June 2014 by The Norman Transcript

TOWN

June 13, 2014

Z Z JA inJUNE

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what’s

SIDE

4 From the editor Formed in 6 Stone with 8 Q&A Stuart Whitis 10 deadCENTER Film Festival Book & Music 12 Reviews

Kevin Harris, left, and Roger Lewis play their saxophones with the rest of The Dirty Dozen Brass Band at Andrews Park in Norman during the 30th annual Jazz in June festival. photo by Jay Chilton

at 14 Annie Sooner Theatre Jazz in 16 June your 22 What’s Deal? Photos of Sam 24 Noble Block Party Top 10 Social 26 Calendar Photos of 28 Summer Breeze Friday Art 29 2nd Events Oil & 30 Wood

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from the editor’s desk tell you how sad I am to be leaving. But

And with any luck, it will continue to totter

the truth is, I’ve never been nostalgic about

forward no matter who is supervising it.

endings.

As for the immediate future, I’ll be

To me, they’re less about the sad finality of an era and more about the

my husband and I take on the new-to-us

romantic notion of the unknown adventure

territory of Amarillo, Texas. Though part of

awaiting around the corner.

me is sad to be exchanging my reporter’s

I can say: Oklahoma has been good

diapers, I wouldn’t trade all the most

fly over state brimming with culture and

compelling breaking news stories in the

opportunities. Working at The Norman

world for the chance to be with my girl.

goodbye.

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The last 15 months have been a

drop in on the local arts and entertainment

individuals and situations I would never

scene. Until next time! like us on Facebook or follow us on

personal growth beyond measure.

Twitter and Instagram.

And as for my “baby,” N-town? Building this arts and entertainment publication

events, viewing beautiful art and meeting

from the ground up was a labor of love

interesting people. But you know what

that I dove into with creative vigor. It has

they say? All good things must come to an

been the source of both great professional

end.

pride, and to be frank, misery. It’s been a

TOWN

staff

For up-to-date information on N-town,

been a great time of professional and

whirlwind of writing about exciting

This is the part where I’m supposed to

Keep it real, Norman. I’ll be back to

introduced me to a myriad of fascinating have been exposed to otherwise. It has

pad and pen for sleepless nights and dirty

to me. I was surprised to discover the

Transcript for the last three years has

So long, farewell, auf wiedersehen,

embarking on the quest of motherhood as

joy watching my “baby” take its first steps.

Publisher Mark Millsap

Ad Director Debbi Knoll

Production Manager Rob Rasor

Executive Editor Andy Rieger

Advertising Representatives Rebekah Collins Robin Escarcega Kimberly Lehenbauer Ryan Dillard Angela Williams

Writers Hannah Cruz Doug Hill Amber Hodge

Editor Hannah Cruz Layout Artist Kerry Friesen

Photographers Kyle Phillips Jay Chilton

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

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f o r m e d

i n

OU’s Sam Noble Museum of Natural History opens “Formed in Stone: The Natural Beauty of Fossils” by Doug Hill

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According to Steve Westrop, University of Oklahoma geology and geophysics professor, 99.99 percent of all species that once inhabited the earth are now extinct. What they left behind are physical remains enshrined in stone. Often the photos of these contain strikingly beautiful images. Select fossil photos will be on display at OU’s Sam Noble Museum of Natural History’s show titled “Formed in Stone: The Natural Beauty of Fossils,” July 4 through Jan. 19. “A lot of the fossils look pretty cool,” said Westrop, museum invertebrate paleontology collection curator. “Photography plays a big role in our research that includes describing new species.” Generally, the museum’s fossil photos are produced for use in scientific journals. For the exhibit, pictures of the tiny, long-dead beasts less than an inch long will be blown up to enormous poster size. “I don’t want to use the term ‘art’ or ‘sculpture’ because that implies something man-made,” Westrop said. “But what you’ll be looking at is adaptations that have been honed by evolutionary processes and a lot of the bits and pieces have interesting geometry and patterns.” Pulling up an image on his computer monitor, Westrop displayed the snapshot of an arthropod that gave up the ghost approximately a quarter billion years ago. Its modern relatives are crabs and lobsters. Westrop pointed out the creature’s eyes and ocular nervous system. The fossil had a curious texturing that might suggest intricate beadwork or highly refined filigree jewelry. He clicked to another photo. “These forms came about entirely naturally through processes such as natural selection,” Westrop said. “These are compound eyes you’re looking at with hexagonal geometry in sets of six. It was an adaptive solution for getting a large number of lenses on the visual surface of the eye.” OU’s Invertebrate Paleontology collection currently has around a million specimens from all over the globe and much of it from Oklahoma. It has grown from the university’s earliest days and through the research of generations of students and faculty.

“We preserve these materials as well as making them available to other scientists,” Westrop said. “It’s like a library of artifacts. Even specimens collected 100 years ago can be important.” His research involves extinction and what happens when environments change quickly in a geologic sense. With no prior knowledge of what you’re looking at in the exhibit photos, a fossil probably wouldn’t be first guess. All the pictures are of animals with skeletons formed of calcium carbonate, the same mineral as limestone. “Visitors to the exhibition will be looking at really old things,” Westrop said. “The youngest fossils on display here will be 65 million years old.” It’s great antiquity that has been remarkably wellpreserved in rock. They are part of a geological context and sequence of fossils seen over time that demonstrates the world is over four and a half billion years old. Although that may be a controversial statement for some, it’s not in the scientific community. Scientists study fossils for what they can divulge about the past and how the biological world has changed and to understand the evolutionary history of life. “On a different level you can enjoy these just because they look interesting,” Westrop said. “They have an ability to create a fascination for people that often revolves around dinosaurs.” There’s no T-rex in this show. These fossils came from tiny creatures but expanding the photos in size brings out fine details and amazing physical attributes. They are views that typically would only be observed with the aid of a high powered microscope. The pictures were selected only for their compelling imagery rather than any other reason. You don’t have to be a scientist to appreciate these photos. Most of the specimens are Oklahoma fossils of the kind hobbyists pick up around lakes and river beds. “These are attention grabbers,” Westrop said. “We are treating them as attractive objects. It’s celebrating their natural beauty along with the interesting information they hold.” photos provided

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Stuart Whitis finds beauty in the age-old art of painting, but he also holds a fascination for digital creations. The Norman resident and East Central University art instructor is combining the two aesthetics for work featured during an upcoming exhibition titled “GLITCH/ANALOG” at MAINSITE Contemporary Art. The exhibit explores the intersection of traditional art with digital formats. Other featured artists include Jessica Ann, Brian Dunn, Pete Froslie, Dexter Ford, Joe Grennier, Grace Grothaus, M Paul Kirby, Allin KHG, Clinton McKay, Aaron Robinson, Kyle Van Osdol, Dillow Votaw and Raymon Weilacher. The exhibit opens with a reception 6-10 p.m. June 13 at MAINSITE, 120 E. Main St. A closing reception is scheduled for 6-10 p.m. July 11. Gallery hours are 11 a.m. to 4 p.m. Tuesday through Saturday. For more information visit mainsite-art.com. For more on Whitis visit stuartwhitis.com.

Q How did you get into art to begin with? A

I guess it’s kind of a stereotypical story — drawing as a kid. You go through stages. ... There’s a stage where if you do paint or draw a lot people are like, “That’s what you should do,” and then because you’re a tween you have that rebellious instinct where you’re like, “No, it’s just for fun. I’m never going to paint again.” So I decided I was going to be a social worker so sociology was actually my major for two and a half years of my undergrad at University of Mary Hardin Baylor. Then something flipped where you have that moment where you realize you need to be happy. I thought I was cut out to do it. I wasn’t happy. I think as artists we’re maybe a little too self-centered to even give that much. So I had to switch. I hadn’t fully committed to the idea of creating art as a commodity but I knew I wanted to have it

with Stuart Whitis

by Hannah Cruz

incorporated into my career, and I thought I wanted to work in the video game industry. So I filled out like 100 resumes and did a bunch of concept art tests. Super motivated to get to Austin, Texas. Got that job (with Super Happy Fun Fun, Inc.) and did that for two years. I loved the work and I loved the company, it was great business, but after a while I realized — the thing about that type of business is it’s a lot of people working together. Like some people focus on sound, and code and art and all that kind of stuff, with the common goal of making media, entertainment — effectively, a product. I enjoy that to some extent, but you’re kind of designing art by committee. It got a little bit watered down and you wish you could have more input. This is the selfish part, but I wish this was more me.

Q More creative license? exactly. I just wish I had more say in this. A Yeah, I realized you can’t really get that out of a job. When I was teaching graphic design at ECU, I told my students you’re picking the book cover you want to imagine, but you’ll never get to do that ever again. It’s always for the client. I realized the only way I could ever have full creative license was if I was doing art as my own person, having total vision. To have that I would have to pursue that on my own... There’s literally nothing else I would do or am cut out for but it’s not like a negative statement. I just wouldn’t be happy in anything else so I’m doing this.

Q What inspires you? Lately, at least for this body of work, what A has inspired me is the possibilities of digital aesthetics as they translate to a still, non-animated 2-dimensional surface. I’ve been big into glitch art

for the last year. Glitch art is basically like digital accidents. I’ve been exploring that lately and trying to integrate that into my work. It’s a non-human thing, obviously. It’s just lines of code, but when they mess up and make an error — which human beings do all the time — there’s a strange, beautiful aesthetic to it. That’s what I’ve been obsessing about lately and trying to integrate into my work. The human figure has been a big part of my work as long as I’ve been drawing. I try to get away from it now and then, but I feel like I always come back to the figure because it’s a good baseline for any draftsman or painter. When I first came into grad school my concept, if I had one, was stream of consciousness paintings. That’s where whatever I was obsessing about that day or that week, I’d try to incorporate it into the piece, just paint layer over layer and it just becomes information overload and the messages gets confused and distorted. Those are the three things rolling around in my hollow skull, and will hopefully be integrated into one larger body of work soon. And I’m going to try to do a couple pieces based on that idea for MAINSITE. the literal process like for the current Q Soworkwhatthatisyou’re doing?

A show (for my master’s from the University of A lot of my work, especially from my thesis

Oklahoma), was based on art history. My show specifically was based off of work by WilliamAdolphe Bouguereau. ... I’ll take original images, wherever I can find them online, since it’s such old paintings the images themselves are in the public domain, for the most part. I’ll usually fuse one or two in Photoshop. I’ll do a little bit of repainting, integrate multiple pieces.

It’s a lot of repainting and re-coloring to try and make it look like a digital nightmare basically — push all the colors as much as I can. Then what I’ll do is I’ll take a lot of the meta data from each piece and open up the file. Any Photoshop file, you can open up the file in a text editor and then take that meta data, push some code around, do some original coding. What that does — there’s no better way to describe it besides it totally f***s up the file. Usually if you do it wrong it’ll just be a blank pink screen, so I try to get just the right amount of code shifted so it’s still aesthetically pleasing. I’ll do that a couple times, get a bunch of revisions of those and I’ll then combine those. I basically do that over and over until I reach something that is fully pleasing to me... I’ll take that file that’s finished and will set it up for painting. ... It looks like a weird grid work. With the painting, you never know what it’s going to look like until the very last layer, which can be frustrating. I want to know how it’s going to pan out. I’ve been doing it so long now, at this point I’m pretty sure I’ll know what I’m going to get. Then I take my sweet time going all over, layer by layer, until the painting is done. There’s a lot of background stuff. Like building the frames, it takes a week to get that refined. Another two weeks of furious paintings, so maybe all in all, the bigger ones could take about a month.

Q So what are your goals now? if it gets tough, trying to sell paintings. ... A Even I’d like to expand and ship paintings, I’m trying to figure out how to shrink them down and not make them so damn heavy so I can actually show some in Texas and regionally. Then the day job just kind of becomes — it is what it is — everyone needs a day job. Then I try to destroy all my free time with painting. There’s also a lifecycle to painting and drawing. If you’ve been doing the same thing for about six months then you really want to break out of that mold and do the new thing. So I’ve kind of hit — not a rut, but I’ve kind of explored this to the extent that I feel is feasible for what I’m doing. ... I’m trying to find a way to combine aesthetics. That one is super controlled and everything is planned out and I know exactly what I’m going to paint before I get out there. And something like this, I don’t know what I’m going to paint that day. I love both of those, but when I’m doing one of them I feel like I’m lacking in the other. Basically where I’m at now, I need to find a way to integrate the chaos and the structure of those two into one new thing. The only way to get there is producing work, staring at it and figuring out what’s wrong. Or what it’s missing, basically.

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4 1. Diceros Bicornis Acrylic, Oil Pastel, Spraypaint, 48 x 72 Inches 2. Roan Ens Ohm Oil, Fluorescent Spray Paint on Canvas, 48 x 57 Inches 3. Anomina Oil, Spraypaint, 48 x 48 Inches

4. Seleucia Superclass Oil, Fluorescent Spray Paint on Panel, 48 x 85 Inches

deadCENTER Film Festival

by Doug Hill

Jake the Zombie and love of his life (and afterlife), Zoey, find happiness in Bryce Holland's short comedy film titled "Life's a Bitch and Then You're Dead" that will be screened at the deadCENTER Film Festival. photo provided.

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Oklahoma City’s deadCENTER Film Festival began in the first year of the new century and has grown dramatically in those 14 years. It’s the Sooner state’s largest film festival. International cred has been snagged for being among the “Top 20 Coolest Film Festivals in the World” according to Santa Monica-based MovieMaker magazine. Competition from filmmakers outside Oklahoma saw a decline in successful local submissions for a time but that trend moderated in 2014. Many may have a misconception that film festivals are only for cinema insiders and those who make the films. Kim Haywood, deadCENTER director of programming, said anyone is welcome to attend. “A lot of people are uncertain about what a film festival really is,” she said. “There’s a lot of education on our part to let them know if you like to go to the theater or watch films on Netflix you’re going to find the same kind of films, but you’ll see them at deadCENTER first.” Part of Haywood’s role, along with many other team members, is to watch every film submitted to the festival. They then designate final selections with an eye toward including something of interest for everyone. Free outdoor screenings open to the public are one way the festival encourages broad attendance. “It’s a great entry point and a lot of time you can bring your families out,” she said. “Then the rest of the festival is really no different than going to a theater and buying a ticket.” One attractive aspect of the film festival experience over just going to the cineplex is that generally someone associated with the film is there to answer questions and take feedback.

“Also there are special events available where you can meet film people and develop relationships,” she said. Film festivals also attract the stars of the silver screen, and being there to see them live and in person is part of the fun. Heartthrob and Stillwater native James Marsden, star of “Superman Returns” (2006) and the X-Men series, attended deadCENTER one year to receive an Oklahoma Icon Award. Saturday Night Live’s Chris Kattan and Spike Jonze, the noted director of “Being John Malkovich,” have also shown up for past festivals. Booked for a 2014 deadCENTER appearance is Steven Michael Quezada, who plays DEA agent Steven Gomez in the AMC series “Breaking Bad.” Oklahoma native, Wes Studi, from No Fire Hollow, near Tahlequah, will be here to receive honors. Studi is receiving an Oklahoma Icon Award this year. He’s well known for starring in “Dances With Wolves,” “The Last of the Mohicans” and “Avatar.” The 14th annual deadCENTER Film Festival is taking place through June 15 at five locations in downtown Oklahoma City. Approximately 90 independent films, including comedies, dramas, documentaries and short films will receive an official screening at the festival. Eighty-five films were announced in the first round of selections, including 27 by Oklahoma filmmakers. All Access passes are available online for $125 ($75 for students), and gains the holder priority admission to every film, party, panel and special event. Individual tickets may be purchased for $10 at the door prior to each screening. Admission priority is given to pass holders. For more information on the festival visit deadcenterfilm.org.

In Ted Satterfield's comedy short film "The Lightning Round" actors Jami Harris and Daniel Cox take awkward dating conversation to new levels. photo provided. Ted Satterfield photo provided

Norman’s Own KIDS RULE

deadCENTER Film Festival is hosting a free kidsFEST 10 a.m. to 1 p.m. June 14 in the Myriad Gardens Terrace Room, 301 W. Reno Ave. in Oklahoma City. “kidsFEST is geared toward children ages 3 to 12,” said Kim Haywood, deadCENTER director of programming. “There will be an hour of short films just for kids that are made by kids for kids. There will also be some fun outdoor activities afterwards in the Gardens’ play area.” Filmmakers will be present to answer questions from budding cinematographers. Sample titles from the screening schedule are “Chee-Wi Learns to Growl” and “The Adventures of Banzai Bill.” More details are available at deadcenterfilm.org.

Norman film directors Bryce Holland and Ted Satterfield are two whose short flicks made the cut for festival inclusion. Both films are included in the “Comedy Shorts” classification. Over 1,000 films were considered and only 90 will receive official deadCENTER screenings during the June 11-15 festival at five locations in downtown Oklahoma City. At 10 minutes, Ted Satterfield’s “The Lightning Round” is a diminutive romantic comedy with cast members Daniel Cox and Jami Harris. Dylan Cox is the producer. The story involves a couple whose first eight dates together were pretty much confined to physical intimacy. To really get to know each other they agree on a truth-only session of rapid questions and answers without boundaries. The results are hilariously unexpected and awkwardly adorable. “It’s a screen play that I wrote two years ago,” Satterfield said. “It won first place at deadCENTER for short screen plays that were performed by a local theater troupe in 2012.” No novice to scribbling, he holds a 2005 University of Oklahoma graduate degree in professional writing and for a time was a copy editor for the Great Falls (Montana) Tribune. Coincidentally, Satterfield’s spouse and OU journalism assistant professor Melanie Wilderman won first place in screen writing at deadCENTER the next year. Both are former journalism faculty members at Northwestern Oklahoma State University in Alva. “deadCENTER really is an impressive film festival for a city this size,” Satterfield said. “It attracted 15,000 people last year.” Festival organizers estimate the positive economic impact on the metro at $1.14 million. Screening venues are regularly filled to capacity. “It’s a great event for networking with other filmmakers,” he said. “There’s

a beer and waffle brunch along with tons of parties and opportunities to talk about your work with film distributors.” One of these chance meetings led to work for Satterfield re-writing director Gary King’s scripts. “I finally had a chance to film ‘The Lighting Round’ with friends last January,” Satterfield said. “The original concept was a guy revealing something shocking about himself on a first date.” The idea evolved to be more about learning to know someone quickly through a rapid-fire questioning process. All footage was filmed by Satterfield in his Norman home with a rented Sony FS100u high-definition video camera. The male cast member and producer are twin brothers. Jami Harris came to the project through an area casting agent. “I didn’t meet her until the day before the shooting,” Satterfield said. Although cinematographer, soundman and director all in one, he considers writing his strongest skill. Satterfield did edit the film himself however and discovered a new talent. “Writing is what comes first for me to consider it a good film,” he said. “I’m willing to overlook a lot of things if the script is strong.” “Life’s a Bitch, And Then You’re Dead” is a love story told from a ghoulish point of view. If you weren’t aware the undead have romantic inclinations, Bryce Holland aims to convince you in his 12 minutes of screen time. “My main character is Jake, a recently turned zombie,” he said. “He’s on a mission to find the one true love of his life.” It’s a brief road trip to find a girl Jake was smitten with before the flesh started peeling from his bones. The climax is what happens when he locates her. Holland’s bent is taking established genres and imbuing them with his own personality. The film is more about lightness and heartfelt feelings than gore and guts. The cast and crew are all Holland’s 2009-era OU classmates. They include Brand Rackley as Jake and love-interest Zoe played by Lindsey Newell. Zoe’s father is portrayed by Holland’s dad, Randy Holland. “Most of the movie is from Jake’s perspective with a lot of voice-over and inner

monologue,” he said. Holland wrote and directed. It was co-produced with Nick Tankersley. Mark Potts was cinematographer and co-editor. “It’s my first time getting into the festival and I’m really excited,” Holland said. “Three years ago I submitted a documentary that didn’t make it in.” It was titled “The Town Bigfoot Built” about Honobia, Okla., that hosts an annual crafts festival built around an inordinate number of Bigfoot sightings in the area. Good story equals good film in Holland’s playbook and everything should start with a well-written script. “Writing is my favorite part of filmmaking and I think I have a knack for it,” Holland said. “I honed my dialogue, pacing and sounduse skills in the film and video school of the media arts program at OU.” Holland enjoys being a Norman-based filmmaker for the city’s artistic and supportive atmosphere. “People help get your vision out there without expecting a lot in return,” he said. “That’s great for self-financed people like me on a small budget.” A married father of a toddler daughter, Holland’s job is multi-media technician for the firm that services Chesapeake arena. His wife, Chemburly Holland, was indispensable as zombie make-up artist. The cost for theatrical cosmetics was among the film’s greatest expenses. “She’d never done anything like that before and just learned as she went along,” Holland said. “The movie shines because of her make-up.”

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reviews books

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by Amber Hodge Book: Reconstructing Amelia (2013, HarperCollins) Author: Kimberly McCreight Why you should read: McCreight’s debut novel tells the story of a young girl’s mysterious suicide, and a distraught mother who’ll stop at nothing to find out why her daughter would unexpectedly jump to her death. “Reconstructing Amelia” holds true to its title, and incorporates every element needed for an exciting literary thriller. When lawyer Kate Baron receives a phone call at work saying her daughter has been suspended from school, she’s shocked, as she’s never known her 15-year-old Amelia to be difficult. However, when she arrives, she’s met with chaos, and learns that her do-good daughter has jumped to her death from the school roof. Devastated, Kate is at a loss as to why Amelia would do such a thing and questions whether or not it was in fact a suicide, and ends up partnering with Lieutenant Lewis Thompson to help in the investigation. From there, Kate begins a search through Amelia’s text messages, emails and online entries in an attempt to learn more about what might have led to her daughter’s death, and she starts down a path filled with dark revelations in her quest for answers. “Amelia,” while a little far-fetched and downright unbelievable at times, is an interesting read. Narrated by both Amelia and Kate, with a few email and text message passages thrown in, it takes on the role of explaining a gloomier nature of teenagers, complete with lies, bullies, messed up friendships and relationships, with an overtone filled with mystery. Fans of Gillian Flynn’s “Gone Girl” will find parallels with this book. Overall, it’s a well thought out story, and readers of all ages will be able to appreciate the heart of it, and take a ride along with a mother who questions everything she thought she knew about her child in order to find the truth amongst tragedy.

music

by Doug Hill Musician: Johnny Cox Album name: Thin Blue line Why you should listen: Johnny Cox follows in the long line of UK residents who’ve developed a love for American blues music. His first album “Thin Blue Line” is both a welcome addition to the venerable genre’s canon and a strong statement of a musician’s individual personality. Cox is somewhat stingy with biographical specifics except for the fact that he’s originally from Scotland and came to Canada in 1985. He appears to be early 40s with an impressive mane of below-shoulder hair. Cox is lead vocalist on all 11 of these original compositions and there’s no trace of the Highlands in his pipes. He probably considers himself more guitarist than vocalist but Cox’s journeyman-level singing is better than many in his crowded field. He was wise to include back-up vocalists on nearly every track and in attractive particular Shelley Zubot. It was a common practice to great effect for decades in blues, soul and rock but inexplicably fell out of favor for a time. There are plenty of guitar heroics throughout these songs. “Didn’t Commit The Crime” even utilizes being at home playing guitar as alibi for avoiding prosecution for some unnamed felony. As demonstration, Cox plays a note-bending guitar solo sure to convince even the most skeptical judge. His songwriting adheres to the simpler-is-stronger formula. Similar to the lack of details in his biography, the lyrics tend to be bare bones as well. “New Way” is about finding a fresh worldchanging method of living but it’s never revealed what exactly that involves. To his credit Cox thanks girlfriend Danielle Di Vincenzo in the liner notes “…For helping me to become a better word-smith…” There’s also the rare-these-days booklet of song lyrics tucked in the CD package. The title track is clear as azure sky and goes to the soul of the blues, learning to understand and care for each other.

by Amber Hodge Book: The Nazi Officer’s Wife: How one Jewish Woman Survived the Holocaust (1999, William Morrow and Company) Author: Edith Hahn Beer with Susan Dworkin Why you should read: “The Nazi Officer’s Wife” offers yet another gripping insight into what it was like to live in the time of the Holocaust. While there are countless stories circulating on the shelves that encompass large populations, this one, which rests in the top 20 on the NY Times Best Seller list for non-fiction, focuses on only one woman: Edith Hahn Beer. The title undoubtedly speaks for itself, and the history Hahn Beer recounts inside this book is thrilling, compelling and even challenging, as we learn how she was forced to change her identity and accept losing her future and everything she’d ever known simply to survive. Hahn Beer was on a prosperous and happy track living in Vienna before the Nazi power stripped it all away and she became a slave laborer. With a little help from a Christian friend, she was given the new name of Grete Denner, and resided in Munich. She eventually met Nazi Officer Werner Vetter, whom she later married despite his knowledge of her being a Jew. During her journey for survival, she collected and stored any and all documents, letters, records and photographs. Numerous prints are included midway through the book, and everything is a part of a collection in Washington, D.C.’s, Holocaust Memorial Museum. This biographical telling is so unique and poignant that anyone interested in the history of the Holocaust and World War II won’t be disappointed. As Hahn Beer recalls everything she endured in this well-written memoir — one of the most shocking being that she refused to take any pain medication during childbirth for fear she would dazedly give away her secrets — readers will be able to experience these harrowing events of her life right along with her. “The Nazi Officer’s Wife” also was aired in the form of a documentary in 2003.

by Doug Hill Musician: Hard Garden Album name: Blue Yonder Why you should listen: Hard Garden is all about plowing old ground and delivering a fearless new harvest of modern American blues. The band is Seattle trio, vocalist/ guitarist Son Jack Jr., Michael Wilde on harp and vocals, and percussionist Garrett Williams. Their name comes from the notion that the blues are a too-long untended aural patch and the sounds became inflexible. It’s tough raising anything sweet in a hard garden. They’ve set out to remedy that. Irrespective of the agricultural imagery produced by this brave new blues co-op, its inspiration is more urban than rural. Hard Garden owes more to the unforgiving pavement of Chicago than the rich fragrant soil of the Mississippi Delta. Track 9 “Maximum Insecurity” is even set in the Cook County Department of Corrections, the Windy City’s main pen. A blues harp stomp introduces the tale of filching a poleece car and landing before a maximum-time judge. The song recalls Hosty Duo’s “Cleveland County Jail” for slammer jam humor. “Papa’s in the Juke Joint” evokes gin joints from Clarksdale to Portland. Distorted vocals and dizzying guitar solo ride a rhythm shake-down. “I Can Tell” is lyrically compelling because it’s both foreboding and unclear. You really can’t tell precisely who or what it’s about. There’s a lot of malevolence in this disc with “I Feel Evil” and “Dangerous.” Way too creepy, “The Valley,” about a six-gun and parental suicide, is hard to listen to. In some respects Hard Garden brings to mind The Jon Spencer Blues Explosion but with a less outrageous and frenetic vibe. Similarly The White Stripes masterfully took the blues and had their way with it. “Blue Yonder” takes off in some wild and risky directions that the American Blues genre has always been famous for.

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IT’S A HARD KNOCK LIFE

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Lola Bruner, performing as Miss Hannigan, Sophia Woodward, performing as Annie, and Cooper Soto, performing as Mr. Bundles rehearse for an upcoming performane of “Annie” at The Sooner Theatre. photo by Kyle Phillips.

by Hannah Cruz

It’s a hard knock life at the Sooner Theatre during the upcoming production of “Annie.” Based on the “Little Orphan Annie” comic strip, the musical tells the charming story of the young orphan Annie in 1930s New York City as she searches for her parents, who abandoned her years ago on the doorstep of a city orphanage run by the cruel Miss Hannigan. When Annie escapes the orphanage to explore the city, she foils Miss Hannigan’s evil schemes, befriends President Franklin Delano Roosevelt, and eventually finds a new home and family in billionaire Oliver Warbucks, his personal secretary Grace Farrell, and a lovable mutt named Sandy. Director Brandon Adams said the cast of third to seventh grade students runs the emotional gamut during the course of the production, with the story equal parts comedy, adventure and heartstring-tugging moments. “I think you’d be hard-pressed to find a more energetic musical,” Adams said. “There’s nothing quite like 70 little voices making noise, singing songs and dancing.” A part of the classic production’s memorable

impact is the iconic musical favorites performed, Adams said, like “It’s A Hard Knock Life,” “Tomorrow,” “Easy Street,” and “You’re Never Fully Dressed Without a Smile.” “I just think there’s something to seeing a show you’re familiar with. Unless you’ve been living under a rock, you’re going to recognize a lot of these songs,” he said. “There’s a familiarity to it, you’ll be humming it during intermission and when you leave. It’s just an exciting, energetic experience.” Adams said the theater is sticking to the iconic elements of the original production like Annie’s little red dress and a live dog to play Annie’s beloved mutt, Sandy. “There’s an old saying, ‘Don’t ever perform with kids or dogs because no matter how good you are as an adult they’re going to steal the show.’ And with this one you get two of those -bang for your buck. We’ve got kids and animals,” he said. “The audience is going to love that. And there’s an unpredictability with animals that is always fun. It’s like when you see people break on SNL

(Saturday Night Live). Things are funny when things don’t always go the right way. And you never know what you’re going to get with a dog.” Abby Hesselroth, 11-year-old playing Annie, described performing in the production as a “dream come true.” She said her favorite part of the show is the dancing and singing, and she feels others will love it as much as she does. “It will put a smile on your face,” she said. “It’s a fun show that people can relate to.” With so much fun packed into one show, Adams said tickets are expected to sell quickly for this production. “Annie” performances are 7:30 p.m. June 25, 26, 27 and 28, and 2 p.m. June 26, 27, 28 and 29 at the Sooner Theatre, 101 E. Main St. Tickets are $10, and can be purchased online at soonertheatre. com, by phone at 405-321-9600 or in person at the theater box office, 10 a.m. to noon and 2-5 p.m. Tuesday through Friday, as well as one hour prior to show time. More information about these and other Sooner Theatre programs is available at soonertheatre.com or by calling 405-321-9600.

T S CA â&#x20AC;&#x153;Annieâ&#x20AC;? cast list, in order of appearance: Molly: Shelby Pippins, Kennedy Vice Pepper: Mia Frisby, Rachel Tipton Duffy: Aubrey Baker, Haley Cochell July: Addison Horn, Maddy McKown Tessie: Mollie Benn, Carsen Coggins Annie: Abby Hesselroth, Sophia Woodward Kate: Nicole Hartwig, Sutton Willis Miss Hannigan: Lola Bruner, Sallie Kight Mr. Bundles: Cooper Soto Ward: Wes Bryant Sophie: Hannah Gianino Grace: Dylan Mattingly, Kate Wenger Drake: Harrison Roth Mrs. Greer: Rachael Jewell Mrs. Pugh: Sarah Munsell Cecile: Shaleigh Weaver Warbucks: Jack Adams, Timothy Haupt Rooster: Cole Kornele, Corban Vincent Lily: Reagan Massay, Avery Robertson Bert Healy: Connor Willis Wacky: Addlynn Maack Ickes: Grace Hughes Perkins: Amiya Dehadrai Hull: Chloe Vincent Morganthau: Alyssa Killingsworth FDR: Davey Madden, Jackson Roth Howe: Ava Gardenhire

Featured Dancers: Isabella Arrowood, Ava Gardenhire, Hannah Gianino, Makenna Langdon, Addlynn Maack, Chloe Vincent, Shaleigh Weaver and Cadyn Duncan Ensemble: Nate Adams, Isabella Arrowood, Kenna Attaway, Keith Baker, Owen Billingsley, Sydney Chambers, Madeline Clark, Paige Cochran, Carys Crawford, Amiya Dehadrai, Cadyn Duncan, Olivia Friedemann, Ava Gardenhire, Katrina Gedmin, Lillie Geist, Hannah Gianino, Eden Green, Lily Horning, Grace Hughes, Rachael Jewell, Lanie Kight, Alyssa Killingsworth, Makenna Langdon, Grant Ledbetter, Megan Loy, Addlynn Maack, Davey Madden, Sarah Munsell, Harper Orr, Gracie Phillips, Zoe Porch, Jackson Roth, Bella Sanders, Chloe Soto, Cooper Soto, Madeline Southern, Holly Standridge, Chloe Vincent, Hannah Waldron, Caitriona Weaver, Shaleigh Weaver, Megan Williams, Connor Willis and Clara Yeaman

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Z Z A J inJUNE

by Hannah Cruz

Summer nights are heating up with swinging tunes during the 31st annual Jazz in June, scheduled for June 19-21. From blues to big band, funk to country, this year’s free event offers a little bit of something for everyone during three nights of music, said Debra Levy Martinelli, Jazz in June spokesperson. “People who are not jazz and blues aficionados, this is the event to go to because it’s an introduction to a whole bunch of different kinds of music,” Martinelli said. “I am not a music aficionado in any way but I go there and it’s magic. Under the stars — it really is magic.” The concert series began as a single performance in 1984 that attracted a crowd of 300. This year, Martinelli said Jazz in June is expected to attract 50,000 people, similar to audience sizes from years past. The series, originally a

partnership between the Norman Arts Council and the Cimmaron Circuit Opera Company, was formally created as a separate nonprofit in 1990 with the Norman Arts Council, Cimmaron Circuit Opera Company and KGOU as partners with members at large. Over the last 30 years, the concert series’ lineup has included a variety of local, regional and nationally recognized musicians. Jazz in June Program Chair Jim Johnson said the committee tries to book a lineup that reflects the interests of audience members. “It’s such an intimate event, Jazz in June, we consider it a big ol’ block party even though it attracts people from even farther. To me, we’re all in it together,” he said. “So we just try to deliver what the audience wants or surprise them with what we think they’ll really like.” Dan Hicks and His Hot Licks is headlining this year’s event with

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Z Z A J inJUNE

by Hannah Cruz

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1 18

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4 1. Crowds fill Andrews Park listening to the music at the 2012 Jazz in June. photo by Kyle Phillips 2. A member of the New Horizons Jazz Band plays her part during the band’s performance during the 2012 Jazz in June festival. photo by Kyle Phillips 3. Kirk Joseph plays sousaphone for The Dirty Dozen Brass Band at Andrews Park in Norman during the 2013 Jazz in June festival. photo by Jay Chilton 4. Daniel Foulks plays his fiddle as the Parker Millsap band plays during the opening night of the 2013 Jazz in June at Brookhaven Village. photo by Kyle Phillips 5. What’s That’s Travis Fite plays his guitar during the first concert of the night at the 2012 Jazz in June at Brookhaven Village. photo by Kyle Phillips 6. Efrem Towns of The Dirty Dozen Brass Band plays trumpet in Andrews Park in Norman during the 2013 Jazz in June. photo by Jay Chilton

a sound that fuses swing, jazz, folk and country during “Jazz in the Park” 9-10:45 p.m. June 21 at Andrews Park, 201 W. Daws St. Johnson said Hicks’ music is an acoustic set that stretches the boundaries. “Dan’s a character. When you listen to his music you’ll think he’s very witty and quick with his tongue in his music,” Johnson said. “It’s pretty interesting. The songs that he writes, whether it’s political commentary or just what it’s like to be goofy him.” The first night begins with with Dirty Red & The Soul Shakers during “Blues Under the Stars” 7-8:30 p.m. June 19 at Brookhaven Village, 3700 W. Robinson St. Dirty Red, led by front man Eric McDaniel, captures the spirit of the Oklahoma blues scene with soul-drenched vocals and funky harmonica. Samantha Fish, Kansas City blues singer/guitarist, takes the stage next with her cigar box guitar 9-10:45 p.m. June 19. Johnson describes Fish as a “guitar-playing, song-writing, singing phenom.” Fish’s 2011 debut album “Runaway” was honored with the prestigious Blues Music Award. In 2013, she released her sophomore CD, “Black Wind Howlin’,” which was heavily influenced by the music of Tom Petty, The Rolling Stones, Sheryl Crow and The Black Crowes. The second night starts with the Edmond Jazz Orchestra during “Jazz Under the Stars” 7-8:45 p.m. June 20 at Brookhaven Village. The 25-piece orchestra is bringing a big-band sound that features

trumpets, trombones, mellophones, ellophones, saxophones, drums, percussion, cussion, bass and piano. Johnson’s only word to describe the band: “Phenomenal.” The Charlie Hunter and Scott Amendola Duo are up next, performing 9:15-10:45 p.m. June 20. Johnson said the duo, Hunter on guitar and Amendola on drums, bring a rhythmic, intense dynamic. Hunter plays a seven-string guitar, Johnson said, with three of the strings base and four guitar. He stereos the different strings to different amps. The result, paired with Amendola’s talent, is a thrilling back-and-forth. “These two guys have been playing around a lot and they’re both inventive in their own way,” Johnson said. The pair has recorded five albums together, most recently 2013’s “Pucker,” which followed their critically acclaimed 2012 album “Not Getting Behind Is The New Getting Ahead.” The final night of the festival leads with Boyd Street Brass during “Jazz in the Park” 6-7 p.m. June 21 at Andrews Park, 201 W. Daws St. Modeled after a New Orleansstyled brass band, the sevenpiece band is mostly University of Oklahoma music faculty, staff and alumni, led by OU jazz professor Jay Wilkinson. Eric Walschap, on the Jazz in June board of directors, plays the baritone and alto saxophones for the band. He said the group plays a few covers, but mostly focuses on tunes created by Wilkinson. Walschap said Wilkinson is an excellent front man for the band,

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in your face — like if we were singing, we’d be screaming ing in your face, kind of thing.” The seven-piece group, consisting of two guitars, bass, trumpet, saxophone, drums and percussion, creates music of the like that will get the audience up and dancing. The beats are the kind that leak into Walschap’s dream — literally. And with any luck, the vocal-less music will do the same for listeners. “In my sleep, I could be fingering along,” he said. “I just can’t keep the melodies out of my head.” Pidgin’s tunes aren’t the only thing that has Walschap dreaming. He said performing in Jazz in June — in two of his bands, no less — has him “walking on air.” Walschap said he is honored to be able to list his name among the greats who have performed in Jazz in June in the past. This isn’t the first time Walschap has performed at Jazz in June. In 2003, Walschap performed during the series with Norman High School’s jazz band. He said it was that participation that inspired him to pursue music as a professional career. Being able to hear some of his favorite acts for free in his hometown — like David Sanbourn and Chuck Mangione — has always been inspiring, he said. “It just blows my mind to think that a free festival lets us get that close to them and talk to them in person,” Walschap said. “Back then, I wasn’t of course involved in any way in Jazz in June, but I was still as an audience member able to go up there and talk to them. It blows my mind, completely.”

“

providing high caliber musicianship in every aspect. “The man does not stop. I have the biggest man crush on him,” Walschap said, laughing. “I’ve been trying for eight years to get him into a band with me, and finally Boyd Street Brass. I’ve asked him for so many groups, ‘Just try it. Just try it.’ Finally.” Boyd Street Brass was originally created as a way to get school-aged children excited about band programs, Walschap said. The group tours schools, hoping to remove the “band nerd” stigma. The group of classically trained musicians has been well received at every school, Walschap said. The kids go “nuts” when they hear the “wall of sound” provided by the band’s unplugged instruments. “Really our mission is to inspire kids, get them excited about music and show everybody what can be done with a trumpet or trombone because most bands, we’re in the back — if at all. Typically we’re not any more, and if we’re at all, we’re like backup singers,” he said. “Here we have a sousaphone, a drumset and a wall of horns. And we just try and go crazy, technically, and improv.” Walschap said the group is excited to bring that same energy and educational aspect to Jazz to June audiences. After Boyd Street Brass’ set, Pidgin will take the stage 7:10-8:35 p.m. The Norman band is known for its psychedelic approach to afro-soul music with a powerful horn section. Walschap, also a baritone saxophonist in Pidgin, said the group has an eclectic sense of music, with the group drawing inspiration from the band members’ varied backgrounds — from garage bands to classical. “Our music is all original and it’s all coming from the same vein but each piece is completely different,” he said. “Some are very romantic, relaxed ballads, but some are just

I am not a music aficionado in any way but I go there and its magic. Under the stars — it really is magic

- Debra Levy Martinelli

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CLINICS:

Every year Jazz in June hosts several clinics that allow fans to become better acquainted with the jazz art form, as well as to get up close and personal with their favorite artists, said Jazz in June Program Chair Jim Johnson. “It’s just a great one-on-one chance for the artist to relate to the fan and the fans to relate to the artist,” Johnson said. “And the artists really enjoy it.” All clinics are scheduled for June 21 at the Norman Depot, 200 S. Jones Ave. “Two = One Very Big Sound (The Nontraditional Jazz ‘Band’),” led by Charlie Hunter and Scott Amendola, is scheduled for 11 a.m. Johnson said the first clinic will take a look at the unique

dynamic Hunter and Amendola have being a small, two-piece jazz band. “History of Hick Jazz,” led by Dan Hicks, is scheduled for 12:30 p.m. Hicks’ clinic will give guests an inside-look into Hick’s career. Johnson said this is Hicks’ first time back in the Midwest in decades, and will be a great opportunity for fans. “The Cigar Box Guitar: Inspiration Through Limitation,” led by singer, songwriter, guitarist and guitar-builder Kyle Reid, is scheduled for 2 p.m. Johnson said Reid will demonstrate how to make cigar box guitars, the same type of guitar played by Thursday night performer Samantha Fish. For more information visit jazzinjune.org.

CONCERTS:

The free, three-day festival kicks off with “Blues Under the Stars” June 19 at Brookhaven Village, 3700 W. Robinson St. Dirty Red & The Soul Shakers takes the stage 7-8:30 p.m. followed by Samantha Fish 9-10:45 p.m. A Blues Jam, hosted by Dirty Red & The Soul Shakers, is scheduled for 10:30 p.m. June 19 at Tres Cantina & Grille, 305 E. Main St. The Edmond Jazz Orchestra starts “Jazz Under the Stars” 7-8:45 p.m. June 20 at Brookhaven Village.

The Charlie Hunter and Scott Amendola Duo close the night 9:15-10:45 p.m. The festival closes with “Jazz in the Park” June 21 at Andrews Park, 201 W. Daws St, with Boyd Street Brass 6-7 p.m., Pidgin 7:10-8:35 p.m. and headliner Dan Hicks and His Hot Licks 9-10:45 p.m. A Jazz Jam hosted by members of Boyd Street Brass and Pidgin is scheduled for 10:30 p.m. June 21 at Hotel Norman f/k/a Holiday Inn Express, 1000 N. Interstate Dr.

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s â&#x20AC;&#x2122; t a h wyour DEAL

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Coming June 19! Free Fare Free T-shirts* *While supplies last

5 p.m. Fred Jones Jr. Museum of Art, 555 Elm Ave., is screening deadCENTER short films “The Treehouse” and “The Cub,” in addition to opening up its current exhibits and permanent collection up to visitors.

5:30 p.m. Firehouse Art Center, 444 S. Flood Ave., features an exhibition of recent work from its faculty members. Mediums include painting, fiber, printmaking, stone carving, jewelry, sculpture, ceramics and drawing.

Plan your perfect Art Walk with us. Find a complete list of events at 2ndfridaynorman.com.

6:30 p.m.

6 p.m.

The Social Club, 209 E. Main St., welcomes artist Julie Robertson and her vibrant, colorful acrylic paintings.

STASH, 412 E. Main St., is happy to display the work of Sydney McFerron, a digital artist operating in Norman. Her work is heavily influenced by nerd culture, commemorating her favorite characters from movies, TV shows and literature. Big Truck Tacos and The Loaded Bowl will be in the lot for bites and beverages.

7 p.m.

6:45 p.m. Gray Owl Coffee, 223 E. Gray

Michelangelo’s Coffee & Wine Bar, 207 E. Main St., welcomes the Women’s Resource Center, who is hosting its first Open Mic Night. They are celebrating the arts as they share poetry, literature, song lyrics and more created by women.

St., welcomes Conspicuous Caffeination, a variety of abstracted landscape paintings created by John Bruce.

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7:15 p.m. Ball and Morse, 111 N. Peters Ave., hosts featured artist Gina Zhidov, a professional photographer specializing in portraits and head shots for theater and social media. They will be serving up Mediterranean appetizers and complimentary refreshments.

7:30 p.m.

Scissortail School of Art, 123 E. Main St., is displaying work from a children’s photography club. They will also have baked goodies from Kathy Sala, handmade art from Jenny Wright, up-cycled jewelry from Whitney Womack and art from Heather Hughes.

8:30 p.m.

8 p.m.

The Depot, 200 S. Jones Ave., is hosting the work of Joey Frisillo, landscape artist, in her solo exhibition “Oklahoma Colors: Earth, Sky and Water.” Boyd Street Brass is providing live music. Snacks and drinks provided.

Bell’s Mystical Beginnings, 207 W. Main St., will have art from local artists on display, also playing host to a drum circle and belly dancing. Tarot and oracle readers, healing touch energy therapy and free chakra assessments will be available as well.

9 p.m. Dope Chapel, 115 N. Crawford Ave., showcases work created at the wheat paste art work shop the artspace hosted in May. Artists include Daniel Gonzalez, Laurie Grace, Jacob Lambert and Eric Piper. Live music will take place later.

10 p.m. Opolis, 113 N. Crawford Ave., welcomes the eclectic hiphop and indie pop of Bowlsey and Bl.a.ke Bass. Cover is $6 and doors open at 8 p.m.

CAUGHT on camera Sam Noble Block Party June 1 at the Sam Noble Museum Photos by Kyle Phillips

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Rocio Salvatierra looks at a painting in the Hungry Planet exhibit at the Sam Noble Museum of Natural History during the museumâ&#x20AC;&#x2122;s block party on June 1.

Visitors to the Sam Noble Musuem tour the Hall of Natural Wonders during the museumâ&#x20AC;&#x2122;s block party on June 1.

Violet Kirk, 8, tries to fit her hand in a mold on the wall outside of the Hall of the People of Oklahoma at the Sam Noble Museum during the museum's block party on June 1.

CAL

See our detailed calendar in N-town lite in the main edition of The Norman Transcript for a complete guide of this weekâ&#x20AC;&#x2122;s events.

N-town staff picks the top 10 things you canâ&#x20AC;&#x2122;t miss this month.

Concept Me at MAINSITE

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View the self-portraits of local artists during the art exhibit Concept Me at MAINSITE, 120 E. Main St. Featured artists include Lance Hunter, Sylvia Nitti Hunter,Troy Jackson, Bobby C. Martin, Mark Sisson, Michelle Martin, Amy

McGirk, Erin Shaw, Marwin Begaye, Anita Fields, Ron Lana, Kelly Kirk, Michael Elizondo Jr., Molly Murphy Adams, Roy Boney Jr., Steve Hicks, John Welloffman, Holly Wilson, Katherine Liontas-Warren and Tony Tiger. The opening reception is scheduled

for 6-10 p.m. June 13.The closing reception is scheduled for 6-10 p.m. July 11. Gallery hours are 11 a.m. to 4 p.m.Tuesday through Saturdays. For more information visit mainsite-art.com.

Summer Dance at Reynolds Performing Arts Center University of Oklahoma’s School of Dance is presenting the annual Summer Dance production by Oklahoma Festival Ballet and Contemporary Dance Oklahoma, featuring original choreography. Performances are 8 p.m. June 27 and 28 and

3 p.m. June 29 in the Reynolds Performing Arts Center, Studio 3002, 560 Parrington Oval. Tickets are $27 for adults and $15 for students. Tickets may be purchased by calling 405-3254101 or at the door beginning one hour before the performance.

Summer Breeze at Lions Park Catch live music in the park during the 14th annual Summer Breeze Concert Series on select Sundays in Lions Park, 450 S. Flood Ave. Equal parts country, folk and rock, the duo

honeyhoney is hitting the stage 7:30 p.m. June 15. The Red Dirt Rangers, red dirt favorites, are scheduled to perform 7:30 p.m. June 29. For more information visit pasnorman.org.

June Bug Jam at Sooner Theatre Celebrate recovery from mental illness during the 19th annual June Bug Jam 7 p.m. June 14 at the Sooner Theatre, 101 E. Main St.This year’s event features speaker and singer La Donna Gatlin. The event supports Transition House, Inc., a private,

Father’s Day at Sam Noble Museum

non-profit agency in Norman that provides support for people on their road to recovery from mental illness. Tickets are $10 for adults, $5 for students, and children 12 and younger get in free. For more information visit thouse.org.

The museum is open 1-5 Treat your dad to a free day of fun and learning with p.m. on Sundays. For more complimentary admission on information visit Father’s Day, June 15, at the snomnh.ou.edu. Sam Noble Museum, 2401 Chautauqua Ave.

Paint and Perk at Norman Library

Ronnie Milsap at Riverwind Casino

Enjoy an evening of art experimentation during Paint and Perk, presented by Be Wild for Art, 6-8 p.m. June 20 at Norman Library, 225 N. Webster Ave. Adult participants will enjoy creating their own acrylic

Award-winning country star Ronnie Milsap is taking the stage 8 p.m. June 21 at Riverwind Casino, 1544 West State Highway 9. Milsap joined the Country Music Hall of Fame in 2014, with a string of hits under his

NCCO All Corvette Show at David Stanley

The 7th annual Non Club Club of Oklahoma All Corvette Show will feature a silent auction, vendors, door prizes, a 50/50 pot and live music.The event is scheduled for 8 a.m. to 2 p.m. June 21 at David Stanley Chevrolet, 1221 Ed Noble Pkwy.

Discover all there is to know about bats during Family Program: A Night With Bats 7:30-10 p.m. June 27 at Sam Noble Museum, 2401 Chautauqua Ave. Space is limited and advance registration is

Classes of competition include C1-C7, custom, best of show, the David Stanley Pick and President’s Pick.The first, second and third vehicles in each generation of competition will be awarded.

canvas painting as they are led through a step-by-step process. Limited to the first 20 registered participants. All supplies are provided. For more information visit pioneer.lib.ok.us.

A Night With Bats at Sam Noble Museum

required. Family, ages 6 and up. Cost is $20 members/$30 non-members. Prices include one adult and one child. Each additional person: member $10 / non-member $15.To enroll, call 405-325-1008.

belt like “It Was Almost Like a Song,”“Smoky Mountain Rain,” and many more. Tickets are $27$47 and are available at riverwindcasino.com. For more information on Milsap visit ronniemilsap.com

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Reckless Kelly at Riverwind Casino Rock out with country group Reckless Kelly during their upcoming concert 7 p.m. July 4 at Riverwind Casino, 1544 West State Highway 9.

Tickets are $15$25 and are available at riverwindcasino.com. For more information on Reckless Kelly visit recklesskelly.com.

CAUGHT on camera Summer Breeze Concert Series May 18 & June 1 in Lions Park Photos by Kyle Phillips

The Giving Tree Band banjo player Todd Fink plays his instrument and sings during the band’s performance at the opening concert of the Summer Breeze Concert Series at Lions Park on May 18. The Salsa Shakers Armando Rivera plays his instument during the band’s show during the Summer Breeze Concert Series at Lions Park on June 1.

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The Salsa Shakers play a show during the Summer Breeze Concert Series at Lions Park on June 1. The Giving Tree Band’s Eric Fink plays his instrument and sings during the band’s performance at the opening concert of the Summer Breeze Concert Series at Lions Park on May 18.

The Salsa Shakers guitar player plays his instument during the band’s show during the Summer Breeze Concert Series at Lions Park on June 1.

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OIL AND WOOD An exhibition of work by former OU art school professors George Bogart and James Henkle currently gracing the Fred Jones Jr. Museum of Art, June 7-Sept. 14. by Doug Hill

George Bogart (U.S., 1933-2005) Tacoma, 2002 • Oil on canvas, 60 x 70 in.

James Henkle (U.S., b. 1927) James Henkle (U.S., b. 1927) George Bogart (U.S., 1933-2005) Rocking Chair, c. 1985 • African padauk, 40 x 23 x 34 in. Side Table, c. 1985 • Walnut, 20 x 14 x 20.5 in. Water Garden, 2003 • Oil on canvas, 60 x 70 in.

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The works of two distinguished professors emerti of the OU School of Art & Art History are being exhibited during “Oil and Wood: George Bogart and Jim Henkle,” at the Fred Jones Jr. Museum of Art through Sept. 14. For Susan Havens Caldwell, Ph.D., bringing this exhibition to fruition was a labor of love. The University of Oklahoma Professor Emeritus and David Ross Boyd Professor of Art History curated the just opened show in part because of the close friendships involved. It’s a collection of exquisite paintings by Bogart (1933-2005) and the finely designed and crafted furniture of Henkle. Both men were art school faculty members with OU tenures overlapping Caldwell’s who came here in 1976 and retired last year. The fact that she was friends with Bogart, and still is with his spouse, Elyse, as well as Henkle, who resides in Norman, has contributed to the exhibit’s strength. “It won’t sound very intellectual but this exhibition is stunningly beautiful,” Caldwell said. “If people like color and beautiful design this will be a very rich show for the eyes.” The Bogart portion of the exhibition has been in the works for quite a long time, Caldwell said. Bogart’s wife asked Caldwell to curate a show. She had already done research on Bogart for a book about him and Eugene Bavinger. Caldwell said she had a life-long collection of Bogart’s journals and sketch books available for reference during the organizing process. His paintings are abstract with some being masterpieces of bright saturated color and others incorporating somber close-valued tones. “Bogart believed that abstraction had to come from some source,” Caldwell said. “He talked about seeing some forms from his peripheral vision.”

Much of his inspiration came from nature. Occasionally, objective images — such as tea cup or paint brushes — appear in Bogart’s pictures. But more often than not they’re a boldly abstract juxtaposition of colors such as royal blue and mustard with symbols (X) as in the cryptically titled “Eulogy for the death of Hans Hofmann” (1966). A pipeline replacement project in his neighborhood once inspired Bogart to paint a collection of cylindrical representations. His “Jazz Series” from the early 1980s are bright bursts or meticulous patterns of paint in round format suggesting 33 rpm vinyl records. Titles reflect jazz standards such as “Sing, Sing, Sing” and “Scrapple from the Apple.” Foreboding thoughts, from floods, acid rain and terrifying mythology, tend to be in the minority with playfulness and nonthreatening imagery predominating. The canvasses tend to be large and Bogart’s use of color often creates a vibrating visual effect in the way he paired them. “I love the painting titled ‘In memory of my father,’” Caldwell said. “The colors have red with a burst of gold then a mixture of geometric with straight lines and a painterly effect in the middle.” Caldwell said she has enjoyed working with Henkle on this exhibition. “His furniture is so elegant,” she said. The artisan worked in beautiful hard woods such as walnut, oak, cherry and teak. They’re the class of pieces that rises well above mundane utilitarianism. It’s furniture one imagines being handed down in families and preserved for centuries. There are chairs, tables and one striking walnut and olive wood desk. The desk resembles a diminutive residence with what could be a gently pitched roof at the rear of the horizontal writing surface. A stoutly

constructed teak coffee table suggests the drama and power of an African mask. When asked flat-footedly if these pieces may be viewed as fine art, Caldwell didn’t hesitate for a second answering in the affirmative. “Henkle says that he considers his pieces to be a form of functional sculpture,” she said. “They are carefully crafted and he certainly knows the science of ergonomics and how to make a comfortable chair.” Henkle is influenced by the Bauhaus aesthetic as well as the organic modernism of Hungarian-American industrial designer and ceramicist Eva Zeisel (1906-2011). Caldwell was asked to choose a favorite piece. “There’s a rocking chair made of African padauk wood with no parallel lines in it,” she said. “The rockers converge inwards and the back is formed by separate lengths that aren’t joined at the top.” The chair is highly unusual with the tall, six prong, fork-like back evoking a regal vision from medieval Scandinavia. Caldwell is among Oklahoma’s premier arts intellectuals. She has lectured at the University of Oxford and the Russian State University for the Humanities in Moscow. Among many other achievements she was chosen to receive the Irene and Julian J. Rothbaum Presidential Professor of Excellence in the Arts Award earlier this century. Her scholarly credentials are beyond question. So it’s especially noteworthy that “Oil and Wood” is pleasing to the eye as well as meeting high intellectual standards. “The exhibition is also important to the history of OU’s art school which has turned out so many talented artists,” Caldwell said. “Bogart and Henkle are two of the greats.”

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