July 2014 by The Norman Transcript

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July 11, 2014

what’s

SIDE

Ads you’ll never see again

Capturing SoonerCon

SPAMALOT! on stage

Shrek sings into Sooner Theatre

4 From the editor Top 10 Social 26 Calendar Homecoming 5 for Vince Gill 2nd Friday Q&A with 8 Charlie Hunter 28 Art Events Book & Music 11 Reviews Hidden gems 12 on Netflix

7.11.14

Dustin Cooper masters a game of Dungeons & Dragons during SoonerCon 23 in Midwest City. Photo by Jay Chilton

from the editor’s desk

ello Norman,

As the new entertainment editor at The Norman Transcript, I’d like to introduce myself. I’m an 11-year Norman resident, a University of Oklahoma alumnus, writer, musician, art-loving, theater-going insomniac. I’ve worked on The Transcript desk for three years and prior to that spent my days and nights playing music and teaching.

Though I hail from Fort Worth, Texas, I got here as fast as I could and have loved this town, its community and culture from the downbeat. 7.11.14

I’ve traveled the country, spent time abroad and can think of no other place I’d rather be.

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staff

From the mezzanine of the Sooner Theatre to Norman’s favorite livemusic dives, the fresh-cut grass of Lions Park and art walks on cool summer evenings, I’ve been there.

edition predates Oklahoma’s statehood ... by eighteen years. That’s a lot of ink.

Now, I get to share it, and there’s no word that does justice to how excited and thankful I am.

As it turns out, one of the paper’s first owners and publishers was a man by the name of J.J. Burke. Coincidence or destiny?

I drew a good first hand too, as Sunday marks The Transcript’s 125th anniversary. In the spirit of the moment, we’ll be taking a look back in time at ads you’ll (probably) never see again. While I was digging through the morgue, (newspaper speak for archives) I couldn’t help but marvel at how much the world changed in those pages. The

Transcript’s

Cover Design Anthony Kimball

Production Manager Rob Rasor

Executive Editor Andy Rieger

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

Writers Mack Burke Doug Hill Mary Newport Katherine Parker Scott Strandberg

Layout Artist Mack Burke

Hard to say really, but I’ll take it as a sign that I’m right where I belong. Even though I’m the “new guy” it certainly doesn’t feel like it. It feels like home.

— Mack Burke

first

Publisher Mark Millsap

Editor Mack Burke

Then, I really found something.

Photographers Kyle Phillips Jay Chilton Mack Burke

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 mburke@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.

Homecoming Norman native Vince Gill makes his way back to Riverwind Casino By Doug Hill

Vince Gill Photo Provided

Vince Gill was born in Norman in 1957. The country music star is coming back home for a show at Riverwind July 18. Tickets for the performance are sold out. “I do consider Norman home although I don’t consciously remember it because of leaving there when I was four years old,” Gill said in a telephone interview with the Transcript. “I feel like I know it because of old family pictures. They tell the story and I know I lived on McKinley Avenue. I’ve been by the house and used to go feed the ducks down there and go to the ballgames.” Gill’s family moved to Oklahoma City where he began kindergarten. His father went to law school at the University of Oklahoma and had a milk delivery route to pay the bills. “My mom took in kids and fixed hair,” Gill said. “Those are my memories of Norman.” His earliest musical recollection is of his grandmother playing “How Great Thou Art” on the piano and later his dad taking him to a Chet Atkins concert. “The first concert I went to by myself was Paul Revere and the Raiders,” Gill said. Gill played in a few bands around central Oklahoma in his youth but his big time career is most closely associated with Nashville. Throughout he’s always had a passion for working with other artists from these parts including Reba McEntire who recorded “Oklahoma Swing” with him in 1990. He agreed that it’s a good question why so many talented musicians call Okla-

homa home. “I don’t even know,” Gill said. “It’s such a central place that’s commonsense and matter-of-fact with traditions that aren’t really southern or northern either one. It was Indian Territory and people scratched their life out of the dirt. It’s tough and fair with really nice people.” Around 1991 his musical virtuosity attracted the unlikely attention of British band Dire Straits who asked him to join them. They were one of 5 the most commercially successful combos of the era. Gill declined and instead kept recording one platinum album after another. “You really are the result of all the choices you make in life,” he said. “I’d probably be nowhere near where I am today because I chose to say no. I didn’t want to give up on myself and taking that job felt like 7.11.14 failure to me as a country music artist after seven years of making records. Everything told me that I was good enough and that if I walked away from it I may never come back.” Gill referred to Dire Straits’ founder Mark Knopfler as one of the greatest musicians of our time. “I think he just liked the way I played and sang,” Gill said. “It was a great compliment and Mark and I are tremendous friends. We’ve worked on several records together over the years. I didn’t lose out on anything because I did get to make a great friend.” Gill went on to a stellar solo career. “I still like everything that I’m doing these days,” Gill said. “I’m still See Homecoming, Page 6

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Vince Gill Photo Provided

Homecoming: upright and don’t really associate my work with radio charts or let that define me like it may have for a time in my career.” He believes his music and playing are the best they’ve ever been. “That feels like progress,” Gill said. “And that feel good because I’m getting better at what I’m doing.” Gill’s most recent release is titled “Bakersfield” (2013). It’s named after

the small city in California that has a special resonance with Okies. “I had the Oklahoma connection in mind when I made ‘Bakersfield,’” Gill said. “You have to give the Okie mindset a lot of credit for all that music that went on out there. Those weren’t necessarily all California people. Buck Owens and Merle Haggard were both Oklahoma and Texas folks. A whole lot of them migrated from our part of the world.”

The Bakersfield sound was distinguished by its rough edges over the more polished strains coming out of Nashville. “Merle taught me the Nashville style was more born out of the church with the Carter family and people like that,” Gill said. “Bakersfield music was more born out of beer joints and the honky tonk lifestyle.” “At Riverwind we’re going to play what we know,” Gill said. “I’m going to be singing some of those same

songs I’ve been singing for 25 years. I pick a handful out that I think we need to play and people want to hear. I have a killer band right now. I’m a lucky man because I get to travel and play with such wonderful people.” You’ll be lucky to find a ticket. It’s not a stretch to believe that Riverwind tickets for Gill’s sold-out hometown show are being scalped at a premium this very minute.

Q 8

Last month, Jazz in June welcomed guitarist Charlie Hunter and drummer Scott Amendola to Norman for a two-man show that treated music fans to new takes on old and new tunes from the likes of The Cars, Lorde and John Lennon. Hunter’s unique playing style is married to a guitar-bass hybrid that allows him to hold down rhythm and melody. The result: A sound so big that you could hardly believe it was just two people. NTown caught up with the duo before its closing set on June 20 at Brookhaven Village. Here’s what they had to say:

with Charlie Hunter and Scott Amendola by Mack Burke

Berkley, Calif. I was a street musician in Paris, but I live in (New) Jersey. I lived in New York for the last 20 years, in that area. So, that’s my home, but I spent a lot of time as a street musician in Europe. I lived over there for about three years. If you’re a musician you’re going to be moving around a lot I think. Some don’t. Some stay in one place, but you know I was always moving around.

Hammond (organ) players ....

NTown: Trying new things and seeing new things?

Hunter: I have a duo record coming out with myself and a singer called Dionne Farris who was a singer in a hip-hop group called Arrested Development back in the early 90s. She’s a very good singer and I have this group called Omaha Diner. It’s myself, Bobby Previte, Steven Bernstein and Skerik. We only play songs that were No.1 hits. That’s the schtick. That’s all we play. It had to be No.1 or we don’t play it.

Hunter: Yeah. Exactly NTown: What lead you to this style? Hunter: I was in my mid-20s and it just slowly happened. Listening to a lot of Joe Pass, a lot of Tuck Andress a lot of bass players. You know, I played a lot of bass. I played a lot of drums. I really liked 7.11.14 Hammond organ players. So, it kind of all added up into this instrument. NTown: A lot of jazz guys seem to stay in one area. You seem to be touring all over the place ... Hunter: Yeah. I guess I don’t know if I consider myself a jazz guy. I mean not like that’s a bad thing. That’s great, but I’m just a music guy. I just play guitar and do what I do, so I have this weird little niche that I occupy and I’ve always been really into American music and that’s what I do. Everything I do has the blues or R&B or country or gospel — some aspect of American music and jazz is one of those things. I just tour the states all the time and I always have since I was young. And I like doing that, so, I guess it’s just the niche I’ve found for myself. NTown: I looked you up and found that you were born in Rhode Island, lived in California and Paris. Where are you really from? Hunter: Well I grew up in northern California —

NTown: What was that like — playing on the streets — living that life? The best piece of career musician advice I ever heard was as a musician you’ve got to think of yourself as a small business. You’re on the hook for everything ... Hunter: Yeah, you’ve just got to make sure you keep track of everything. You do have to do it all yourself. NTown: So, during that period, creating the style you’ve created, is it all tied together? Hunter: Yeah. For sure. If you want to be a musician, you don’t really have a choice. It’s just something you have to do and then you have to figure out a way to make it as not difficult on yourself as you can. But it’s different. Nobody would choose this life. It chooses you. You don’t really choose it, but I love it though. I get to meet all the coolest and most interesting people across all these borders culturally. You know, you’re not going to die with the most money, but you will certainly have great mind, eye and soul opening experiences. NTown: What are some other influences that have bounced around in your head? You mentioned

Hunter: Sure. Oh, so many. I spent a lot of time listening to Big John Patton and Jimmy Smith and all that stuff and Larry Young and I thought about how I can do some of this for myself. NTown: What’s next for you?

NTown: What do you think of the state of music now, in a holistic sense? I know that’s kind of an impossible question ... The fact that we have such instant access to all kinds of music, will that result in a new explosion of styles? Probably when you were crafting your style of music, you had to seek it out. It didn’t just fall in your inbox. Hunter: Yeah, You know it doesn’t and that’s a good way of putting it. But, you know, I really think you need a community aspect, with people who are not musicians that are part of the community of music making. If you don’t have that cultural component, I think it’s very difficult to do anything that has staying power. Not to say that it isn’t high art or anything, but if you don’t have an audience for your music, then it’s just going to disappear. If you have something that speaks to people, it doesn’t matter. If it speaks to people, then it will work.

Scott Amendola (left) and Charlie Hunter (right) perform during Jazz in June in Norman / Photo by Mack Burke

Hunter: I would. I still do. Even when I’m hurting I do, which probably isn’t the best thing, but you’ve 7.11.14 got to like it. So, it’s easy for me because I enjoy it. I’m always working on problems and figuring out problems. That’s the goal. It’s always perpetual progress, no matter how small.

Hunter: We just love playing. We expect to have a good time. I don’t see why we wouldn’t.

with that. It’s just part of the journey. It might not be ‘cool’ to be a polka master. It might not be cool to you or your friends, but if that’s who you are, that’s what you have to do. Then you’ll be bringing the most you can.

NTown: The best musicians make it look easy. Is there a happy medium between effort and feel?

NTown: What would your advice be to young musicians trying to find their style?

Hunter: Well, you’re trying hard in terms of when you’re practicing. You’re always trying hard there, but when it comes time to play, it should really just be an expression of who you honestly are, because that’s what the people want to hear. They want to have that story and they want to be a part of that story. So, if you’re trying really, really hard it’s just going to be frustrating for you and frustrating for them, when you’re playing. But I think when you’re practicing you should try hard and ultimately it’s all about figuring out who you are and what story you want to tell, honestly. Sometimes it can be things you don’t want them to be, but that’s just too bad. You’ve got to come to terms

Hunter: Just play with people who are your peers and people who are better than you and for audiences, especially audiences that are not comprised of musicians.

Hunter: Nope. You can never win. You can get comfortable, but it’s always got an answer for you.

NTown: Why so?

Hunter: I don’t know if it’s that smooth. It’s getting smoother. You know the parameters within which you can operate and you operate there and you just always try to take the shortest distance between two points, the smoothest path. Then you start realizing the less (stuff) I play the better it sounds anyway, so you start to say ‘let’s make this smoother, rather than more.’ And occasionally if you do go crazy it’s exciting.

NTown: As for Jazz in June, what do you expect?

Hunter: Because, if you’re always playing for musicians, you’re always going to be playing stuff that other musicians want to hear, which is not necessarily what people want to hear. NTown: And probably practice every day?

NTown: Can you ever conquer music?

NTown: How do you play so smoothly?

See Q&A, Page 10

Scott Amendola (left) and Charlie Hunter (right) sound check before their performance at Jazz in June in Norman.

Q&A: NTown: What’s your experience been like playing 7.11.14 with Charlie Hunter? Amendola: It’s been over 20 years. It’s hard to put it into words. When I lived in San Francisco there were jam sessions. I went to this one jam session ... this one particular morning Charlie called me, because the drummer in his trio was in more than one band and he had double booked. So, Charlie called me and we had a funny conversation and I remember it was July 3, 1993. It’s really funny. One of those things, you know. I went to the Paradise Lounge. I’d been living in San Francisco for about a year and I had heard a lot about Charlie and I was reading about him. There was a huge amount of press and people were saying ‘you’ve got to play with him.’ So, yeah, I showed up. It was a room packed full of people and it was great. Like, wow. That was it. After that we started playing duo and we instantly had a connection. There was a commonality. NTown: Where you looking for a gig like that?

Amendola: I had a thing for guitar and when I moved to California, my idea was to meet a really interesting guitar player. So, I mean, they don’t get much more interesting than what Charlie’s doing. I mean, I get to play with a lot of great guitar players: Charlie, Nels Cline, Jeff Parker, Bill Frisell and even (John) Scofield a little bit. So, I love the guitar and Charlie is truly unique. He’s got this incredibly deep, deep groovin’ pocket, but he’s coming from this really deep place that I can relate to from growing up with my grandfather who was a guitar player who started out in the 30s. So, yeah, it’s amazing. We’ve got this intuitive sense and I’ve learned a tremendous amount from playing with him. NTown: Did you guys feel that connection the first time you played? Amendola: We spent years on the road together and the thing is, that first night was something special. You don’t get that a lot. You hope for that. For me as someone who aspires to that ... you work hard and you have those dreams growing up. You have that dream of connecting with people, but ultimately for

Photo by Mack Burke

me it was about meeting peers and someone I can really connect with, so I have that. There’s definitely a group of musicians I feel deeply connected with and Charlie’s at the top of the list. As you get older, you appreciate it more. We spent some time apart. Charlie moved to New York and I stayed in the Bay area, always friends, talking, but then when we came back to it, it’s always gotten better. NTown: So, when you guys reconnected it was like not a day had passed? Amendola: Yeah, it’s really funny. We finished a tour, I think it was last December. It was a really good show. We were both like ‘yeah, that was great. Man, we’re finally getting good. Man, I’ve got to go practice.’ You know, we’re both trying to get better. It’s cool. That’s what you hope for. You just want to be inspired and keep moving and growing.

reviews books

by Mary Newport Book: Divergent Author: Veronica Roth Veronica Roth’s hit novel, “Divergent,” whirls readers into a dystopian society segregated by personalty traits. Members must define themselves as honest, selfless, brave, peaceful or intelligent. To lack a defining trait – or have more than one – is a death sentence. The premise is fetching, but diluted by the wash of teen dystopia works on the market. What makes it stand out is the take-charge protagonist, Tris. On the eve of picking her faction, Tris is torn between what she wants and what her family wants for her – but she isn’t the kind to sit around moaning about it. Where many main characters stumble into adventure or are pulled into conflict by greater forces, Tris is a vivid individual who pushes the action instead of waiting for it. She dives headfirst into her future, where secret plots, crazy stunts and near-death experiences are daily occurrences. Tris’s leap-before-looking attitude is an apt reflection of the book itself. The pace is fast and action-packed, with a refreshing lack of introspective moralizing. Roth leaves it to readers to weigh the merits of her characters’ actions; the characters themselves are too busy jumping onto trains, off buildings and into trouble. Roth also knows how to build a budding teen romance readers can root for. It fits into the action seamlessly, without being unnecessarily soppy or awkwardly sexy. Even better, it’s realistic – Tris doesn’t have every male in the book falling at her feet; she has romantic ups and downs like anyone else. The only downside to the constant action is that scenes that should be emotionally gripping feel a bit rushed, and Tris sometimes comes off as cold in the face of death. All in all, “Divergent” is a nail-biting, page-turning thrill in a neat, sub-500 page package. Read if: You like The Hunger Games, parkour and capture the flag. Don’t read if: You’re afraid of heights or teenagers.

by Mary Newport Book: “Alas, Babylon” (1959) Author: Harry Hart Frank The premise of Harry Hart Frank’s 1959 classic “Alas, Babylon” will be familiar to many readers. The dangerous powder keg of American-Russian relations finally ignites. Russia strikes with nuclear missiles, and in the space of an hour hundreds of American cities are burned from the face of the earth. Frank meant to give America a warning by painting a vivid picture of a holocaust too big to be imagined. He tried to show personal fear through the eyes of a small town that survives the first flames of war but slowly strangles in a world bereft of order. His work strikes deeper than he intended. “Alas, Babylon” is not a book about war but a book about people, one that transcends time and place to show how individuals break down or grow up as civilization crumbles to ash around them. Readers will recognize their friends, neighbors and selves as the citizens scrabble for food and security in a world where money and the rule of law mean nothing. The worst threat the town faces is not starvation, radiation or rampant disease -- it is each other. In the face of war, some men become dogs, which makes “Alas, Babylon” an uncomfortable read in more ways than one. The book is unflinching in its portrayal of racial tension and male attitudes toward women in the 1950s, lines that are sharply revealed as desperation strips away the civilized veneer. “Alas, Babylon” is raw, passionate and moving. It was one of the first post-apocalyptic novels about nuclear warfare, and decades later it’s still in print and on Amazon’s best-seller list. Anyone who reads it will see why. Read it if: You’ve ever wondered how war would affect you personally. Don’t read it if: You enjoy censored books.

music by Doug Hill Musician: Roberta Donnay and the Prohibition Band Album: A Little Sugar This is San Francisco vocalist Roberta Donnay’s homage to the blues and jazz musicians who came before her. It’s a delectable baker’s dozen songs by American heroes including Irving Berlin and Fats Waller written between 1897 and 1939. Donnay’s only original composition here written with Joel Evans titled “Empty Bed Blues” is from the new century. Her list of inspirations includes great singers such as Ma Rainey and Bessie Smith but also places including Chicago, Kansas City and her hometown Washington D.C. Donnay’s vocals are the album’s focus supported by an ensemble of men on piano, drums and brass wind instruments. The project is appropriately titled because her voice is sweetness to the ears throughout. She has a delicacy of tone and phrasing that’s seductively attractive. Donnay’s lilting tenderness on “Say It Isn’t So” is express check-in to heartbreak hotel. She displays a controlled quavering on the song’s last notes that’s remarkably poignant. Donnay’s arrangements with Sam Bevan breathe contemporary pizzazz into some true chestnuts including the rarely heard “Rocking Chair” and “You’ve Been a Good Ole Wagon.” Swinging tunes, such as “One Monkey Don’t Stop No Show” and “Tropical Heatwave” find Donnay with her sassy pants on. On the later she concludes the song with an adorable diminutive scat passage. Donnay does saucy “I Want a Little Sugar in My Bowl” at a slowly torrid pace threatening to ignite whatever speakers it’s coming through. Her interpretation is a flirtatious lyrical invitation honoring the earthy vitality of blues and jazz early days. As my Kansas City granny would say, it’s hotter than love in August. Similarly “Empty Bed Blues” is pillow talk in song. The attentive instrumental solos frame Donnay’s dreamy vocal musings. There’s not a little sugar in this album, it’s a full, loving cup.

7.11.14 by Doug Hill Musician: Shawn Amos Album: The Reverend Shawn Amos Tells It Why you should listen: Why you should listen: Shawn Amos is preacher in the Church of What’s Happening Now. Rather than the kind who hollers against sin and sits down to chicken dinners, he’s the founder and CEO of the Freshwire media service based in L.A. He’s a recognized expert and TV talking head on the subject of businesses keeping it real in their messages to consumers. Those facts alone make Amos’ six song EP something of a curiosity. Happily he captures much of the danger, spontaneity and soul that have made the blues attractive for generations. The music recording was accomplished in one day with players on guitars, drums, Hammond B3 and back up vocalists. Amos is lead vocalist and blues harp ace. A couple of the tunes are his originals and the rest are gutbucket standards. Cover art depicts Amos as a mid-40s gentleman with killer sartorial style. He has a pair of two-tone yellow and cream leather shoes that would invite larceny in the Crescent City. Amos penned track 2 “(The Girl is) Heavy” and it’s massive. “She’s got two strong legs and one smart mouth/ she’s going move them hips and wear me out,” he sings with admiring fondness and respect for the mysterious forces of nature. Vocal chorus by Kim Yarbrough and Gia Ciambotti dovetail sweetly with Amos’ voice in this anthem to femininity. The not-so-right Reverend follows in a long line of bluesmen including Smokey Hogg, Muddy Waters and Buddy Guy recording a version of SonnyBoy Williamson’s 1937 “Good Morning Little Schoolgirl.” Amos’ lascivious version would require that little schoolgirl be at least sixteen years of age in most states or face the penitentiary. Elmore James’ “Something Inside of Me” showcases Amos’ vocal prowess and reverence for the genre. The Reverend Shawn Amos tells it and child, you best sit up straight and pay attention.

movies by Scott Strandberg

Hidden gems on

“Our Idiot Brother” Impeccably cast and relentlessly good-natured, Our Idiot Brother is a charming comedy that balances its sweet disposition with plenty 12 of big laughs. Writer/director Jesse Peretz, a veteran of popular television comedies such as “New Girl,” “Nurse Jackie” and “Girls,” balances the screenplay’s playful nature with a realist streak that keeps it from straying into excessively saccharine territory. Paul Rudd (Anchorman) stars as Ned, an overly idealistic hippie who has never held a job. Ned isn’t 7.11.14 necessarily stupid, he’s just terribly naive, lacking even the most basic of street smarts — in the opening scene, he’s arrested for selling marijuana to a uniformed police officer. Once Ned gets out of jail, the film focuses on his impact on the lives of his three sisters: Natalie (Zooey Deschanel, “New Girl”), the impractical free-thinking hipster, Miranda (Elizabeth Banks, The Hunger Games), the workaholic Vanity Fair journalist, and Liz, the unhappy wife of a wealthy documentary filmmaker. Ned spends his time bouncing around between his sisters’ houses, unintentionally inserting himself into their personal lives. His presence creates turmoil for each woman that forces each to reevaluate her direction in life.

In this age of digital media, Netflix is entering nearly everyone’s homes. The streaming service is now a part of nearly 35 million American households, a number which is growing by the day. With that in mind, this column will serve to highlight films you may have overlooked on Netflix. Everyone sees the big ads for World War Z and Pain &

The tremendous supporting cast is a veritable who’s who of recent television stars. Both Rashida Jones and Adam Scott of “Parks and Recreation” play major roles as the love interests of Natalie and Miranda, respectively. Hugh Dancy (“Hannibal”) has a hilarious turn as a perverted artist who has a not-so-secret interest in Natalie. Out of all these terrific performances, it is Rudd and Deschanel who truly shine. Their comedic chemistry is undeniable, with Deschanel’s sarcasm playing effortlessly off Rudd’s over-the-top earnestness. The current trend in comedy is to coax laughs via gross-out humor, with outrageous excess used as a substitute for actual jokes. Our Idiot Brother does earn its R rating — there is some nudity and plenty of foul language -- but the film refuses to rely on those elements as crutches to generate laughs. The dialogue is crisp and witty, and the focus is on the characters rather than an unnecessarily cluttered plot. There’s nuance here, along with genuine cleverness and a gentleness rarely seen in modern comedy. In the end, Our Idiot Brother, at its heart, is a film about the importance of family. Ned is a nuisance for his sisters, but deep down, they all know that he wants nothing but the best for them, and would go to the ends of the earth to make them happy. It is quite difficult to craft a feel-good comedy without

Gain when they log in to the service, so I’ll recommend a film each week that may not pop up on the Netflix home screen. There won’t be any negative reviews here, just suggestions that could come in handy on that random Wednesday evening when nothing is on TV.

going overboard into melodrama or cliche, but Our Idiot Brother does so effortlessly. “Our Idiot Brother” is Rated R for sexual content including nudity, and for language throughout.

“Mud” Three years ago, Matthew McConaughey left the world of formulaic romantic comedies behind, and his performances in the 2011 films The Lincoln Lawyer and Killer Joe catapulted his career as a serious actor. Since then, he’s become one of Hollywood’s top leading men, with terrific turns in Dallas Buyers Club and The Wolf of Wall Street. Sandwiched in between McConaughey’s career renaissance and his current A-list status was a largely overlooked film called Mud. Writer/director Jeff Nichols, who made his name with the fascinating thriller Take Shelter, crafted a modern-day tall tale in Mud -- a sort of “Huckleberry Finn” for a new generation. Set in Arkansas, Mud is the story of two 14-year-old boys, Ellis and Neckbone, who encounter a mysterious outsider named Mud (McConaughey) living on an island in the river. Mud is a larger-than-life character, with seemingly endless tales of adventure and lost love, and the boys find themselves drawn in by his enigmatic charisma.

Mud claims to be on the run, although he tends to dance around questions regarding who he’s hiding from and why. He tells stories of his soul mate, a woman named Juniper (Reese Witherspoon), his on-again, off-again girlfriend since childhood. The question for the boys, as well as the viewer, is how much truth there is in Mud’s claims. His tales get more and more outlandish, but Juniper’s arrival in town convinces Ellis and Neckbone that Mud’s stories are the real deal. McConaughey’s hypnotic performance anchors the film, but the contributions of youngsters Tye Sheridan and Jacob Lofland, as Ellis and Neckbone, are every bit as crucial. Both are eminently believable and realistic; they never get annoying, or have an ‘off’ moment, which is a rarity for actors so young. Sheridan in particular could be a breakout star, as his portrayal of Ellis is tremendously sympathetic and authentic, giving him a ‘wise beyond his years’ quality. Witherspoon plays completely against type as Juniper -- her surprisingly restrained performance is worlds apart from her usual bubbly on-screen personality. The cinematography is another major calling card for Mud, as the Arkansas landscape looks positively otherworldly at times. Mud is the perfect blueprint for a modern-day coming-of-age story. See Movies, Page 30

S U N D AY

TOWN

Blast from the past Ads you’ll never see By Mack Burke

7.11.14

hey don’t make ‘em like they used to. When it comes to advertising, that’s probably a good thing. There was a time when advertisers could make all sorts of wild claims without delivering on their promises. Now, of course, that’s not the case. Ads are the gold standard of trustworthiness ... O.K., well that’s not true, but at least advertisers are inclined to stay somewhat honest, if only to avoid a lawsuit. Over the last 125 years the national culture has changed dramatically and the ads have evolved

to meet consumers’ demands and sense of good taste. Advertisers will always hunt for your attention and the money that follows. Some things never change, but ads are a decent reflection of the society that spawned them. With that in mind, let’s step back in time for a lightheared look at ads that would never fly today. OU journalism professor Fred Beard, author of “Huwemor in the Advertising Business: Theory, Practice, and Wit,” offered his take on a collection of ads taken from the archives of The Norman Transcript.

{Published in 1906}

{Published in 1945}

... again

{Published in 1906}

{Published in 1944}

Dr. Fred Beard: A 1906 edition of the paper offers three examples of patent medicine ads, including this one for Doan’s Kidney Pills. It’s difficult to exaggerate the importance of patent medicine advertising in the history of advertising.,” Beard said. From the 1870s to the 1920s, more money was spent on patent medicine advertising than any other product category. People had legitimate reasons for using patent medicines. Doctors were often few and far between (and often poorly trained) and many patent medicines did, in fact, make people feel better. Eighty proof will do that for you. It would be easy to write an entire

book about the history of patent medicine advertising. Handbills for quack nostrums were among those first circulated in the streets of London in the 1500s. I actually don’t know how common this nondisplay format was back in the early 20th century. I suspect the publisher and editors of The Transcript wouldn’t allow it today. The other two ads are more typical for patent medicine ads of this time period. Ads for these types of products seem especially odd to us today but what passed for healthcare back then was very different. Doctors were often scarce and poorly trained, especially in rural areas and small towns. People had to treat

their ailments as best they could, which explains the ubiquity of patent medicines. It’s easy to conclude that people in the past were especially gullible when it comes to patent medicines. But before we’re too hard on them, it’s worth considering that “Doan’s Backache Pills” (Extra Strength) are still available today on Amazon.com. In addition, we were recently treated to the spectacle of Dr. Oz testifying before Congress regarding his alleged role in helping to hawk miracle diet pills and cure-alls.

{Published in 1906}

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Dr. Fred Beard: {Larsh & Waggoner, 1906} These proprietors knew something about effective newspaper advertising. What reader could ignore the compelling headline, short copy and emphasis on low price. Local advertisers during this period often used a lot of white space to attract attention, partly because their visual options were very limited. How successful they were with the “Undertakers Goods” is another issue.

Dr. Fred Beard: {Chesterfield, 1964} The Chesterfield ad from 1964 is a great example of both a cigarette ad and the testimonial tactic. Advertising, of course, has a long history with tobacco overall and cigarettes, in particular. The first display ad for tobacco ran in the New York Daily Advertiser in 1789. In 1964, the year this Chesterfield ad ran, more than forty percent of adults were smokers and that was the year the U.S. Surgeon General released the first report on cigarette smoking. Obviously, society’s attitudes regarding cigarettes have changed a great deal since then and we’ll never again see cigarette ads in many media outlets, although cigarette marketers still spend a lot of advertising dollars in magazines and outdoor. The testimonial tactic also has a long history in cigarette advertising. They were extremely common in the 1920s.

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Dr. Fred Beard: {Livestock ads, 1906} Mr. Rhoades probably had the right idea advertising his horse for stud service and apparently a lot of confidence in his horse ($15 to “insure colt”). While it may seem a little odd to us that someone would advertise a stud service, ranching and farming were tremendously important in places like Oklahoma in 1906. Of course, this also explains Mr. McDaniel’s ad for “Young Henry.” And the “Merit Egg Mash” ad in 1945 (previous page).

Dr. Fred Beard: {Marlboro, 1974} The 1974 Marlboro ad featuring the iconic “Marlboro Man” really captures what was happening by then in regards to cigarette consumption and advertising. By then, cigarette ads had been banned from the broadcast media and tobacco marketers had lots of money to spend everywhere else, which helps explain this large-space ad. The 1970s also saw all the tobacco marketers introduce low-tar versions of their brands, like the Marlboro Lights.

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Dr. Fred Beard: {Gordon’s Specialty Co., 1964} The emphasis on “family” and “the homemaker” that we see in the 1964 ads for The Transcript and the GE kitchen range is quite consistent with both the 1950s and the 1960s. The family unit was much more central to most people’s

{Published in 1906}

lives than it is today and gender roles were much more rigid and well defined. By the end of the 1970s, the image of a pretty, perfectly coiffed and fashionably dressed homemaker, like we see in the kitchen appliance ad would certainly lack the appeal that it had in the 1960s.

{Motorola, 1994} While cell phones are ubiquitous now, not long ago they were luxury items — Huge, cumbersome luxury items. “Car phones” probably won’t be making a comeback, but these clunking goliaths paved the way for the world of constant contact we live in today.

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{Zenith, 1964} A solid state color TV might not be much to brag about today, but in 1964 it was worth the asking price of nearly $600. Technology changes, but the message here is a familiar one: You need a new TV.

CAUGHT on camera

S SoonerCon C Saturday, June 27 at Reed Conference Center in Midwest City Photos by Jay Chilton

Elijah Weber is transformed into an orc by makeup artist Jenna Green.

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Darth Vader makes an appearance during SoonerCon 23 in Midwest City.

Makeup artist Nate Bright transforms Ben Weber, right, into a warewolf.

A shopkeeper hawks his wares.

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A costume-clad shopkeeper sets up during SoonerCon 23. Krystal Willis serves as captain aboard the USS Grissom for Starbase Studios.

CAUGHT on camera

S SoonerCon C Saturday, June 27 at Reed Conference Center in Midwest City Photos by Jay Chilton

From left to right: Catapillar shows his costume during SoonerCon 23 in Midwest City. Award-winning geek art on display during Sooner 23 in Midwest City, Phillip Stone shows oďŹ&#x20AC; his costume. Below: Beth Lockhart shows her costume during SoonerCon 23.

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Spamalot

Lyric Theatre of Oklahoma brings British humor classic to Civic Center Music Hall

by Kelly Rogers

Killer rabbits and dancing nights are just a few peculiar things you can expect to see on stage from Lyric Theatre of Oklahoma’s production of “MONTY PYTHON’S SPAMALOT.” Adapted from the film “Monty Python and the Holy Grail,” this comedic musical follows the Knights of the Round Table on their journey to find the infamous Holy Grail. Catch this show at the Civic Center Music Hall, running July 22 through July 26, for a night full of laughter. “Monty Python sketch comedy is one of my 24 very favorites, so come ready for fun and leave all seriousness at home,” Meredith Inglesby, who will be seen as Lady of the Lake, said. “If you’re easily offended, just bring your sense of humor on full throttle.” Inglesby has also been seen on Broadway in DISNEY’S “Beauty and the Beast” and Disney’s “The Little Mermaid.” She described the show in just a few words: Hilarity and extreme silliness. If you think because you know the 1975 film, 7.11.14 you know the musical- think again. In an enchanted land with characters seeping out from shadow-y corners at every turn, even fans of the movie are in for hilarious surprises. Ashley Wells, Lyric’s associate artistic director, said the jokes new and old present an opportunity to get each punch line perfect. “I am going over things very carefully to make sure that I hit every joke just right,” she said. “It is hard to work on a show where a good majority of the audience is going to know a lot of the lines and just might say them with you.” Against the backdrop of a live stage and audience, once the curtains part, anything is free game. Wells said things don’t always go as planned, but that just adds character to the show as a whole. “Ah, live theatre! That’s what makes it so exciting,” Wells said. Steve Blanchard, who will be seen as King Arthur, said the show’s comedy can be broken down even further, as to what the audience can expect.

“They can expect 7.3 seconds of hilarious drama,” Blanchard said. “The rest is two hours, five minutes, 23 seconds of serious comedy.” Blanchard said his love for castles also plays into his personal interest in the show. Blanchard has spent two years acting on Lyric’s stage, in addition to his Broadway roles, in “Beauty and the Beast,” “Camelot” and Phantom of the Opera,” among others. The cast ranges from acting students to veteran Broadway stars. With a cast diverse in experience, Wells said it can be a real treat to see the growth in students involved in a professional show. SPAMALOT’S cast includes six OU students as well as many local professionals.

“It is always a joy to watch the students learning from the professionals and having our professionals blown away by the talented students we have in Oklahoma,” Wells said. She has previously directed”The Odd Couple,” “Sweet Charity and “Some Enchanted Evening” at Lyric. Tickets are now on sale, beginning at $35. Visit Lyric’s box office at 1727 NW 16th Street, call 5249312 or visit LyricTheatreOKC.com to purchase tickets. Performances will be held Tuesday through Thursday at 7:30 p.m., Friday and Saturday at 8 p.m., and Saturday at 2 p.m.

OGRE THE TOP ‘Shrek The Musical’ brings magic to the stage 25 by Katherine Parker

ooner Theatre’s “Shrek The Musical” may make a ‘believer’ out of theatre skeptics yet. Based on the Oscar-winning DreamWorks film, Shrek the Musical will bring the hilarious story of an ogre, donkey and princess to the stage. When Shrek is sent to rescue Princess Fiona, shenanigans, villainy and love ensue in this mixed-up fairy tale that’s a happy ever after for all audiences. With a fantastical set, songs like “I’m a Believer” and “This Is Our Story” are hysterical as well as heartfelt. Jake Musgrove, a Norman North High School sophomore, will play Papa Bear and Thelonious. He said even though he doesn’t have a large part in the production, he is happy to spend time with friends in the theatre. “A lot of my friends graduated and this will be their last show, so it’s great to spend time with them and share that.” Eaton York, who recently graduated from Norman High School and will attend Ball State University this fall for musical theatre, said he is thrilled to play the villain Lord Farquaad. “I feel like I somewhat connect with his sassy personality,” York said. “I like that he’s a big diva.

“In our last production, ‘Little Shop of Horrors’ I was the hero, Seymour, so it’s exciting to play the opposite of that.” York said the biggest challenge of playing Lord Farquaad is finding out what makes him tick and performing on his knees. “I have to play him on my knees for the entire play. That’ll be interesting,” he said. Chelsea Thiessen, junior from Norman High School, will play the Gingerbread Man. She said she is looking forward to her scene with Lord Farquaad when the Gingerbread Man looses his legs and gumdrops. “We’re friends. We have good chemistry, a good connection,” she explained. “It will be a really funny scene.” All of the Shrek cast agree that the musical’s large, theatrical sets and costumes will be enjoyed by audiences. “It’s like the movie but better!” York said. “And the musical is very family-friendly,” Musgrove added. The musical’s director Chad Anderson said he couldn’t agree more with his performers. “The costumes are very involved, detailed and colorful,” he said. “And the characters are equally colorful. It may be a challenge to get the performers to reach those energy levels. “But I completely agree with the students that it’s better than the movie. Musicals tell a story more thoroughly because the songs are like an inner dialogue. We say, ‘words alone don’t

do the trick.’” Anderson earned his degree in vocal music at Oklahoma Christian University then his masters in vocal at Oklahoma City University. He has taught high school and college for 10 years and recently earned his MFA at the University of Oklahoma. Shrek the Musical will be his second production at Sooner Theatre, previously directing 2012’s Man of La Mancha. “It’s a fall down funny show, but also very touching,” Anderson said. “It includes important messages like beauty is on the inside and that you should be yourself.” The special effects and costuming for Sooner Theatre’s Shrek the Musical have been provided by an Allied Arts grant and crowd source funding from power2give.org. The production is rated PG and recommended for children 7 years or older. Shrek the Musical will run July 31 through August 3 at the Sooner Theatre. Tickets are available for $10 and can be purchased online at soonertheatre.org, in person at the box office or by phone at 321-9600. The Sooner Theatre is located in historic downtown Norman, 227 E Main St., and offers classes throughout the year in musical theatre, private voice, acting, show troupe, dance, improv and more as well as hosts summer camps. For more information about the theatre, auditions, or future productions, visit soonertheatre.org.

A cast of fresh faces Sooner Theatre’s fairy tale cast features eighth grade through high school graduates. Come see your favorite ogre, knight or villian, including: Emma Adams, Kylie Anderson, Jace Appling, Macy Boren, Morgan Breedlove, Maddison Breedlove, Riley Benson, 7.11.14 Jordan Bushore, Micah Caruso, Boston Cervantes, Rachel Chan, Katie Coggins, Ana Gabriela Cox-Fuenzalida, Maria Cecilia Cox-Fuenzalida, Dilia Dominguez, Maggie Gibson, Peter Gibson, Robert Gibson, Jackson Gifford, Tommy Graham, Hannah Grillot, Krista Henderson, Jaden Herbert, Hannah Hill, Emma Hochman, Alex Irwin, Owen Joyner, Nathan King, Sydney Lahodny, Alexis Lanzo, Claire LaReau, Brooke Lashar, Jacob Livesay, Bailey Churchill, Riley McGinnis, Maura McMurray, Ellen Melton, Lauren Kysela, Jake Musgrove, Erin Noble, Anna Carman Paden, Allison Pugh, Jessica Riley, Sarah Royse, Ashlea Stewart, Issac Reynolds, Chelsea Thiessen, Madelynne Wall, Anwen Wenger, Tony Wilkinson and Eaton York.

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.

Firehouse Art Center Faculty Showcase

1 26

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Through July 26 the Firehouse Art Center new work from a wide variety of talent be represented, including painting, fiber, Gallery will feature an exhibition of recent displayed in one location. Artists from stone carving, jewelry, sculpture, ceramics, work from its faculty members, unveiling each medium taught at the Firehouse will drawing, printmaking, glass and more.

Cimarron Opera presents “The Gondoliers” “The Gondoliers,” by Gilbert & Sullivan, is a story about the gondolier brothers in Venice who have just chosen their brides, while blindfolded, only to discover that one of the them, due to a mix up at birth, is the King of Barataria. Meanwhile,

the Duke of Plaza-Toro arrives in Venice with his wife and daughter, telling her that she was married in infancy to the King of Barataria.

This is Our Oklahoma Land by Kim Baker Kimberly Baker specializes in photographing Oklahoma landscapes.“This is Our Oklahoma Land”, a solo exhibit of her work, will be featured in The Depot Gallery from through August 29. Her work has been featured in the Oklahoma Capitol North Gallery, The

This show displays 12 quilts including a number of antique quilts from the Cleveland County Historical Society archives and runs throughout July 31. For more information visit normanmuseum.org.

Often experimental, Bierman has evolved over the past four decades into a more contemplative, though still lyrical writer. Influenced by the philosophy of Slavoj Zizek and poets like Charles Simic and John Berryman, what Bierman

Handicrafts Exhibition: The Art of the Quilt

A Night at the Museum Have you ever wondered what happens in the museum when the doors are locked and the lights go down? Explore and play in the museum with your family in a new way. You just may see something you’ve never seen before. The event is from 7:30

to 9:30 p.m., Friday, July 18 at the OU Sam Noble Museum of Natural History. For more information, visit snomnh. ou.edu.

Summer Breeze — John Arnold Band

Scenic Rivers Commission and in Oklahoma Today magazine and other tourism and travel guide publications. Receptions for the exhibit will take place on July 11 and August 8 and both are open to the public.Admission is free.

The John Arnold Band traces its roots to 1980 (when John was named Male Vocalist of the Year at the Oklahoma Opry).They quickly became very popular with Oklahoma audiences and played many of the state’s biggest venues. They’ve toured nationally with

Second Sunday Poetry – Larry Bierman

Vince Gill at Riverwind Casino

produces resonates intellectually while he writes to entertain. He will be reading from The Cardboard Door, his newly published poetry book from 2 to 4 p.m., Sunday, July 13 Admission is free.

MONTY PYTHON’S SPAMALOT For more information, visit You’ll be in stitches as okcciviccenter.com you watch the Knights of the Round Table go on the ultimate, comedic search for the Holy Grail. The show runs from July 22 through July 26 at Civic Center Music Hall, 201 N. Walker Ave. in Oklahoma City.

both Ricky Skaggs and Exile, and played such famous gigs as the National Finals Rodeo and in the Cotton Bowl Parade. The show is from 7:30 to 9 p.m., Sunday, July 13 at Lions Park.

Norman native, Vince Gill, returns at 8 p.m., Friday, July 18 with all of his hits and hand-picked favorites. For more information, visit riverwind.com.

Shrek The Musical Based on the Oscar winning DreamWorks film that started it all, brings this show brings the story of everyone’s favorite ogre to dazzling new life on the stage. The show runs from July 31 through Aug. 3 at Sooner Theatre.

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5 p.m. Ahimsa Yoga & Beads, 219 W. Main, is open for the art walk, offering a free commUNITY Meditation in its yoga studio at 8 p.m. along with gluten free cookies and punch. They will also be offering a Pre-Walk Slow Flow Yoga class at 5 p.m.

5:30 p.m. Firehouse Art Center, 444 S. Flood, features an exhibition of recent work from its faculty members. Mediums range from painting, fiber, printmaking and stone carving to 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., presents the work of featured artist Charlsey Studdard with a helping of treats and refreshments.

STASH, 412 E. Main St., debuts Self Analogous by Tanya Mattek, in which an instant camera was turned over to people who took their own photo for a twist on the ubiquitous selfie. Mattek runs the People in the Trenches social media sites. Big Truck Tacos will also be dishing out their Tex-Mex favorites out front.

7 p.m.

7:15 p.m. Gray Owl Coffee, 223 E. Gray

Michelangeloâ&#x20AC;&#x2122;s Coffee & Wine Bar, 207 E. Main St., features musician Peter Erickson from 7 to 9 p.m. to go along with a live painting demonstration by Charless Burnell and a book signing by author Bill Eckel. 7.11.14

7:15 p.m. Ball and Morse, 111 N. Peters Ave., is featuring Jay McMillen, an Oklahoma artist who specializes in 3D photography and paintings. They will be serving appetizers and refreshments through the evening.

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

7:30 p.m. Guestroom Records, 125 E. Main St., presents Norman post-rock outfit Tumbling Nebulae, starting at 7:30 p.m.

8:30 p.m.

8 p.m.

The Depot, 200 S. Jones Ave., is thrilled to debut This Is Our Oklahoma Land, a solo exhibition of photographys by Kim Baker, celebrating the landscape of Oklahoma. There will be live music and refreshments as well.

Bigfoot Creative, 315 E. Main St., is proud to present highlighted artist Dennis Smith, along with limited edition T-shirts printed live all evening.

9 p.m. Dope Chapel, 115 N. Crawford Ave., is hosting Norman Printorium 2014, an international print show featuring work from across the globe, including pieces by Xenia Fedorchenko, Joseph Velasquez and many more.

9 p.m. Opolis, 113 N. Crawford Ave., brings the laughs with the Steve Reynolds Comedy Program. Doors open at 8 p.m. with live stand-up starting at 9. Cover is $5.

“Jiro dreams of Sushi” / Photo Provided

Movies: innocence is portrayed as unfortunate, yet inevitable. Considering the boys’ rough living situation in rural Arkansas, it was bound to happen eventually -- Mud’s arrival in 7.11.14 their lives just so happens to be the catalyst. McConaughey is nothing short of fantastic in the lead role, as the film simply would not work without his grounded, charismatic effort. Mud feels like a grittier Stand By Me, and should be the defining coming-of-age film for a generation. Simply put, Mud seems destined to become a cult classic that will stand the test of time. Mud is rated PG-13 for some violence, sexual references, language, thematic elements and smoking.

“Jiro Dreams of Sushi” Jiro’s restaurant is located in the basement of a nondescript Tokyo skyscraper, and has but ten seats. He serves only sushi; no appetizers or other dishes, as one potential

customer inquires. Meals start at roughly $300 American -- depending on availability and quality of fish, that number may rise, but not fall. Reservations must be made one month in advance, and the entire experience, from being seated to paying the tab, may last as little as 15 minutes. This is the backdrop on which documentarian David Gelb paints Jiro Dreams of Sushi, an endlessly intriguing glimpse into the life of one of Japan’s great sushi chefs. Sushi chefs are among the world’s ultimate perfectionists, and Jiro is the definitive creature of habit. He sits in the same spot in the same subway car on his way to work each morning. He buys his fish from the same vendor at the same market every day. He dislikes days off because they break up his routine. His sushi is incredibly simple, usually consisting solely of rice, wasabi and a piece of fish, perhaps marinated or brushed with vinegar. It’s all about repeating the process in such a way that it leads one as close to perfection as possible.

Jiro’s oldest son, Yoshikazu, started training when he was 19 years old. Today, he is 50 years old and still working as Jiro’s apprentice. Jiro’s younger son, Takashi, started his own sushi restaurant, knowing that Yoshikazu would take over the family business when Jiro eventually retires, which would have left Takashi as an apprentice for life. Jiro’s meals are meticulously plotted out to the most minute detail, from the seating arrangement of the customers to each guest’s gender and handedness. Fittingly, the soundtrack by Philip Glass plays perfectly off of Jiro’s culinary creations. A prominent Tokyo food critic describes eating one of Jiro’s sushi courses as being similar to hearing a great concerto, and Glass’ music ebbs and flows right along with the food and its creator. The cultural differences at play here are as stark as can be. When Jiro maintains that there is nothing more important in life than one’s work, the implication is that work trumps even family. Jiro’s own father ran a boat service. After his

business failed, he abandoned his family and went to work in a military factory in a different city. Jiro never heard from him again, only hearing years later that he was dead. Once his business failed, he had failed; there was no second chance, and his family understood and accepted that. There is a strange form of sadness to Jiro Dreams of Sushi, in that Jiro’s sushi will never be good enough -- he will never experience true satisfaction. There is also no sense of familial love between Jiro and his sons; their bond comes off as purely professional. He is proud of them, certainly, but his pride is that of a mentor, not a father. There is no glimpse into the personal lives of any of the characters, perhaps because they don’t have personal lives. Perhaps the entirety of their existence is carefully placed on each plate, painstakingly rendered for each individual customer. Jiro Dreams of Sushi is rated PG for mild thematic elements and brief smoking.