century. He is a New Yorker with all the legendary brashness and excitement that is associated with the Big Apple. Spencer’s new album is a spellbinding albeit nasty celebration of the place he calls home. It’s also among his most incendiary records in an LP discography of over a dozen other discs. Freedom Tower’s cover art includes the announcement, “NYC 2015: The world of the future!” The future is now in an album that’s a hardcore chronicle of the city from high rollers in penthouses and cops on the take to a “Dial Up Doll” hustling to make a buck. Freedom Tower starts with an ending in first track “Funeral.”
Guitarist Judah Bauer and drummer Russell Simins let the hammer drop. Comfortingly familiar is Spencer hollering his band’s name as has been his wont since Pluto was a pup. It’s a dance party with “Do The Get Down” busting moves for the “funkiest man alive” early on. Sirens wail in the background and Spencer screams, “Come on you turkey necks!” Locked doors wait to be busted down in “Betty vs. the NYPD.” It is 110 seconds of the Jon Spencer Blues Explosion S.W.A.T. team in action. There aren’t any ballads in these 13 tracks. This collection of songs is fast-paced and action packed. “Down and Out” takes a somewhat gentler tone. It’s Spencer’s gimlet-eyed scrutiny of a city where dead presidents rule. “Tales of Old New York: The Rock Box” is a reminder that for those unfamiliar with Spencer, his music can only loosely be considered blues in the conventional sense. He’s been pushing the walls of that genre’s box from his 1990’s get-go. It would be tasty to know which celebrity chef is the target of “Cooking for Television.” A few of these superstar cooks are the most insufferable chatterboxes around. Whomever, it’s the last New York City personage Spencer sinks his fangs into before signing off.
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movie reviews Hidden gems on
‘Goon’ (2011)
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The term ‘loser’ was seemingly invented to describe Doug Glatt (Seann William Scott, “American Pie”). His father (“American Pie” co-star Eugene Levy) and brother are both successful doctors, but the mild-mannered Doug has settled into life as a bouncer at a local bar, spending his spare time with his brash, loudmouth buddy Pat (Jay Baruchel, “This Is the End”). One night while attending a local semi-pro hockey game with Pat, Doug takes offense to a comment made by a player on the visiting team, uncharacteristically drawing the player into the stands and beating him to a pulp. Doug’s actions draw the attention of the opposing coach, who signs him to a contract as an enforcer. Without any hockey skills whatsoever, Doug becomes a fan favorite due to his ability to outfight anyone and everyone. Based on real-life minor-league hockey enforcer Douglas Smith’s memoir, “Goon: The True Story of an Unlikely Journey into Minor League Hockey” — adapted for the screen by Baruchel himself -- “Goon” at first seems satisfied to be a crass slapstick comedy. As the film progresses,
By Scott Strandberg
In this age of digital media, Netflix Instant Play is entering nearly everyone’s homes. The streaming service is now part of approximately 40 million American households, a number which is growing by the day. With that in mind, this column serves to highlight films you may
director Michael Dowse provides a refreshingly honest view of the depraved and glamorless lifestyle of small-time professional hockey. Despite his success, Doug still finds himself shunned by his parents. The team captain -- a grey-haired alcoholic in the midst of an ugly divorce — openly worries about his life after hockey, or perhaps his lack thereof. Eventually, Doug’s path crosses that of legendary hockey goon Ross Rhea (Liev Schreiber, “Scream”), a rival enforcer riding out the last days of a brutal, lonely career. Even with their respective teams battling for the final playoff spot, the fans’ focus -- and the film’s climax -is centered on the inevitable fight between Doug and Ross. By that point, the audience is wondering whether Doug even wants Ross to pass him the torch, and whether Ross ever wanted it in the first place. The deaths of real-life enforcers -such as 28-year-old Derek Boogaard and 35-year-old Steve Montador -- have finally made hockey purists consider addressing the issue of violence in the sport. Even though it was filmed before either Boogaard or Montador passed, “Goon” is careful to steer away from glamorizing the role of the enforcer. The climactic battle between Doug and Ross is far more sad than it is exciting. The result of all these disparate parts is a strangely affecting film, with a far stronger emotional core than anyone could guess from watching the first 30 minutes. Don’t let the cast full of gross-out comedy alums fool you. “Goon” has plenty of heart and brains -- along with many
have overlooked on Netflix. This month, I selected three recent releases that didn’t shatter any box office records, but are certainly worth your time on a rainy spring Sunday. ——— Follow Scott on Twitter @scottstrandberg
well-earned laughs -- to earn it a spot among the best sports movies ever made. “Goon” is Rated R for brutal violence, non-stop language, some strong sexual content and drug use.
‘The Babadook’ (2014) Australian writer/ director Jennifer Kent’s debut feature — “The Babadook” -- weaves an intricate web of terror and grief, balancing the tragic loss of a spouse with the otherworldly intrusion of a malicious spirit. Along the way, Kent raises some rarely discussed themes regarding the darker side of parenting, resulting in a film that festers in the mind long after its concise 93-minute runtime is up. Amelia (Essie Davis, “The Matrix” trilogy) is a young widow, balancing her job in a nursing home with raising her troubled young son Samuel (Noah Wiseman). Amelia never fully recovered from her husband’s death seven years ago, leading to a life of quiet sadness. As for Samuel, his dark imagination gets him into frequent trouble in class, to the point where complaints from the other children force Amelia to pull him out of school.
One night, a new book appears on Samuel’s bookshelf. Titled “Mister Babadook,” the book depicts a malicious entity that preys on children in their sleep. Amelia quickly disposes of the book, only for it to return to their home again and again, each time containing increasingly specific images of The Babadook preying on Amelia and Samuel. Amelia tries to get help from the police and social services, but everyone seems to think she’s gone off the deep end -- and who’s to say she hasn’t? It’s entirely possible that unresolved issues with her late husband — paired with her son’s constant misbehavior — have taken Amelia past the breaking point. The major overriding question that occupies the film is whether The Babadook is a real demon, or a complex manifestation of Amelia’s shattering psyche. The way the film answers that question is with a refreshingly honest exploration of the less-than-ideal aspects of motherhood. Performances across the board are near perfection. As Amelia, much is demanded of Essie Davis. This must have been a truly difficult character to play, and Davis never misses a beat, showing tremendous versatility as an actress. The newcomer Wiseman is also particularly excellent as Samuel. It is a difficult task for a child actor to play an intentionally obnoxious character without having an irritating effect on the entire film. In “The Babadook,” Wiseman accomplishes the nearly impossible, with his balanced portrayal of a young boy who proves far too much for one parent
to handle. The cleverest aspect of “The Babadook” is the way it plays with audience expectations. Kent raises the tension level so high — and sustains it for so long — that the film’s few abject scares are almost a relief from the relentless sense of dread they supplant. The crescendos that other horror films rely on to generate terror feel like a form of viewer justification here. In this way, the viewing experience is much like that of the Amelia character -- “The Babadook” has been creeping under your skin for so long that it feels good to finally let it out. “The Babadook” is not rated.
‘Muscle Shoals’ (2013) Generations-old Native American myths say that spirits in the Tennessee River — along the banks of which sits the town of Muscle Shoals -- sing songs from the deep for those willing to listen. That’s about as good of an explanation there is as to how a small Alabama town of just 8,000 people became the hotbed of American soul music in the late 1960s. The film “Muscle Shoals” tells the tale of Rick Hall, the owner of the recording studio that made the town a worldwide destination for musicians of all genres. Alongside Hall, his studio band of Barry Beckett, Roger Hawkins, Jimmy Johnson and David Hood provided the backbone for countless classic songs. From Percy Sledge and Aretha Franklin, to The Rolling Stones and Bono, “Muscle Shoals” compiles firsthand the story of Hall’s FAME Studio from all its major players. Director Greg Camalier keeps the film rolling at a quick pace, with a vast array of legendary musicians providing the narrative.
Not surprisingly, the film’s Grammy-nominated soundtrack is one of its biggest calling cards. Stuffed to the gills with timeless songs from the likes of Franklin, The Stones, Wilson Pickett and Lynyrd Skynyrd, the film integrates all of the music that made Muscle Shoals the place to be. When the studio first rose to prominence, the mix of white and black musicians playing — and socializing — together raised plenty of eyebrows in the still largely segregated Alabama town. Camalier doesn’t shy away from exploring this angle, and he explores the larger societal impact of the studio as well. On a wider scale, people everywhere were shocked to learn that the backing band on soul classics like Franklin’s “Respect” and Sledge’s “When a Man Loves a Woman” was a bunch of white men. (“They looked like they worked down at the supermarket,” says Sledge.) A fascinating side story is that of owner/producer Hall’s tragic life. His brother died in a freak accident as a child, which led to the demise of his parents’ marriage. Years later, the sudden deaths of Hall’s wife and father drove him to dedicate his life to music. By that point, music was all that he had left. Camalier’s directorial style is a tremendous blend of modern-day interviews and archival footage, which lends the film an aesthetic of nostalgia. He also regularly intersperses sweeping landscape shots, displaying the stoic beauty of the tree-covered hills and slow-rolling river that surround Muscle Shoals -- perhaps hinting at the inspiration behind the area’s musical goldmine. For reasons no one can pinpoint exactly, Muscle Shoals is one of the few truly magical places in the world for musicians spanning all genres. Camalier’s film captures that magic, neatly packaged for a seamless viewing experience. “Muscle Shoals” is must-see material for music lovers and documentary fans alike. “Muscle Shoals” is rated PG for thematic elements, language, smoking and brief partial nudity.
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+ CHILDREN’S SUMMER ART PROGRAM Now enrolling. 5 sessions with entirely unique classes for ages 5 - 13 years old. Session I begins June 1st. Visit normanfirehouse.com for more information.
+ ADULT SUMMER ART CLASSES Now enrolling. Over 20 classes in a range of mediums including painting, ceramics, jewelry making, sculpture, photography and more. Classes begin the week of May 31st. Visit normanfirehouse.com for more information.
+
O P SU FA C U LT Y EX H I B I T I O N April 10 - May 23, 2015 Reception: Friday, May 8, 2015, 6 - 9 PM
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T HANK YO U M AY FA I R The Firehouse Art Center had an amazing weekend partnerning with the Assistance League of Norman to provide free children’s art activities during May Fair on May 2nd and 3rd.
444 S. Flood Avenue Norman, Oklahoma 73069 normanfirehouse.com 405.329.4523 Mon - Fri: 9:30 AM - 5:30 PM | Sat: 10 AM - 4 PM | Sun: Closed
Summer Breeze concert calendar
May 17 — Derek Paul and the Handsome Devils The Handsome Devils (Derek Paul,guitar, lead vocals; Derek Carothers, bass; Devon Carothers, drums; Tyler Smith, guitar) blend a love of folk, rock, blues, R&B and jazz into a wholly Americana sound. Whether it’s their rootsy southern rock hooks to their laid back blues grooves to their heartfelt storytelling, their many fans love their honest, catchy tunes and fun live shows.
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June 14 — Kelly Willis
July 12 — North Meets South
Aug. 9 — Tequila Azul
With rockabilly roots and a heartache-meets-honkytonk voice, Kelly Willis has been labeled a country ingénue. As a new traditionalist singer/songwriter, her tunes effortlessly combine the storytelling and strings aspects of country music and the driving force of rock. Austin based, Kelly is noted for her clear, unadorned vocal style and her fresh-faced beauty.
North Meets South is original home-brewed Americana music made in Oklahoma, the combined creative vision of husband and wife duo, Joie Sherman Johnson (vocals) and John Johnson (guitar). They have dazzled listeners with Joie’s powerhouse vocals, John’s signature fingerpicking guitar style and their honest, melodic and downright catchy songwriting.
Tequila Azul, Oklahoma’s first Latin Pop Rock Band formed in January 2014, features Adriana Brito on vocals. Armando Rivera on Congas, Cecelia Vargas on vocals, Edgar Salazar on bass, Hector Lopez on guitar, Ivan Castillo on vocals and guitar, Paulo Valles on drums and Ricardo Sasaki on keyboards. Tequila Azul’s musical diversity and energy is sure to get folks dancing.
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May 31 — The Steel Wheels Band
June 28 — Mama Sweet
July 26 — Adam and Kizzie
The Steel Wheels have captured audiences across the country with their heady brew of original soulful mountain music and their deep commitment to roots and community. Based in the Blue Ridge Mountains of Virginia, this dynamic four-piece string band marries old-time musical traditions with their own innovative sound and lifestyle, generating a truly magnetic revival.
Mama Sweet’s first gig came at The Deli in the spring of 2002. Soon their first “real” album was released and the group began venturing to venues outside of Oklahoma and playing with prominent regional acts. There have been many descriptions of their Oklahoma music including Red Dirt rock, Southern Americana, bluegrass funk and even psychedelic country. Mama Sweet’s second studio album, “21 echo” was released in December 2014.
With his magic fingers, her melodic voice and a unique sound, Adam & Kizzie have set out to share the gift of music in the best way their hearts know how — giving music their absolute best. To claim their albums are either R&B, soul, jazz, or hip hop forms of musical art would be grossly limiting. But all who have heard their music agree, the art is excellent.
Aug. 23 — The Elders (Members Choice Concert) The Elders were founded in 1998 by six veteran musicians with a passion for music rooted in Americana and Celtic folk. Their ability to bring together the art of story telling with a cross-pollination of elements that is progressive yet rooted in tradition, has won them a broad international fan base. They have released six studio albums, four live albums, one compilation album and three DVDs and played festivals, pubs and theaters across the United States, Ireland and other parts of Europe.
Summer Breeze concert calendar
May 17 — Derek Paul and the Handsome Devils The Handsome Devils (Derek Paul,guitar, lead vocals; Derek Carothers, bass; Devon Carothers, drums; Tyler Smith, guitar) blend a love of folk, rock, blues, R&B and jazz into a wholly Americana sound. Whether it’s their rootsy southern rock hooks to their laid back blues grooves to their heartfelt storytelling, their many fans love their honest, catchy tunes and fun live shows.
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June 14 — Kelly Willis
July 12 — North Meets South
Aug. 9 — Tequila Azul
With rockabilly roots and a heartache-meets-honkytonk voice, Kelly Willis has been labeled a country ingénue. As a new traditionalist singer/songwriter, her tunes effortlessly combine the storytelling and strings aspects of country music and the driving force of rock. Austin based, Kelly is noted for her clear, unadorned vocal style and her fresh-faced beauty.
North Meets South is original home-brewed Americana music made in Oklahoma, the combined creative vision of husband and wife duo, Joie Sherman Johnson (vocals) and John Johnson (guitar). They have dazzled listeners with Joie’s powerhouse vocals, John’s signature fingerpicking guitar style and their honest, melodic and downright catchy songwriting.
Tequila Azul, Oklahoma’s first Latin Pop Rock Band formed in January 2014, features Adriana Brito on vocals. Armando Rivera on Congas, Cecelia Vargas on vocals, Edgar Salazar on bass, Hector Lopez on guitar, Ivan Castillo on vocals and guitar, Paulo Valles on drums and Ricardo Sasaki on keyboards. Tequila Azul’s musical diversity and energy is sure to get folks dancing.
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May 31 — The Steel Wheels Band
June 28 — Mama Sweet
July 26 — Adam and Kizzie
The Steel Wheels have captured audiences across the country with their heady brew of original soulful mountain music and their deep commitment to roots and community. Based in the Blue Ridge Mountains of Virginia, this dynamic four-piece string band marries old-time musical traditions with their own innovative sound and lifestyle, generating a truly magnetic revival.
Mama Sweet’s first gig came at The Deli in the spring of 2002. Soon their first “real” album was released and the group began venturing to venues outside of Oklahoma and playing with prominent regional acts. There have been many descriptions of their Oklahoma music including Red Dirt rock, Southern Americana, bluegrass funk and even psychedelic country. Mama Sweet’s second studio album, “21 echo” was released in December 2014.
With his magic fingers, her melodic voice and a unique sound, Adam & Kizzie have set out to share the gift of music in the best way their hearts know how — giving music their absolute best. To claim their albums are either R&B, soul, jazz, or hip hop forms of musical art would be grossly limiting. But all who have heard their music agree, the art is excellent.
Aug. 23 — The Elders (Members Choice Concert) The Elders were founded in 1998 by six veteran musicians with a passion for music rooted in Americana and Celtic folk. Their ability to bring together the art of story telling with a cross-pollination of elements that is progressive yet rooted in tradition, has won them a broad international fan base. They have released six studio albums, four live albums, one compilation album and three DVDs and played festivals, pubs and theaters across the United States, Ireland and other parts of Europe.
of the iconic cartoon. Americana songwriter and Handsome Devils frontman Derek Paul might be the perfect embodiment of that idea. From his experience as a soldier in the army or via personal loss, he’s earned what can be readily heard in his music. There’s soul there. A weight and honesty that can’t be conjured. It can’t be manufactured. While his songs are simple — something he takes great pride in — the forces behind them are complex. Derek Paul and The Handsome Devils, fresh off an album-release show at The Wormy Dog Saloon in OKC, will have a Norman release show May 14 at The Deli. Then, they’ll kick off this year’s Summer Breeze Concert Series May 17 at Lions Park. The band will take the stage and play out a setting sun and serenade a park full of summer music lovers. It promises to be a night of great music. But there’s a bigger story here than the album, or the concert. First, a little band history: The band formed as a long distance relationship between old friends. Paul, Derek and Devon Carothers had grown up together and began making music as a trio while Paul was attending Haskell Indian Nations University in Lawrence, Kan. Then, things began to fall into place. The band piqued the interest of an investor. That meant the right gear, album funding, a van and a chance. So, Paul took the chance, moved back to Oklahoma and began laying the ground work for the album, the band and the bright future they all hoped lay ahead. Everything was moving in the right direction. That picture changed over night. In February of 2013, Paul’s father, Carl Reber “Chuck” Goff Jr., was killed in a two-car collision in Noble. “Chuck,” or “my Pops,” as Paul refers to him, was the bass player for country music superstar Toby Keith’s band for 25 years. He was Paul’s “best friend.” His mentor. “At first he was hard on me. He was a music man. He co-wrote two top-10 songs … So he wasn’t going to give you a break on anything. Let me put it this way: My brother started doing offshore oil work. My Dad’s never done offshore oil work, but he’d tell you how to do all of it ... He wouldn’t hesitate to tell you that a song you wrote was horrible or trite. You know, every time you write a song, you think it’s great … until you bring it to him.” “There are so many things that we do now because of him … He started playing music at 13 professionally. He knew what he was talking about. Now, if not once a day, at least once a week, I’ll do something and go ‘ah! you were right again.” “We did the first album in three days and we did pre production for the new album the weekend my dad died. So, that kind of halted everything.” With the death of Paul’s father, the bright future was now obscured by dark clouds, leaving Paul and his bandmates looking for a shred of silver lining. Recording with producer Wes Sharon at Studio
“I just had the idea, the framework and part of the first verse. So, I sat down and played (my dad) the chord structure and the progression and first verse and kind of hummed what I didn’t have yet. And he died the next day. That song wrote itself after that.”
— Derek Paul on “Wolves”
115, the band was going about it in two-to-threeday sessions. The process was bogged down. During that period, the band went through three lead guitar players. On top of the technical hang ups, Paul was dealing, as best anybody can, with the loss of his father. “Every guitar player that’s ever been in our band was involved in some way with this album,” Paul said. The list: Alan Orebaugh, Zane Russell, Blake Lennon and the band’s current axe man, Tyler Smith. Though Smith, a founding member of the band Pidgin, doesn’t appear on the album, he’s been a big part of the band moving forward. Wisely, Paul also utilized the talents of Norman’s musical elite, including, John Knudson, Ryan Engleman and Camille Harp. “We had a pretty good cast of characters on this album,” Paul said. “The first album, we had only been a band for three months. I wasn’t even living in this state. So, in a way I consider this our freshman album.” Nearly two years later, the album is finally finished and the band couldn’t be happier with the result. They’ve found more than a silver lining in the polished collection of break up tunes and heavy-leaning songs about death and loss set to catchy hooks and tasteful, simple arrangements. It’s a fair reflection of Paul as a person who exists in a state of personal dissonance. He’s a clever wordsmith, a perpetual jokester, at times a political poet and underneath it all a serious man colored by his experiences as a soldier. He’s an Iraq war veteran, a warrior of life and bleeding soul whose salvation lies in the songs he writes. They’re genuine. Real as the man himself. As for break up songs, Paul said “Aren’t they all in some way?” His penchant for catharsis makes him a sort of Americana/Red Dirt version of Ben Folds, subbing acoustic guitar for piano. When asked if he saw any connection, he just laughed and shared another anecdote in his endless arsenal. “The funny thing about Ben Folds, I got into him when I was at Fort Riley training to go to Iraq. My buddy, (a sergeant) who was a few years older than me and knew the ropes a little better took me under his wing. He really liked that Ben Folds live album and every morning we’d wake up and listen to that song ‘Army,’ where it says ‘Well I thought about the Army. Dad said son you’re f****** high …” That’s kind of a prophetic song, because he talks about not joining the Army and joining a band instead.
But, yeah, they’re pretty much all heartbreak songs in one way or another.” An old songwriting adage says “write what you know.” Paul is certainly true to that mantra and he’s got plenty of experience to draw from. “Honestly, I’ve never been able to write a song that’s not personal. I wish I could do that. Like John Prine’s ‘Angel from Montgomery,’ writing from a woman’s perspective like he never lived. I’ve never been able to do that. It’s always personal stuff. I’ve learned how to disguise it a bit. Like, I’ll take a breakup and make it sound like a bad drug deal or something.” Because it’s almost impossible to tell in print, that last bit was a joke. Probably. But that’s what makes him intriguing. Like many great comedic minds, Paul has a dark sense of humor. Yet, he’s also soul bearing. One of the new album’s finer moments is a song called “Wolves.” A tardy addition, it was the last song Paul’s dad ever got to hear. In fact, he only got to hear a sketch of it. “I just had the idea, the framework and part of the first verse. So, I sat down and played him the chord structure and the progression and first verse and kind of hummed what I didn’t have yet. And he died the next day. That song wrote itself after that. “The weirdest thing about it though, was we recorded it in Wes (Sharon’s) studio. Professional studio. So, unless we get a hail storm, we’re not getting any outside sound. My Dad was really into birds … He loved birds. So, at the end of ‘Wolves,’ we recorded it and the end is really delicate, with just some acoustic. We got done. Laid it down and we’re listening to it. Then, I hear this bird chirp. I was like ‘rewind that.’ Somehow a bird got into the studio and if you were to sample a bird chirping, this was the chirp. As soon as the last note fades out you just hear this bird chirping. That’s the last thing you hear on the album. So, I think he’s still with me. I just don’t think the universe will allow two of us to be successful in music at the same time.” The finished product was one Paul dedicated to his “Pops” and fittingly so. The lyrics deal with the idea that problems of youth are easily solved. As you get older the problems get more complicated, harder to beat. Like the song says, “these wolves out here ain’t afraid of fire.” A simple wave of the torch won’t take away pain and trouble. Not anymore. But for Paul, his songwriting might have that power. He’s certainly earned it.
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The members of Chicago pose in front of “Cloud Gate,” an iconic art instilation in Chicago’s Millenium Park. The band will perform May 9 at the Riverwind Casino in Norman.
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Chicago comes to Norman • After six decades of chart-topping hits, the undeniable Chicago still delivers
5.8.15
By Sharla McIver
Chicago’s accomplishments are unprecedented in the history of American music. Chicago is the first American rock band to chart Top 40 albums in six decades. The band has toured every year since the beginning, 1967, without missing a single year. And during that 48 years of touring, the band has never missed a single show. Fresh off a stunning performance at the New Orleans Jazz Festival, where they kicked off with the entire A-side of the iconic “Chicago Transit Authority” album, the band is Norman bound. On May 9, Chicago will pack the Riverwind Casino’s Showplace Theatre, bringing with them classic hits like “25 or 6 to 4,” “Make me Smile” and countless others. Named the top American Band by Billboard Magazine and No. 13 overall on the list of the Top 100 Artists of All time, Chicago’s awards include a Grammy, multiple American Music Association Awards and a star on the Hollywood Walk of Fame. The group has sold more than 100 million albums including five consecutive No. 1 albums, and 25 of their 36 albums have been certified
platinum or multi-platinum. From those albums, Chicago has produced 21 Top 10 singles with 11 of those reaching the No. 1 spot. Hit singles include “Saturday in the Park,” “If You Leave Me Now,” “Hard To Say I’m Sorry,” and “You’re the Inspiration.” Four original band members remain with Chicago today: Robert Lamm on keyboards and vocals; Lee Lochnane on trumpet and vocals; James Pankow on trombone; and Walt Parazaider on woodwinds. The four are joined by longstanding members Jason Scheff on bass and vocals, 30 years with Chicago; Tris Imboden on drums, 25 years; Keith Howland on guitar and vocals, 20 years; Lou Pardini on keyboards and vocals, six years; and Walfredo Reyes, Jr. on percussion, the newest member of the band. Loughnane shared the secret to the band’s success: “Enjoying what we’re doing now, continuing to work at getting better, and realizing the music itself is what makes it work,” he said. `“We’ve managed to find music that resonates with multiple generations, and to be accepted by multiple generations. We write and we re-
cord, and if it works it works. If it doesn’t, we try again.” Asked what sets Chicago apart from other bands, Loughnane said, “We were accepted. We stayed together. On the road we were compatible as people. When we weren’t we had to work it out. The conflicts we’ve been able to work out by understanding people get up on the wrong side of the bed, and knowing when it’s that and just to leave it alone, and knowing when it’s time to get involved. You have to learn when it’s time to say something and when you need to just stay out of it. Those are hard lessons but we’ve learned how to work it out through the years. Mostly I believe it is truly the music. It all goes back to the music.” “I’ve often wondered what we’d do when it’s over. It’s apparently not going to be over. As long as we’re able to keep doing what we do, as long as we can go out there and put on a great show and people are happy when they leave, I don’t see it ever being over. I would have to find something I would love to do more than I love what I’m doing now, and I can’t imagine anything that would ever come close,” he said.
Where art and fantasy meet • NAC and Pioneer Library System celebrate the Big Read’s ‘A Wizard of Earthsea’ novel with fantasy-inspired show By Doug Hill
Even in its most realistic styles all art is fantasy. It’s a world created by the artist for the viewer to enter. The nuances of art include just how much reality must be suspended in that experience. At the From Earthsea To Fantasy exhibition at Mainsite Gallery the viewer will be asked to allow their imaginations to take flight. The show was curated by the Norman Arts Council executive director Erinn Gavaghan. It’s a collaboration with the Pioneer Library System based on their 2015 Big Read event which celebrated Ursula K. Le Guin’s 1968 young adult fantasy novel, “A Wizard of Earthsea.” Part of the exhibition includes work by budding artists who attended local Fantasy Art Workshops that were then entered in a judged contest. “As I have been organizing the submissions for the art contest and exhibit, it occurred to me that it would be exciting for both the contestants and the public to view these works alongside a professional artist that works in the fantasy realm,” Gavaghan said. “I selected AK Westerman of Edmond to exhibit with the contest submissions for this very reason.” Additionally, hand crafted masks made by artist G. Patrick Riley will be included in the array of mind bending excitement. AK (Angela) Westerman is a painter of surrealistic fantasy scenes. Unlike the members of psychedelic rock band Jefferson Airplane who recorded “Surrealistic Pillow” that extolled the creative power of hallucinogenic drugs, she claims never to have partaken. Westerman’s work invites you into a realm that includes the White Rabbit and Red Queen from her own inimitable perspective. Expect a skeletal apparition that is part bone and part riveted steel. An avian creature with seemingly stained glass wings builds a nest on a four-spoke wheel. Her pieces tend to be large and make strong use of vibrant color. “I have an ongoing theme that’s drawn from man, nature and technology and how those things integrate,” Westerman said. “I’ve been exploring that for three years now and find I always
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AK Westerman’s ‘The Red Queen’ painting (detail) borrows a theme from the literary classic ‘Alice in Wonderland.’
have more to say.” The pictures are personal reflections on issues that may be broad as world events or as focused as something she observed communing with nature. They are purposely left ambiguous, adding to what’s undeniably a mysterious aura that envelops all the art. Her aim is to stimulate the individual perspective of each viewer. Because of the nature of her work there will be many reads on what these paintings mean. Westerman probably wouldn’t argue against the interpretation that some pieces could be seen as fairy tale imagery channeled through a dreamscape. She has a lot of tricks up her sleeve for engaging viewers. “I use a lot of very vivid color,” Westerman said. “Along with my distinct style that draws people in. That has evolved and become recog-
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nizable. I pick one theme or mood that I think people will gravitate to in the center of the composition and let it grow from there.” Her creative process is a time honored one. It incorporates elements that have been observed and used in the disassociated field of industrial design for centuries. “Nature and solitude are extremely important for me,” Westerman said. “I spend a lot of time outdoors with a camera by myself where ideas come to me.” It’s in those retreats where she contemplates the relation between humans, technology and the living world which translate into her personalized approach to art. G. Patrick Riley is a retired public school arts See ART, Page 22
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• Opening Reception: ‘Sketchbooks of O. Gail Poole’ When: 6-9 p.m., May 8 Where: The Depot Featuring works from the sketchbooks of prolific Oklahoma artist, the late O Gail Poole, this exhibit is a retrospective of his work envisioned as becoming aa
travelling show with interactive ebooks. Limited edition prints of various works will be available for purchase.
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• Free admission Mother’s Day When: May 10 Where: Sam Noble Museum The Sam Noble Oklahoma Museum of Natural History will open its doors for free to all
mothers on Mother’s Day.There’s plenty of history to explore and mothers will get a free look.
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• Krystal Keith in concert When: 5 p.m., May 8 Where: Sooner Theatre Daughter of country music superstar Toby Keith, Krystal Keith returns to for her first Norman performance since 2012. The country music protige is on
• Chicago in concert When: May 9 Where: Riverwind Casino
the verge of releasing her second album and will bring her own style to the Keith name at the historic Sooner Theatre.
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• Second Sunday Poetry Reading When: 2-4 p.m., May 10 Where: The Depot
• Art Adventures When: 10:30-11:30 a.m. Where: Fred Jones Jr. Museum of Art
Norman poet/songwriter/artist/ professor John Hadley will read from his recent book “Son of Boogers and Hangnails.The book includes poems, mostly
Young artists are invited to experience art through books and related art projects for children ages 3 to 5 accompanied
humorous, including several pages of haiku, and many pages of wordplay and anecdotes.
• 2015 National Weather Center Biennale When: April 26-June 15 Where: National Weather Center
latest album,“Untethered Moon.” With eight albums to its credit, the band has plenty of fans and should be worth catching as they come through Norman.
Considered one of the longest and putting on incredible live running and most successful pop/ performances with a focus on rock ‘n’ roll groups in history, early material. Chicago is still serving up the hits
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• Built to Spill in concert When: 7 p.m., May 21 Where: Opolis Built to Spill Concert with Special Guest Wooden Indian Burial Ground and Junebug Spade. The Idaho-based indie rock band is touring in support of its
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The National Weather Center Biennale is the first exhibition of its kind — an international juried exhibition presenting: Art’s Window on the Impact of Weather on the Human Experience.The 2015 exhibition
is sponsored by the National Weather Center in Norman, Oklahoma, the Fred Jones Jr. Museum of Art at the University of Oklahoma, and the Norman Arts Council.
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by an adult. Art Adventures are made possible by generous support from the Kimball Foundation.
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• Summer Breeze: The Steel Wheels Band When: 7:30 p.m., May 31 Where: Lions Park The Steel Wheels have captured audiences across the country with their heady brew of original soulful mountain music and their deep commitment to roots and community. Based in the Blue Ridge Mountains of
Virginia, this dynamic four-piece string band marries old-time musical traditions with their own innovative sound and lifestyle, generating a truly magnetic revival.
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NONPROFIT ORGANIZATIONS: • MAINSITE Contemporary Art: Home of the Norman Arts Council (122 E. Main) debuts From Earthsea to Fantasy: A Literary & Visual Exploration of the Genre. The exhibit is a collaboration between Norman Arts Council and The Pioneer Library System, in celebration of the National Endowment for the Arts’ Big Read selection: A Wizard of Earthsea. Featured artists A.K. Westerman and G. Patrick Riley will be joined by Earthsea Art Submissions from a contest held earlier this year. Youth Art activities will take place through the evening, with the art contest award presentation set for 7 p.m. • The Firehouse Art Center (444 S. Flood) has partnered with the faculty of Oklahoma Panhandle State University’s art department to present an exhibition featur-
ing their multi-disciplinary work, include artists J. Bryon Test, Brent Shoulders, Larry Wiggins, Yvonne Sangster and David Elder. • The Depot Gallery (200 S. Jones) debuts As Yet UnNamed, an art exhibition centered around the sketchbooks of the late Oklahoma artist O. Gail Poole as curated by Jonathan Fowler with guests Dr. Neil Chapman and Nicole Poole. • Dreamer Concepts: A Community Art Space (428 E. Main) presents Dreamer 57: The Hope Camera Project, a joint venture between the Absentee Shawnee Meth-Suicide Prevention Program and the Urban Indian 5 Association working with American Indian children and teens to promote self-esteem and healthy living through creative expression. 19 students aged 6-17 were handed disposable cameras to take pictures of what hope looks like them, with selections from each student on display in this exhibition.
• Pioneer Library System is beginning a new, monthly 2nd Friday program. The 2nd Friday Adult Story Time will take place 6 to 7:30 p.m. in the Gallery Room of the Norman Public Library (225 N. Webster). May’s theme is Dino Fiction, in celebration of Jurassic World. Drinks and snacks will be on hand! • Firehouse Art Center is collaborating with Visit Norman (309 E. Main) to showcase the work of Firehouse photography students.
FOOD TRUCKS: • The Loaded Bowl and MT Express will be parked out front of STASH (412 E. Main). • The 2nd Friday Food Truck Park in the LoveWorks Lot (corner of Main & Santa Fe) will feature a variety of Oklahoma food trucks offering up all sorts of delicious street food. • BOLD Multimedia (215 W. Main) will have a food
• STASH (412 E. Main) is excited to present the work of featured artist Felix Blesch, a printmaker and interdisciplinary artist focusing on the realm of imagination. She creates scenes from her mindspace using vivid colors and layers of textures around the themes of myth, religion and nature. • Dope Chapel (115 S. Crawford) is open with a new exhibit from artists Eli Casiano and Blake Stewart. Stereolitho and HOG will be joining in as musical entertainment. • BOLD Multimedia (215 W. Main) will be open with a live DJ and beverages! • D.M. Wealth Management (201 E. Main) invites you in to view new works by Bobby Atkins. • Studio Ink (220 W. Main) presents works by Charles “Caleb” Burgess, a collection using a non-traditional color palette to show us the richness in everyday life. Refreshments will be served. • The Social Club (209 E. Main) welcomes featured artist Amy Sanders, a talented maker of things who works mainly in ceramics and sculpture, exploring the themes of light v. dark and transformation. The salon is launching a new hair product line, and there will be special treats and drinks to celebrate their debut! • Gallery 123 (123 E. Main) will have a special showing of former Gallery 123 artists, so come up to see what the gallery’s old friends have created! • Artifactory (313 E. Main) is open with unique finds and art for your viewing pleasure. • Sandalwood & Sage
(322 E. Main) will host a trunk show with Bajra Imports, featuring handicrafts from Nepal. • Coredination Pilates (128 E. Main) is happy to present the work of featured photographer Mary Thomas. • The Artist Studios above MAINSITE (122 E. Main) have new works by Bill and Juanita Williams. • Bigfoot Creative (315 E. Main) is showcasing a variety of local artists and more! • Robinson’s Repurposed (325 E. Main) has items given an artistic touch by makers from all over town. • Michelangelo’s Coffee & Wine Bar (207 E. Main) has work by local artists on display and music in the air.
CONCERTS : Norman Arts Council and Norman Music Festival present the 2nd Friday Concert Series. This edition indie/R&B singer Sudie out of Dallas, along with Oklahoma hip-hop duo Deus Eyeslow, dream rap crooner Jimi Wonder and electronic artist Boare. The show takes place at Opolis (113 N. Crawford). Doors open at 8 p.m., and the show starts at 9 p.m. It’s free, but 21+ only. • Norman Arts Council and Guestroom Records (125 E. Main) are collaborating to bring you Random Noise, an eclectic series bringing you even more free music during the art walk. This month features krautrockers Calabar along with experimental songwriter sun riah. It’ll start at 7:15 p.m. and wrap up before 9! • The Bluebonnet Bar (321 E. Main) is alive with slam poetry by the Red Dirt Poetry Team and a performance by Kierston White. • Red Brick Bar (311 E. Main) has Brian Kelly playing from 7-9 p.m., followed by karaoke at 10 p.m.
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Q&A: (from page 5)
Just Sayin’
of the biggest genres for fans and I think that’s because the style of music has become much more mainstream. There’s a lot of pop influence in it, which, I think, brings more fans to the genre. So, that’s obviously positive for us. For those of us who are a little more traditional in our influences and our music, it’s harder to find your niche if you’re a little more traditional right now. NTown: Will there be a time when country music relies on unique personalities like Willie Nelson again? Or will the future of country music always have a polished sheen to it?
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Keith: I think what makes a star today is that extra sheen. I don’t know. That’s a hard question to answer. Country will always come back to its roots. It’ll always come back to a phase rooted in traditional country. As far as the music goes, I’m not worried about it getting too far off the beaten path. As far as those very obvious personalities that kind of embody country music, like a Willie Nelson or a Merle Haggard or a Johnny Cash, you just have to wait and see. There are those artists out there that have a unique, cool appeal to them, but what’s playing right now to audiences is the more pop-mainstream thing. You just never know. NTown: So, about this baby, do you have a short list of names? Are there working titles? Keith: We do have working titles.
The summer of Scotty’s discontent baby? Keith: I don’t know if I could do either right now.
NTown: Let’s hear them. Keith: (Laughs) I’m not going to give you those. No. You’re not getting those before my husband does. He hasn’t even read the whole list. NTown: So you have a list, at least? Keith: Oh yeah. I have an iPhone. Doesn’t everyone who has an iPhone have a list of everything? NTown: Would it be harder to name a band or a
ART: (from page 17) educator who has never stopped teaching. In his 7th decade he continues to enrich Oklahoma with residencies and other artistic learning experiences. Among other mediums of expression, he is a mask maker. Concert promoters commissioned him to make one that was presented as a gift to Lady Gaga when she performed here. Several examples of his work will be included in this exhi-
NTown: Final thoughts on coming back to Norman, the future and what the show will be like. Keith: I’m very bluesy and gritty. I can sing the clean songs. My passion and the sound I fit into the best is kind of a gritty, raw, bluesy, almost Southern rock sound. I can do a lot vocally. That’s why I’m so indecisive when it comes to music. There are so many songs, and I just have to figure out which direction I want to go with it. So, I think somebody’s who never heard me, I
bition. Every culture has a mask making tradition. “Masks are a universal connection to a higher consciousness,” Riley said. “When you put on a mask it changes your concept and puts you into a different level of consciousness.” His masks are made from leather, fabric and metals using a variety of adornments such as beads, feathers and fabric. They often borrow from traditions in other lands and times. “When you wear a mask people can’t see your
think they’ll be surprised. I think a lot of people have expectations of me to sound like my Dad or have the type of songs that my Dad does and we are completely different artists. Vocally, there are times when we sound very similar, as far as the qualities in our voice. Obviously, we’re related and we definitely have what you would normally call a sibling harmony, but it’s more of a father-daughter harmony. You can tell we’re related, but we definitely have different sounds. I definitely have a little Janis Joplin and Melissa Etheridge in my voice and I’ll throw in a little Dusty Springfield, so you never know. ——— Mack Burke Follow @TranscriptNtown
face and it gives you a certain freedom,” Riley said. “You’re released from a concept of self and I think that’s what they love.” Masks are a fantasy device that lend themselves supremely to the suspensions of reality courted by this exhibition. ——— Doug Hill hillreviews@hotmail.com
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