NTown - July 2015

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July 10, 2015

PHILHARMONIC CELEBRATING FIVE YEARS

+ From Norman to Hollywood: Q&A with producer Eric Heisserer • Rolling Stones Then & Now • SoonerCon 24 • Reviews

from the editor’s desk H

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Happy (after-the-fact) Independence Day. After watching the fireworks in Reaves Park, I found myself thinking about our short, but profound national history. I wasn’t tempted to start chanting “U-S-A” or anything, but in 239 short years we’ve had a remarkable run.

Ours is not a country without problems or historical blemishes. That list is a long one, too.

But rather than go the route of the self-loathing American, I think it’s important to understand that while our problems as a nation are ours to solve, our culture is ours to celebrate.

Our history is ours to celebrate as well as learn from.

We’re a nation of creative thinkers and innovators, risk-takers, mad geniuses and one-of-a-kind, fresh out of the melting pot prototypes. There’s plenty to criticize, and acknowledging those inequities and shortcomings is patriotic in itself, but for the moment being I’d like to at least acknowledge some of America’s greatest and most creative contributions to the world.

• Automobiles • Airplanes • Basketball (Canadian-American inventor; It counts) • Football • Baseball • Frisbees • Hollywood • Dental floss • Ferris wheel • Blues/jazz/rock/hip hop music • Electric guitar • The home computer • The internet

The light bulb The LASER The Space Shuttle The moon landing The cheeseburger Chocolate chip cookies The microwave GPS Video games Cell phones Email The moon walk Actually walking on the moon

That’s a pretty good list and that’s just off the cuff. And though there are plenty of reasons to worry about our future, it’s O.K. to be proud of our past, or at least parts of it.

We live in an amazing and dauntingly complex globalized world.

Times are changing and as our country continues to evolve it’s good to occasionally remember the bright spots and the signs of life to come. Perfect?

Not even close. But there’s plenty to celebrate, from the great thinkers, artists and inventors who helped shape our omni-faceted culture, to the men and women who have helped protect it.

I’m not trying to make some political point. This is not the place and it’s not really my place, anyway. But in a nation full of strangers, we manage to find a common identity in the spirit of this country — a spirit worth recognizing, and a well-founded, but humble pride. Having said that ... U-S-A! U-S-A! U-S-A!

Publisher Mark Millsap

Cover Design Anthony Kimball

Nathan Ward Rebecca McKenny

Executive Editor Andy Rieger

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ello Norman,

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Q&A with producer Eric Heisserer

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Caught on Camera: Jazz in June 2015

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Book Reviews & Album Reviews

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Hidden gems on Netflix

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Norman Philharmonic: Celebrating five years

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Rolling Stones then & now

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SoonerCon 24: A little bit of everything

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NTown’s Top 10

Doug Hill Mary Newport Scott Strandberg Corbin Hosler Photographers Kyle Phillips Mack Burke

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&A

Q

Eric Heisserer’s journey from Norman to Hollywood has been one wild ride. Heisserer 4

7.10.15

— who lived in Norman until he was 19 — got his start writing short stories on the internet. By 2010, he was one of Hollywood’s go-to horror writers, penning the scripts for the “A Nightmare on Elm Street” remake and “The Thing” prequel.

After writing the screenplay for “Final Destination 5,” Heisserer made his directorial debut in 2013 with the Paul Walker vehicle “Hours.”

Currently, Heisserer is producing the scifi film “Story of Your Life,” for which he also wrote the script. Starring Amy Adams (“Man of Steel”) and Jeremy Renner (“The Avengers”), “Story of Your Life” has the potential to be a major event when it hits theaters next year.

NTown caught up with Heisserer from the set of “Story of Your Life” to discuss where his career has taken him, and where it’s headed next.

———

Q: Your path into the film industry was far from typical. How did you jump from writing short stories online to screenwriting for feature films in Hollywood?

A: I don’t know if there still exists a typical path to Hollywood. Everyone has their own arduous journey. I’ve always been a bit of an autodidact, and my first foray into screenwriting began when I received a rejection letter on a video game story I submitted that read, “This is too linear for a game, where a player can branch off in several directions. This is a movie.”

So, I took that as a new challenge, went out and bought screenwriting software plus a sample script, and I jumped in. That first script was terrible. But I learned a lot. My second was better. My third was optioned for a little money,

By Scott Strandberg

with Norman-born, Hollywood writer/ producer Eric Heisserer

and number five got me enough in the bank to move out to LA. By then I was already hooked on this form of writing. I knew it’s what I wanted to do more than anything else. It just took me another ten years to reliably pay the bills with it.

Q: Once you got established as a horror screenwriter, I would imagine there was another transitional phase to entering the world of producing and directing. What was it like sitting in the director’s seat for the first time on “Hours”?

A: Directing is the most brutally rewarding task I’ve ever endured. I’m glad I made that leap, but I’ve never been so tired than when we wrapped on “Hours.” When I got my first real break writing a horror franchise reboot, I quickly learned some realities of the business.

First, with a studio genre film, the writer is rarely the architect, and most likely just contract labor. You’re told what to do, and early in your career your opinion won’t have much net worth.

The other reality is, whatever you write will then be handed off to a director who will interpret the script however they feel is best.

So, after writing three studio horror films, I realized this was all I would be asked to do, unless I could prove myself in a new arena. That’s why I wrote “Hours.” The directing side of it sort of emerged naturally, as I was passionate about the story, and it’s quicker to get a movie rolling if you already have both the writer and director on board.

So much of directing is answering questions.

Ten thousand questions a day. Having an intimate knowledge of the subtext in a script makes it that much easier. Especially when your actors ask you about it on the day.

Q: You said that the directing side emerged naturally. What do you mean by that? As I un-

derstand it, you went into “Hours” without prior directing experience. Was there any resistance from producers or other financiers regarding you being a first-time director?

A: Right, that statement about directing emerging naturally was a bit misleading. What I meant was: When you have a low-budget movie, and you’re looking to get recognition for making something outside whatever box you’ve been placed in by this business, it’s better if you’re both writing and directing. Then you have a script and a director ready to go — and a script without a director can languish for months or years.

But as I was a first-time director for “Hours” (as my producer would often ask, “Not even a high school play? Have you directed traffic maybe?”), it was incredibly hard to secure funding.

Paul Walker helped a lot, but too many financiers out there have been burned by first-time filmmakers who go wildly over budget or simply crash and burn, halting the film.

It was a real fight to get the money together.

And when I first shopped the script and myself around to producers, so many turned me down because they only saw me as a writer.

Then I met with Peter Safran who said, “Of course you’re directing this. It’s clear you know every frame of this thing in your head, because it’s there on the page.” The old adage in this town has proven true for me: You only need one ‘yes.’

Q: Speaking of “Hours,” what was the process of landing the late Paul Walker for the lead role?

A: Paul was at the end of a long search for (character) Nolan Hayes. Early on I was given some sharp advice: “Take every meeting. Even if you don’t think they’re right for the part, meet with them anyway.” I went in to my meeting

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Photo Provided

Norman native Eric Heisserer’s newest project is “Story of Your Life,” a film starring Amy Adams and Jeremy Renner.

with Paul nearly certain he wasn’t right for the role, but fifteen minutes into that first session I realized he was perfect for it.

Paul was, well, a friend of his put it this way — “It’s like he doesn’t know he’s Paul Walker.”

He was genuinely good to those around him during my time with him.

He got to know the names of the crew. He showed up on time — which is a rare trait for a star. He never complained, even with all the work I put him through. I miss him dearly.

Q: You’re currently working as a producer/writer on the film adaptation of Ted Chiang’s highly acclaimed short story, “Story of Your Life.” Not only does “Story of Your Life” have a devout fanbase, but it also has some pretty wild philosophical themes. Were there any additional challenges as a writer when adapting it for the screen?

A: The biggest hurdle in any adaptation is to take what inherently works in literary fiction, like abstract concepts, and finding a cinematic interpretation for them.

Chiang’s story is full of emotion and ideas,

and assumes an intelligent audience, so I had to honor those qualities.

Thankfully Chiang made himself available as a resource throughout the development of the script, and I’ll be spending some time with him on set later this month. Of all the projects I’ve spearheaded, I feel like this one is most reflective of my own tastes. Where else could I talk about love, family, and Fermat’s Principle of Least Time?

Q: There’s a ton of down time on movie sets. As a writer/producer, do you have any go-to ways to fill the breaks in between filming?

A: This one can be tricky, because as the writer/ producer on set I have to be ready to jump in and help whenever I’m needed. Like being a doctor on call. So my vice is gaming on my iPad. I’m particularly addicted to a tile game (Marvel Puzzle Quest). Quick games that don’t take much deep thought. It can be oddly meditative for me.

Q: Any other projects coming up that we should keep an eye out for?

A: I got pulled back into the horror genre again, but this time based on an arresting short film

by David Sandberg called “Lights Out.” He and I developed a feature-length story and we’re now shooting that here in LA. New Line will distribute it, and it stars Teresa Palmer and Maria Bello.

I also adapted Josh Malerman’s novel “Bird Box” last year, and after a search for a director we’ve landed Andy Muschietti, so next step is casting.

I’ve also taken a swing at adapting another Ted Chiang story, but I can’t talk about that too much as it’s still under wraps.

I’ve made a vow to write something new every year in a different medium, and this year it’s a comic book called “Shaper,” with Dark Horse Comics.

The final issue of the five-chapter series is due out mid-July. Lastly, I wrote a supernatural thriller on Reddit last October, and I’m currently developing that to write and direct. That one’s called “Exposure.”

——— Follow Scott on Twitter @scottstrandberg

7.10.15

CAUGHT on camera

Jazz in June 2015 — photos by Kyle Phillips & Doug Hill — Jade Castle (below) and Brian Belanus (right) perform with Culture Cinematic during Jazz in June 2015 at Brookhaven Village.

The Oklahoma-City based group, which specializes in original R&B and soul, attracted a large crowd during their Saturday-evening performance.

Crowds gather at Brookhaven Village during the 32nd annual Jazz in June Festival.

Kyle Phillips / NTown

Doug Hill / NTown

Above: Moon Hooch whips up a storm at Jazz in June 2015.

Right: Jazz in June headliner Bill Evans closes the festival with a soulfull set of saxophone acrobatics.

Doug Hill / NTown

SENSITIVE TEETH Robert C. Wells, D.D.S. 808 24th Ave NW, #101 Norman, OK 405.329.2121 robertwellsdds.com

Views On

DENTAL HEALTH from Dr. Robert C. Wells, D.D.S.

For millions of people, sensitive teeth can make life miserable.

The pain and discomfort make even favorite hot or cold foods impossible to enjoy. All is not lost. In many cases, sensitive teeth can be successfully treated bringing long sought after relief.

Usually tooth sensitivity (dentin hypersensitivity) presents as temporary tooth discomfort or pain after eating cold food, drinking cold liquids, or breathing cold air.

Sensitivity toothpastes containing Potassium Nitrate can also help reduce tooth sensitivity.

These toothpastes desensitize the tooth nerve directly. Treating teeth with fluoride mouthwashes also can help reduce tooth sensitivity.

If you cannot get relief by brushing gently and using sensitivity toothpaste, your dentist has several options for relief.

Your dentist can use “oxalate” compounds that, when rubbed on the root, will reduce if not eliminate sensitivity. Dentists may also apply “bonding agents” to close the pores of the tooth root.

Prepared as a public service to promote better dental health.

book reviews “ZOO” (2013) — James Patterson and Michael Ledwidge “For 36 years, James Patterson has written un-put-down-able, pulse-racing novels,” his website told me. “Now, he has written a book that surpasses all of them.”

If this is the best James Patterson novel out there, I’m kind of glad it’s my only one.

ZOO (all-caps intended, I checked) is the story of Jackson Oz, a young scientist trying to warn the world of escalating danger. All over the planet, animals of every kind are becoming unpredictably vicious, breaking established patterns of behavior to slaughter the humans around them. Oz has been cataloging incidents for years and trying in vain to bring the epidemic to public attention. He’s brushed off as a rambling conspiracy nut, but when everything goes to the dogs, he may be humanity’s only hope for survival.

On the upside, the book is a thriller on two levels, combining bloody man-againstnature violence and political maneuvering in the face of inept bureaucracy. Oz is sensible and likable as a protagonist, with a stubborn drive to find a solution and save those most precious to him. There are also chapters in the fascinating viewpoint of Attila, a chimpanzee struggling to resist the madness sweeping the world’s animals.

On the downside, the book often flips quickly from descriptive at an almost flowery level—”His eyes were warm amber stones. They glowed like heat, blood and honey.”—to blandly brisk -- “The rifle kicked as I shot the lion in the head.”

There are ways to integrate these styles, but the authors use none of them; the

By Mary Newport

abrupt change is jarring every time. At best it makes you giggle, but at worst it throws readers out of some of the most engrossing scenes.

The first episode of ZOO’s TV series aired June 30 on CBS. Isn’t it odd how they have to make so many changes, even in a book obviously written for TV? ZOO is practically a script, with its mini-climaxes cut into bite-size chunks, its likable everyman hero and the beautiful, hysterical female sidekick he must protect.

There’s even a terrifying character death instantly revealed to be - whew! - only a strange dream two people had simultaneously.

The authors even built in places for a SpongeBob-esque “5 years later” voiceover.

The novel occasionally leaps a several-year gap with very little in the way of transition.

It may be worth it, though, for that sudden glimpse of the rarest animal of all: a truly innocent child, one so fresh and unsullied he doesn’t even know who The Simpsons are. Who cares that he’s an annoyingly recurring one-dimensional plot device? He’ll be ever so cute when they release that episode.

Overall, ZOO is not so much a run through the jungle as a jog through the park. Though — credit where credit is due — the park in this metaphor is definitely on the bad side of town. It’s a decent way to spend a slow day, and you’ll be able to join conversations about the show without actually having to watch it.

Read if: You’ve got nothing better to do this afternoon.

Don’t read if: You have an ‘I love my [dog breed]’ bumper sticker.

“Prudence, The Custard Protocol: Book One” (2015) — Gail Carriger I believe there’s a special place in hell for reviewers who call an author “the next [insert famous name here].” Thus I’m not usually the sort of person to say, “If you like this author, try so-and-so.”

But there comes a time for all things, and today I tell you this: If you like P.G. Wodehouse, you’re going to adore Gail Carriger.

(If you don’t like P.G. Wodehouse, get out, you Philistine.)

In the best tradition of proper British manners and hilariously improper escapades, “Prudence” is a rollicking adventure liberally spotted with custard, kidnapping and actual spots.

Prudence Alessandra Maccon Akeldma is the daughter of a respected werewolf, the adopted daughter of a prominent vampire and an important piece for political maneuvering in the supernatural battle for control of England. Rue, as her friends call her, is also a strong-minded young lady with the unique power to steal the immortal form of any supernatural individual she touches. She has a propensity to get into trouble when left idle, so her adopted father decides to give her a mission of mild intrigue in India.

What nobody knows is that things are on the boil in India, and not just tea. Rue and her companions plunge willy-nilly into the heart of a dangerous mystery, leaving a trail of broken hearts, ruffled feathers and crumpet crumbs behind them.

“Prudence” is the first book of

The Custard Protocol, set over a decade after the end of Carriger’s steampunk satire series The Parasol Protectorate. The beginning of the book is an awkward blend of attempts to introduce the vast cast to new readers while giving updates and asides to experienced ones, but after an unwieldy chapter the story gets off the ground with no trouble. The following adventure is a witty delight, constantly mocking the manners it upholds and poking fun at every element of the supernatural it celebrates.

There’s little real tension through most of the book; even the life-ordeath situations lack a certain depth of apprehension. But it’s satisfying nonetheless to watch Rue’s clueless group of would-be operatives bumble and bluff their way through perilous situations and — worse — potential ruination of proper female reputations.

Carriger has a skilled way with repartee and wordplay, as well as a keen eye for exactly how absurd you can make a situation before readers stop taking it seriously. This is a consummately important line when your plot begins with a society girl adopting an airship named The Spotted Custard. All told, “Prudence” is a fun romp for new readers and a light but sweet extension of previous delights for old fans.

Read if: You enjoy laughter, witticisms and well-sweetened tea.

Don’t read if: You dislike rich people, steam contraptions and monkeys.

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album reviews

By Doug Hill

Artist: Delta Moon Album: “Low Down” Tom Gray is the lead vocalist and lap steel guitarist for Atlanta-based Delta Moon. He founded the quartet with guitarist Mark Johnson after the pair met by coincidence several years ago in a music shop. Franher Joseph plays bass and Marion Patton is on drums.

Low Down is Delta Moon’s 10th album since the turn of the century. Although the musicianship is fine as frog hair, the lyrics pop out as being exceptional.

Gray has honed his song writing skills over decades. Although a blues man now, back in the 1980s he led rock outfit The Brains that was signed to Mercury Records for a couple of albums.

Gray’s “Money Changes Everything” was covered by Cyndi Lauper. It became an MTV hit back when she was wearing mismatched sneakers and girls were jumping on stage for a hug. Today Gray still writes about dead presidents. In “Wrong Side of Town” he sings, “Some will kill you for a dollar/ Some will love you for a song.” The lyrics are addressed to someone he calls honey who left a tough neighborhood, is rolling in dough now but comes back occasionally to party. It’s the album’s first track and the initial unblinking glimpse into an often shadowy world. “Afterglow” includes distorted vocals in a dream sequence.

It’s a song that pairs train imagery with

what may be the scent of high-end cosmetics in a tale of lost love. Gray pays homage to one of Americana’s most celebrated lyricists by covering Tom Waits/ Kathleen Brennan in the title track. “Low Down” is about a woman who is irresistible in a variety of ways but also bad to the bone. “She’s a big red flag in a mean bull pen/ She’ll steal it from you and sell it right back to you again,” Gray sings in a low, slow drawl.

There are also Bob Dylan (Down in the Flood) and Skip James (Hard Time Killing Floor Blues) covers but the remaining nine cuts are originals. “Spark in the Dark” reflects back to Gray’s rock n roll days. It slides into a slow burn, lit-up by Johnson’s guitar. “Mayfly” has a similar rock tempo. Gray cozies his vocals up to back-up singer Anna Kramer’s for an upbeat vibe. It’s basically a confection alongside the grittier numbers. Low Down finds Delta Moon high and full.

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Artist: I Am the Albatross Album: “Lonesome Son” “It’s a rock record for sure,” vocalist and guitarist Jesse Berkowitz said about his trio I Am the Albatross’ debut album.

It certainly is. The Austin trio’s sound conjures a vision of Black Sabbath piloting Led Zeppelin that crash lands onto Grand Funk Railroad. The other players in this cumbersomely named group are bassist Giuseppe Ponti and Marc Henry on drums. Lonesome Son’s nine tracks are all original. It starts with the deceptively gentle strains of the ominously titled “Blood Song.” That mild introduction quickly builds to a rhythm section-heavy crescendo. Berkowitz’s guitar crackles like heat lightning as he sings about distant wind, ashes and horizons.

They have a strength in delivering strong lyrical imagery such as a shimmering “pale night.” Berkowitz’s anthem to Interstate 10 is titled “Port City”. It’s that east and west ribbon of pavement that runs coast to coast and including Lake Charles, Beaumont and Houston.

You don’t have to stray too far off that stretch to find yourself in Montgomery County’s Cut and Shoot, Texas. The song’s tempo feels like a van pounding down the highway past double-wide trailers parked next to swamps with oil refinery towers appearing in the distance. It’s about those hours spent traveling in a vehicle when you think about the direction of life and family in a box of memories. “No Man’s Land” finds Berkowitz’s vocals in a low, ominous growl that recalls Jethro Tull’s Ian Anderson on “Aqualung” (1971). Next track “World

of Money” is equally dark. There’s a warning that it’s a place that can’t be understood. The guitar solo slices fiercely with shark attack intensity. “Garden” is a tangle of jangling roots and prickly pear skins. It’s a slither through electric vines entwined around a malevolent wishing well. “Strange Island” is appropriately named. Creepy distorted vocals and sounds coming from a haunted house are bone chilling. “Hell America” is a rock stampede across this great nation.

There is no title track, this is it. Cymbals crash and the guitar whines like a Predator Drone slinging Hellfire missiles into an ISIS tea party. “The Weed” features unlikely pedal steel and a galloping cadence with country and western flashes.

Artist Ila Rose’s cover art depicts a faceless human whose head is surrounded by a wreath bearing a raven, rattlesnake and pine cones. One skeletal hand rests on his shoulder. It’s the nightmarish apparition of a Lonesome Son mirroring the album’s music.

——— Email Doug at hillreviews@gmail.com

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movie reviews Hidden gems on

“Oculus” (2014) I can’t think of a recent film which fell victim to its own 10 marketing campaign more severely than “Oculus” did. The independently produced film was picked up for theatrical release by 7.10.15 WWE Studios in 2014, and the trailer was exactly what you’d expect if I told you that WWE had picked up the rights to a movie about a haunted mirror.

The previews were like those for a comedy that tells all the jokes in the trailer. I watched the official two-minute “Oculus” preview after viewing the film. Not only does it include every moment of visual terror in the entire 104-minute movie, but there’s at least one jump scare in the trailer that was left out of the final cut.

“Oculus” actually resembles H.P. Lovecraft far more than it does M. Night Shyamalan. Therefore, the audience that would have appreciated the film never saw it, having been turned off by the “it’s a movie about a haunted mirror” marketing.

The people who did see “Oculus” went in expecting a slam-bang “boo!”-scare horror flick, and were disappointed by the film’s deliberate pacing and complex themes.

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

At its core, “Oculus” isn’t really a movie about a haunted mirror at all. It’s a wonderfully mind-bending examination of the nature of time and human perception of reality.

It forces its characters — and by extension, the viewer — to question how the concept of one’s sense of identity changes, as the established guidelines of reality are twisted and distorted.

To put it simply: “Oculus” exists in a cinematic world light years away from cheap shock-value fare like “Paranormal Activity,” despite being ill-advisedly marketed to a similar audience.

Writer/director Mike Flanagan tells the story of “Oculus” through a dual timeline. In the present, Kaylie (Karen Gillan, “Doctor Who”) and her brother Tim (Brenton Thwaites) debate the accuracy of each other’s memories regarding their parents’ deaths, and the difference between causality and correlation.

Interwoven with the present-day story is one that takes place just over a decade prior. In it, the tragedy that befell their mother (Katie Sackhoff, “Battlestar Galactica”) and father (Rory Cochrane, “Argo”) plays out on-screen.

What makes “Oculus” work so well is the acting. Gillan is an absolute revelation in the lead role.

The Kaylie character exists on the fragile border between normalcy and insanity, and Gillan hits all the necessary notes with perfect pitch.

She’s uniquely capable of tugging at your heartstrings one moment, and appearing terrifyingly unstable the next.

“Oculus” takes some wild turns along the way, but it demands pa-

have overlooked on Netflix. This month, I selected three films which were undermined by their own flawed marketing campaigns.

——— Follow Scott on Twitter @scottstrandberg

tience and attention from viewers.

There’s more than a full hour of build before Flanagan even begins paying off his intricate premise, and it is definitely worth the wait.

On the surface, sure, “Oculus” is the movie about the haunted mirror.

However, Flanagan has some seriously clever tricks up his cinematic sleeve.

Evil can’t be restrained by dimension or time. It travels using entirely different methods — and perhaps it can take us along for the ride when it desires to.

“Oculus” is rated R for terror, violence, some disturbing images and brief language.

“Noah” (2014) The marketing for “Noah” was confusing at best. The promotional material pushed the film as an action-adventure epic; a biblical “Braveheart,” if you will.

While “Noah” does contain both action and adventure — within an epic setting — it is far more than just the sum of those parts.

Of all the stories in the Bible, the parable of Noah’s ark is an unexpected choice for adaptation by writer/director Darren Aronofsky.

It’s not that the story is unfit for the

big screen, it’s that it seems more fitting for Michael Bay than the man responsible for films like “Requiem for a Dream” and “The Fountain.”

The tale of a man on a quest to build a giant boat and fill it with animals before a storm hits isn’t exactly rife for deep philosophizing on the surface. Still, from this simple (and admittedly somewhat corny) foundation, Aronofsky builds a grand, sweeping tale around Noah himself, painting the biblical figure in broad strokes of grey.

Russell Crowe stars as the titular character, who receives messages from God, warning him that he is about to destroy the world. With the help of ancient stone creatures called The Watchers, Noah and his family — including Jennifer Connelly (“A Beautiful Mind”), Emma Watson (the “Harry Potter” series) and Anthony Hopkins (“The Silence of the Lambs”) — build the necessary ark to protect themselves from the great flood.

Of course, nature is not the only antagonizing force in “Noah.” Leading up to the storm, Noah is threatened by Tubal-Cain (Ray Winstone, “The Departed”), an evil metalsmith who uses his skills to weaponize his growing army, demanding safe passage aboard the ark.

Once the flood hits, Noah finds himself suddenly lacking constructive outlets for his obsessions, and his mind begins to warp and rot.

Trapped within the structure of his own salvation, Noah struggles to find the patience to ride out the storm.

Aronofsky caught some flak from religious groups for diverting from the original Noah’s ark story. I’ll defend Aronofsky’s plot choices by

saying that no one would ever watch a movie that stayed true to the biblical character — a guy who lived to be nearly a thousand years old, and spent the last several hundred years of his life as an alcoholic on a farm.

Furthermore, “Noah” is far from an anti-Christian film. It is merely Aronofsky’s artistic expression of his personal interpretation of one aspect of Christianity.

The visual effects in “Noah” are nothing short of spectacular. Especially of note is a breathtaking sequence which traces the history of the universe — from the seven-day creation of the world in Genesis, through Adam and Eve, to the advent of war and subsequent downfall of mankind.

Believer or not, “Noah” will both entertain and challenge viewers of all walks of life. Just don’t go in looking for biblical “Braveheart,” as the film’s official preview led people to expect.

“Noah” is rated PG-13 for violence, disturbing images and brief suggestive content.

“Primer” (2004) Unlike the other two films featured in this month’s recommendations, “Primer” was an ultra-low budget thriller that didn’t exactly have much money in the marketing machine to start with. Still — in my humble opinion — “Primer” takes home the all-time “worst preview to a great movie” award with ease.

Despite reading good reviews and hearing positive word of mouth, I had no interest in seeing “Primer” for years.

I simply did not believe a film with a trailer that bad could be any good. I can’t find the exact quote, but I recall Roger Ebert once saying that if you can’t piece together two compelling minutes of footage for a preview, it’s likely not worth anyone’s time to see the full movie.

From watching the preview, you

would guess that “Primer” is about a successful family man with lots of friends, money and power. According to the end of the trailer, what he really wants is “TO FIX IT ALL.” Fix what? You just spent two minutes telling me that this guy has everything, but now he needs to fix it? There’s nothing wrong to fix! This guy has an awesome life!

To play devil’s advocate against myself — a far-too-frequent mental game of mine — “Primer” is definitely one of those films that’s much better if you know relatively nothing about it going in. However, it’s still never a good idea to have viewers watch a movie preview and come away thinking, “That looks terrible and I have no idea what it’s about.”

Furthermore, the content of the trailer itself is misleading and not remotely representative of the actual film.

So, what is “Primer” actually about, without giving too much away? It’s about two young wannabe technology entrepreneurs, building some sort of experimental machine in one of their garages.

It’s never really described in detail what this machine was intended to do, and that doesn’t really matter anyway.

What does matter is that they stumble upon an extremely powerful discovery that could quite seriously change the entire world as we know it.

Instead of publishing their findings, they decide to use the device for personal gain.

At first, their goals are practical and grounded, albeit self-serving. Slowly, they start giving in to their curiosities, which in turn leads to far too much experimentation.

Before long, they’re in way over their heads, making off-the-cuff decisions that could change the course of history. These are two men who were forging careers in a cutthroat industry, and do not easily handle the moral and ethical responsibilities of people with such extreme power as they now have.

That’s really all I’m comfortable telling you about “Primer.” It is truly one of the finest suspense thrillers of the 21st century, but its impact would be lessened significantly with any more information than I just provided.

“Primer” is rated PG-13 for brief language.

FIREH OU SE

ART

C EN TER

+ CHILDREN’S SUMMER ART PROGRAM Now enrolling ages 5 - 13 years old for Session V classes. Session V begins July 20.

Visit normanfirehouse.com for more information.

+

2 0 1 5 FA C FA C U LT Y EX H I B I T I O N June 5 - July 25, 2015 Reception: Friday, July 10, 2015, 6 - 9 PM This annual multi-disciplinary exhibition showcases the recent work of Firehouse faculty members.

+ MOVIES IN THE PARK Andrews Park | 7 - 9 PM each night Paddington: Friday, July 10, 2015 Big Hero 6: Friday, July 24, 2015 The Firehouse Art Center will provide fun, free creative activities before each movie.

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

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PHILHARMONIC CELEBRATING FIVE YEARS

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Kyle Phillips / NTown

The Norman Philharmonic performs during a concert at the Nancy O’Brian Center for the Performing Arts.

By Mack Burke

T

he arts are in peril. There’s no doubt about it. The lingering effects of financial shortfalls and recession have forced the arts into a compromised position, in schools and in the public sphere. The Philadelphia Orchestra filed for bankruptcy in 2011 — a first for a major U.S. orchestra — and reemerged in 2012, but others haven’t been as lucky. Orchestras across the country are facing challenges.

After a windfall of artistic expansion in the 80s and 90s, major cities are in danger of losing some orchestras steeped in tradition — from sweet symphonies to silence.

With so much focus on the bottom line, the arts are often the first to feel the axe. They’re treated like window dressing — an expendable amenity. It’s an understandable position.

When public funding starts to shrink,

something has to suffer. But when the arts go, everyone suffers the loss, sometimes in subtle but significant ways. It’s the loss of culture. It’s the loss of inspiration. The loss of color in a world full of black-and-white realities. The arts add something irreplaceable. They don’t represent a want, but a human need. They fill the gap between breathing and living.

That’s what makes the Norman Philharmonic’s story such a triumphant one. A drought of public funding has threatened to usher in silence where once there was music in other cities. But not in Norman.

The Norman Philharmonic will celebrate it’s fifth anniversary this year with its first seasonly structured concert season. And it should be celebrated. It’s not just a concert series.

It’s a reaffirmation of Norman’s own artistic soul.

“We’re a very young country,” Music Director Dr. Richard Zielinski said

upon returning from a musical tour of Poland. He made the annual trip with OU singers who collaborated with choirs from around the world.

“European countries have been around for a long time. We have great music, great culture, great heritage here and we need to celebrate that … We need to embrace it like they do in Europe. We’ve only been doing it for a couple of hundred years but we produce this great art.

It’s great to be home.”

So how did happen? How did a city of 118,000 people get its very own orchestra?

“All the stars lined up,” Zielinski said.

Funded through grants and a great deal of private donations, it’s something that really does belong to Norman. So many people have bought in. So many have paid in sweat to make it a reality. Like shareholders in a company where dividends are paid out in symphonic form — the

people of Norman give the orchestra its financial lifeblood. The money doesn’t come from the city, it comes from the people within it.

“The city hasn’t been involved at all in the funding. A lot of the credit goes to the founding board members — Chuck Thompson, Andy Paden, Boyd Hamilton and, of course, Dr. Z, they were the ones that really had the vision for it,” Norman Mayor Cindy Rosenthal said.

It’s still in its infancy —especially relative to giants like the New York Philharmonic (1847) and the rest of the “Big Five” orchestras: Boston Symphony Orchestra (1881), Chicago Symphony Orchestra (1891), Cleveland Orchestra (1918) and Philadelphia Orchestra (1900) — but there’s an ample amount of vision and support.

“It’s a wonderful gift to the community,” Rosenthal said. “It also says a lot about the community, the way See MUSIC, Page 14

7.10.15

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PHILHARMONIC CELEBRATING FIVE YEARS

12

7.10.15

13

Kyle Phillips / NTown

The Norman Philharmonic performs during a concert at the Nancy O’Brian Center for the Performing Arts.

By Mack Burke

T

he arts are in peril. There’s no doubt about it. The lingering effects of financial shortfalls and recession have forced the arts into a compromised position, in schools and in the public sphere. The Philadelphia Orchestra filed for bankruptcy in 2011 — a first for a major U.S. orchestra — and reemerged in 2012, but others haven’t been as lucky. Orchestras across the country are facing challenges.

After a windfall of artistic expansion in the 80s and 90s, major cities are in danger of losing some orchestras steeped in tradition — from sweet symphonies to silence.

With so much focus on the bottom line, the arts are often the first to feel the axe. They’re treated like window dressing — an expendable amenity. It’s an understandable position.

When public funding starts to shrink,

something has to suffer. But when the arts go, everyone suffers the loss, sometimes in subtle but significant ways. It’s the loss of culture. It’s the loss of inspiration. The loss of color in a world full of black-and-white realities. The arts add something irreplaceable. They don’t represent a want, but a human need. They fill the gap between breathing and living.

That’s what makes the Norman Philharmonic’s story such a triumphant one. A drought of public funding has threatened to usher in silence where once there was music in other cities. But not in Norman.

The Norman Philharmonic will celebrate it’s fifth anniversary this year with its first seasonly structured concert season. And it should be celebrated. It’s not just a concert series.

It’s a reaffirmation of Norman’s own artistic soul.

“We’re a very young country,” Music Director Dr. Richard Zielinski said

upon returning from a musical tour of Poland. He made the annual trip with OU singers who collaborated with choirs from around the world.

“European countries have been around for a long time. We have great music, great culture, great heritage here and we need to celebrate that … We need to embrace it like they do in Europe. We’ve only been doing it for a couple of hundred years but we produce this great art.

It’s great to be home.”

So how did happen? How did a city of 118,000 people get its very own orchestra?

“All the stars lined up,” Zielinski said.

Funded through grants and a great deal of private donations, it’s something that really does belong to Norman. So many people have bought in. So many have paid in sweat to make it a reality. Like shareholders in a company where dividends are paid out in symphonic form — the

people of Norman give the orchestra its financial lifeblood. The money doesn’t come from the city, it comes from the people within it.

“The city hasn’t been involved at all in the funding. A lot of the credit goes to the founding board members — Chuck Thompson, Andy Paden, Boyd Hamilton and, of course, Dr. Z, they were the ones that really had the vision for it,” Norman Mayor Cindy Rosenthal said.

It’s still in its infancy —especially relative to giants like the New York Philharmonic (1847) and the rest of the “Big Five” orchestras: Boston Symphony Orchestra (1881), Chicago Symphony Orchestra (1891), Cleveland Orchestra (1918) and Philadelphia Orchestra (1900) — but there’s an ample amount of vision and support.

“It’s a wonderful gift to the community,” Rosenthal said. “It also says a lot about the community, the way See MUSIC, Page 14

7.10.15

Music: (from page 13) it has embraced the Norman Philharmonic and supported it. I hope that mutual partnership stays with us for a long, long time.”

This season, that partnership will see the Norman Philharmonic define its season with a more traditionally scheduled concert season.

The same major components of past seasons will still be there. The Meet the Composer series, a concert series that welcomes visiting American composers for a unique and personalized performance and an educationally rewarding experience for Norman Public School students, will still be a big part of the season. This year the Philharmonic welcomes composer Jerry Neil Smith in January and is planning a concert in April for the opening of Legacy Park.

But before all of that, there will be a free Premiere Party at 3 p.m., July 19 at Mainsite where the orchestra, the finalized schedule and the Norman Philharmonic’s first executive director will be introduced.

The newly created position of executive director will be all about funding,

writing grants and ensuring that the orchestra plays on for years to come.

“It’s hard to believe that this will be our fifth season,” Zielinski said. “We have had three Grammy and one Emmy Award winning composers, have connected to 10,000 fifth graders from the NPS and presented a variety of challenging and unheard repertoire to the Norman community ... however, we are at a critical stage on our development. We need the community to get behind us this season and help us make it a success,” Zielinski said.

High art and high professionalism demand a price — in the case of the “Norman Anthem,” a commissioned work from Grammy-Award winning composer Libby Larsen, that price was $25,000. That’s not cheap, but it’s a fair rate for the undertaking, especially considering her notoriety. It’s something that Norman will always call its own.

Keeping to that standard means reaching out, but it doesn’t mean tampering with ticket prices. In fact, Zielinski insists that prices remain affordable.

When comparing the $10 admission price to other professional orchestras, it’s a stark contrast. The price dispar-

ity is more indicative of priority, not quality. That fact that it’s a priority for a professional orchestra is especially telling. It’s not about the money. It’s about making Norman a cultural hub. It’s about educating students and bringing something special to the community.

“Each year they’ve tried to celebrate new works and new American artists … This year their whole theme for the performance season is ‘Home Grown.’

It’s a celebration of local musicians and artists and it’s hoping to give back to the community by connecting it to fundraising efforts for our homeless organizations,” Rosenthal said. “The theme of the season is to celebrate our hometown and give back to it.”

For all the people who helped in its inception, and those that continue to provide support, it’s a labor of love for the arts.

“You start with an enormous reservoir of talent that is here because of the University of Oklahoma faculty and students. You add to that a community that is strongly committed to nurturing the arts and I think that’s what helps to set us apart when the trend is going in the opposite way,” Rosenthal said.

2015-2016 SEASON PLAN I. Helping the Homeless – One Vision, One Voice 3 p.m., Sunday, September 27 McFarlin Memorial United Methodist Church Vicki Schaeffer, organist, Larry Hammett, guitar, Rodney Ackmann, bassoon II. Christmas Oratorio, Johann Sebastian Bach 8:30 a.m. and 10:55 a.m., Sunday, December 6 McFarlin Memorial United Methodist Church III. Meet the Composer, Jerry Neil Smith Side by Side with area high school orchestra players Winner of the Young Composer Contest Stephen Beus, piano, Karl Sievers, trumpet Mary Sallee, piano, Irv Wagner, trombone, Jay Wilkinson, trumpet and vocals, Maurice Galoob, drums and John Cole, bass • Norman Public Schools & Norman Philharmonic collaborate to bring two concerts to all NPS 5th graders MEET THE COMPOSER CONCERT #1 10 a.m., Friday, January 15 MEET THE COMPOSER CONCERT #2 12:30 p.m., Friday, January 15 Nancy O’Brian Center for the Performing Arts IV. St. John Passion, Johann Sebastian Bach — Good Friday Service 7 p.m., Friday, March 25 McFarlin Memorial United Methodist Church V. Legacy Park Opening Concert, featuring Boyd Street Brass and introducing the Norman Philharmonic Chorus with director Tony Gonzalez

Performing Arts Summer Camps July 6-31, 2015

A PRODUCTION OF THE SOONER THEATRE’S REPUBLIC BANK & TRUST STUDIO SERIES JULY 31 - AUGUST 3, 2014 TICKETS $10 (ON SALE JULY 11)

• Acting, Singing, Dancing, Improv and More!

• Entering K-6th grades • One and two week camps

Don’t Miss The Sooner Theatre’s 2015-16 Main Event Concert Series & Sooner Stage Presents Seasons Season Tickets On Sale August 15!

www.soonertheatre.com (405) 321-9600

Then and now: Rolling Stones stil rolling

By Doug Hill

The Rolling Stones brought their Zip Code Tour to Kansas City’s Arrowhead Stadium Sat. June 27. The show was a rock n roll extravaganza.

It was the fifth time I’d witnessed one of their live performances. The first occasion was June 22, 1972 at this same city’s Municipal Auditorium.

Forty three years have passed since then with two things remaining constant. What many have called The Greatest Rock n Roll Band in the World is still making music and I’m still their fan. Those facts gave pause to reflect back on my concert experiences across decades and the one in 2015.

In June 1972 I had just graduated from Shawnee Mission West High School in Overland Park, Ks. My girlfriend Randi (Miranda) Paul had a pal Shelly whose dad was a media promoter with tickets to the Rolling Stones show. Shelly wasn’t interested so she gave them to Randi who invited me to attend. It turned out they weren’t just any tickets, the seats were front row-center. Back then show-opener Stevie Wonder was still called “Little Stevie Wonder.” Wonder was fronting a full band. At one point a helper guided him around to briefly play every instrument on stage. The Stones lived up to all expectations.

I’ve always considered Mick Taylor to have been their finest guitarist and he was still with the band. Saxophonist Bobby Keys (1943-2014) played that show, too. Most vivid recollection was of Mick Jagger during the “Midnight Rambler” song. He was in-character as if performing in an opera with his face a scary mask scowling right down at me just yards away. It was bone chilling.

The next time I saw the Stones was nearly 10 years later. Now married, with one daughter and squarely on the corporate treadmill it was still exciting going to the rock n roll show.

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7.10.15 Doug Hill / NTown Pictured above: A Rolling Stones concert ticket from 1981 next to a 2015 ticket. Rolling Stones concert tickets have shot up 10-fold since then, when a ticket cost about $16.

My wife Barb and our buddy Claudia mailed-in to get tickets. They thought there’d be a better chance of getting some if the specified P.O. Box location could be found for their mailing.

So they chased all over Kansas City with baby Dana in a car seat until finding the right place. Tickets were $16.25 each and we got four.

The Dec. 14, 1981 concert in KC’s Kemper Arena was sponsored by Jovan Musk (cologne) who paid a cool million to have their name on the tickets. George Thorogood and the Delaware Destroyers were the openers. It was another brilliant concert made memorable by Mick Taylor, long gone from the band at that point, making a guest appearance. Regular guitarist Ronnie Wood

reportedly groused later about Taylor bulldozing through some songs and taking uninvited solos.

Oct. 9, 1989 found me with wife and siblings at the Stones’ Steel Wheels Tour in KC’s Arrowhead Stadium. Openers Living Colour played a dreadfully distorted and uncomfortably high-volume set. The Stones were reliably spectacular and the evening’s outdoor weather was perfect.

First song was “Start Me Up” from that decade’s “Tattoo You” album. An attractive aspect of the Stones throughout the years is material from all their eras.

By 1989 with a second daughter added to the family, we’d been living in Norman for six years when it was announced that Owen Field was

included on the Bridges to Babylon Tour. Sprint was the tour’s corporate sponsor. Signing up for new telephone service snagged second row-center seats. The show was Oct. 28, 1997. Sheryl Crow was the opener. She played a solid set. Many people in Norman over the past twenty years have recalled that they didn’t have tickets but heard the show from being nearby outside the stadium. A long time after the concert brought the occasion to thank University of Oklahoma President David Boren in person for bringing the Rolling Stones here. “It was fun, wasn’t it,” he replied with a big smile and twinkle in his eye.

See STONES, Page 22

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Corbin Hosler / NTown

Clint Buckley, from Edmond, a member of the “Central Oklahoma Whovians,“ appears as Dr. Who at SoonerCon 24.

7.10.15

SoonerCon 24: A little bit of everything • Pop culture convention unites comic book lovers, sci-fi fans and board game buffs

By Corbin Hosler

Walking into SoonerCon 2015, you have no idea what to expect if you’ve never been to a similar convention before.

Will it be all video games, or a bunch of people in cloaks staking out their next Dungeons and Dragons adventure?

Will there be superheroes around every corner, or will there be a parade of Darth Vaders and Stormtroopers to outnumber the expected Jedi representative? Will those dressed-up fans — better known as cosplayers — remain in character throughout or will they act like they do when you

run into them in the supermarket? And just what is with all the Nerf guns?

It turns out — as SoonerCon24, which was hosted at and overflowed the Reed Conference Center in Midwest City on June 26-28, showed — it’s all of the above.

Walking into the brightly-lit, spacious convention, you are first assaulted with a barrage on your senses. As soon as you pass the entrance and enter the convention proper, there are spectacles everywhere you look.

A pair of Jedi playfully lock lightsabers, hissing the familiar buzzing noise as they tangled. Across

the hall a Doctor Who cosplayer — dressed in the full coat of the Tenth Doctor — defends against a Dalek with a convincing Sonic Screwdriver.

Signs above the doors announce some of the convention’s other attractions that are packed behind those doors: tabletop gaming (role-playing and strategy games are both well-represented); vintage video games (Super Mario, Donkey Kong and Goldeneye 64 were favorites); halls full of exhibitors demo-ing games or showing off wares for cosplayers and collectors; hand-made crafts up for silent auction and much more.

Further down the hall are some of the conven-

tion’s featured guests. Headlining this year’s event was Robert Picardo, better known to attendees as the doctor from Star Trek: Voyager or Richard Woolsey from Stargate, and he hosted a meetand-greet with fans on Friday night. Other guests included voice actor Chuck Huber — veteran of more than a dozen popular anime shows — who gleefully interacted with fans and sent them home with voicemail messages done in character. Elizabeth Moon, Peter Pixie, Rachel Caine and Selina Rosen among many others were also in attendance.

Between the numerous guests, plentiful activities and unexpected surprises around every corner, there was more than enough to hold your attention if you were just a casual attendee. Wandering around the halls was enough to keep you busy for hours, but there was even more to do if you knew what to look for.

Workshops and presentations from topics covering everything from artist workshops to cosplaying to local groups to 3D-printing, attendees always had something to hold their attention.

All that was inside the event hall. A walk out the doors into the bright June sun yielded even more activities, and plenty of bright colors.

Outdoor games ranged from a fanciful game of Quidditch (the ever-popular sport in Harry Potter that has been adopted at conventions and college campuses across the world), a human version of Hungry, Hungry Hippos, and Nerf wars that included Capture the Flag and Humans vs. Zombies.

It was a mammoth spectacle, and one that wouldn’t have been possible if not for the work of the dedicated staff of SoonerCon, who have worked since 1986 to host the Oklahoma tradition.

One of those people was Phillip Grimes, who helps to manage outreach for the convention.

Of course, with a homegrown convention like SoonerCon, everyone has to pitch in, and that’s how Grimes found himself scouring thrift stores for months before the convention to secure as many Nerf weapons as possible for the events that proved hugely popular with both children and adults.

“We had 135 guests this year, and attendance was great,” he explained (while simultaneously helping to reload Nerf darts for the horde of kids enjoying the convention).

The feedback has been good, and we’ve had a lot of fun this year.”

If the rousing success of SoonerCon’s 24th event is any indication, Grimes’ ammo-reloading skills won’t be going anywhere in the future.

Plans are already underway for the 2016 iteration of the convention, and early signs indicate it’s going to be better than ever.

Even the Borg are invited back.

Above: The full spread of fantasy board games were on hand for board game fanatics at SoonerCon 24.

Below: Nathan Pan, who came all the way from Cleveland, Tennessee for the event.

Corbin Hosler / NTown

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Opening Reception Noble Laundry Paintings John Brandenburg Friday, July 10, 6:00pm Poetry Reading Nathan Brown Sunday, July 12, 2:00pm Summer Breeze Concert North Meets South Lions Park Sunday, July 12, 7:30pm Summer Breeze Concert Adam & Kizzie Lions Park Sunday, July 26, 7:30pm Summer Breeze Concert Tequila Azul Lions Park Sunday, Aug 9, 7:30pm Brought to you in part by:

The Depot - 200 S Jones Avenue (405) 307-9320 www.normandepot.org @thenormandepot

NTown’s Top 10 events for the rest of of July

facebook.com/pasnorman

• 2nd Friday Art Walk

When: July 10 Where: Downtown Main Street A monthly collaboration between artists, art organizations, and business, brought to you by the Norman Arts Council. Whether you like dance, painting, photography or music, there will be something for you to see and hear during the 2nd Friday of this month in Norman.

All events are free and open to the public from 6 p.m. until at least 9 p.m. A map and a participating venues list are available at 2ndfridaynorman.com.

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• Summer Breeze Concert Series: North Meets South • Gilbert and Sullivan’s “Pirates of Penzance” When: 7:30 to 9 p.m., July 12 When: July 10-12 Where: Lions Park Where: Nancy O’Brian Center

• Head-to-Head: Brains and Brews When: 7 to 8 p.m., July 17 Where: Sandy Bell Gallery, Fine Arts Center

North Meets South is original (vocals) and John Johnson home-brewed Americana music (guitar). made in Oklahoma, the combined creative vision of husband and wife duo, Joie Sherman Johnson

“Pirates of Penzance” is one of Gilbert and Sullivan’s most well-loved operettas. An absolutely tongue-in-cheek satire of Victorian privilege and

• An evening of trivia and Oklahoma brews in conjunction with A World Unconquered:The Art of Oscar Brousse Jacobson.

Along with two flights of local

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• Outback Goat Show When: 9 a.m., July 19 Where: Cleveland County Fairgrounds If you’re into goats, or just want to see something wildly different, the Outback Goat Show might be what you’re looking for. Fulfill

your fascination with everything goat at the Cleveland County Fairgrounds. For more information visit clevelandcountyfair.org.

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• Movies in the Park: Big Hero 6 When: 7:30 p.m., July 24 Where: Andrews Park Chick-Fil-A and Norman Parks and Recreation will be hosting a magical event you won’t want to miss! Bring your entire family and enjoy Chick-fil-A Family Movie Night at the Andrews Park

Amphitheater for “Big Hero 6.”

This event is free and open to the public, all are welcome.

Movie will start at dusk. Food and refreshments will be available for purchase.

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duty, performed the way it was intended to be.Tickets can be purchased at cimarronopera.org or by calling the box office at 405-364-8962.

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beer, pub-style appetizers will be provided for participants. Prizes will be awarded to the winning team, as well as the losing team.

For information, call 405-325-2297.

• Norman Farm Market When: 8 a.m. to noon, July 18 Where: Cleveland County Fairgrounds

• Norman Philharmonic Premiere Party When: 3 p.m., July 19 Where: Mainsite Contemporary Art

Taking place every Saturday from the first Saturday of April through the last Saturday of October, the farm market is open from 8 a.m. to noon.

There will be a free Premiere Party at 3 p.m., July 19 at Mainsite where the new band, the finalized schedule and the Norman Philharmonic’s first

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See more at visitnorman.com/ events/norman-farm-market-52015-07-18/#sthash.S80RwaQx. dpuf.

• Summer Breeze Concert Series: Adam and Kizzie When: 7:30 p.m.

Where: Lions Park 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

JULY 10-12

executive director will be introduced.

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absolute best.To claim their albums are either R&B, soul, jazz, or hip hop forms of musical art would be grossly limiting.

7.10.15

• “In the Heights” When: July 30-Aug. 2 Where: Sooner Theatre “In the Heights” tells the universal story of a vibrant community in New York’s Washington Heights neighborhood – a place where the coffee from the corner bodega is light and sweet, the windows are always open and the breeze carries the rhythm

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of three generations of music.

It’s a community on the brink of change, full of hopes, dreams and pressures, where the biggest struggles can be deciding which traditions you take with you, and which ones you leave behind.

Our TradiTiOn is ExcEllEncE. Our PassiOn is GrOwinG. 408 N. 2nd St. • NOBLE • 872-3216 OPEN M-F 8-5:00 • SAT 8-12:00

CAUGHT on camera

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7.10.15

Independence Day fireworks show at Reaves Park — Photos by Kyle Phillips Below: A man lights sparklers as he waits for the Independence Day fireworks show at Reaves Park.

Right/Bottom: Fireworks explode over Reaves Park, Saturday, July 4, as the City of Norman celebrates Independence Day.

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Everrett Brown prepares to launch a water balloon during the Norman Day Celebration, Saturday, July 4 at Reaves Park.

7.10.15

Willie Luckett competes in a hotdog eating contest during the Norman Day Festival.

Masey Reynolds slides down an inflatable slide during the Norman Day.

Just Sayin’

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7.10.15

Rolling with the bulls Stones: (from page 15) The Rolling Stones came back to Oklahoma April 10, 1999 on the No Security Tour. It was in Oklahoma City’s Myriad Arena. Young blues guitarist Jonny Lang started the show.

I attended with our 16 year old kid Ricky who was a budding rock rhythm section player. Ricky’s generation wasn’t necessarily enthralled by the Rolling Stones.

To many of that age they were dinosaurs well past their prime. The Stones turned in a typically stellar

performance. As we walked back to the Pontiac Grand Prix, Ricky provided a sincere albeit somewhat unexpected opinion. “Dad, they were so good. Thank you so much for taking me.”

2015 found the Rolling Stones as vibrant as they ever have been. That’s a good thing considering their ticket prices have increased ten-fold since 1981. Mick Jagger put the decades into perspective with a mid-set introduction for the R&B standard “Kansas City.” “We started our shows

with this song when we were playing little blues clubs in 1963,” he said.

Young British pop singer/ songwriter Ed Sheeran had come on before the Stones. He performed solo, playing guitar.

The Stones brought Sheeran back on stage later to play “Beast of Burden” with them. Was it possible that these 70-somethings could still breathe fire into “Jumping Jack Flash” and “Sympathy for the Devil”? Yes. And with an energy and panache that never flagged during two hour set.

Jagger let back-up vocalist Lisa Fischer steal “Gimme Shelter” with her incendiary solo. Twenty-four members of the University of Missouri-Kansas City Chamber Choir helped bring down the stadium on encore “You Can’t Always Get What You Want.” It was a memorable performance. The Rolling Stones seem to have found ways to make rock n roll time stand still and millions of fans are still liking it.

——— email doug at hillreviews@gmail.com

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