Sept. 2013

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Q&A We sat down with artist JUURI

September 13, 2013

Norman Phil The Norman Philharmonic is kicking off its third season

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4 From the editor CLAY at 6 Firehouse 8 Artist Q&A 10 Book & Music 12 Reviews Norman Philharmonic

t to be your ffer.

A duet of University of Oklahoma dance students rehearse for an upcoming performance photo by Kyle Phillips

Sam Noble Masterworks

14 Krystal Keith 15 profile Oklahoma 16 Festival Ballet Skate Park 22 Refresh Photos Dark Light at 24 Fred Jones Top 10 26 Calendar 2nd Friday Art 28 Events Art on the Wild 29 Side Photos How To...

30 Survive Game Day

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The 2013 Jetta only $12,991

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from the editor’s desk

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submarine!”

It only took me a moment to start singing along as I did so many years ago.

Not only had I not forgotten the lyrics, but the melody brought back a flood of details and feelings from a moment in time.

It’s an experience many have felt. A few notes strung together can capture an emotion, moment or story unlike any other medium.

For centuries in cultures across the world people have used music as a tool to record and share history, preach religious belief and act as a rallying cry. There is something about music — listening to it and performing it — that instantly communicates an idea to both the individual and the masses.

It’s one of the reasons music has repeatedly played a pivotal role in

TOWN

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staff

societies small and large — think black Now in its third season, the Phil teaches slaves in the U.S. singing spirituals to veil the anthem to Norman youth. With lyrics communication or the jazz era like “When I see a prairie schooner spurring more liberal social change. heading homeward to the west,/ Music has — and likely always Music acts as Toward the land of stars and will be — used as a form of sunshine,/ Toward the place that a social mirror, I love best;/ Then my heart goes communication that is often more powerful than words itself. As Hans highlighting the home to Norman on the prairies of Christian Andersen pointed out so the West,/ oh my heart goes home many years ago, “Where words fail, good, the bad to Norman, to the place that I love music speaks.” and the ugly best,” youth are learning about From sacred music to rock their city’s heritage through music. ‘n’ roll, music often serves as a What better way to teach of the human platform to elicit social and political and inspire youth than through condition. action. Between race relations, music? The Phil is continuing to gender equality, globalization and inspire others with music with social views on sex and drugs, their upcoming performance. Read music acts as a social mirror, our story on page 10 for more highlighting the good, the bad and the ugly information. of the human condition.

For up-to-date information on N-town, In short, music helps us feel more like us on Facebook or follow us on connected to ourselves. It helps us revel Twitter and Instagram. in the joy of a moment, feel anguish, be Have any suggestions for us? moved to action or learn another’s story.

Comments? Praises? Give me a shout out This idea was a part of the inspiration at hcruz@normantranscript.com. I’d love to behind the Norman Philharmonic hiring hear from you.

American composer Libby Larsen in 2012 to create a symphony and anthem for the City of Norman. Larsen drew inspiration for the symphony from the city’s flag — with symbols like a gear, pencil and feather — to express concepts like innovation, education and culture.

“

“

The Beatles blared out over my car’s speakers the other day and I was instantly transported to a childhood memory: My dad driving our 12-seater blue van, packed full of my cousins, as we made our way to the beach shouting “We all live in a yellow

Publisher Terry Connor

Ad Director Debbi Knoll

Production Manager Rob Rasor

Executive Editor Andy Rieger

Advertising Representatives Rebekah Collins Robin Escarcega Kimberly Lehenbauer Sherry Romack Nick Sheats Ryan West

Writers Hannah Cruz Amber Hodge Doug Hill Emily Summars Kerry Friesen

Editor Hannah Cruz Layout Artist Kerry Friesen

Photographers Kyle Phillips Jay Chilton

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

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CLAY Firehouse is showcasing an exhibition where all the works are made of clay.

by Hannah Cruz

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Brad Blair Aqua Hopper photo provided Anastasia Gabrie The Journey Home photo provided

From delicate butterflies to surreal fish, the works in Firehouse Art Center’s upcoming exhibition all have at least one thing in common: They’re made of clay.

The 2013 National Juried Exhibition CLAY runs until Oct. 19 featuring a variety of fine art pieces that met the main requirement of being made up of at least 75 percent clay.

Guest juror Stuart Asprey, University of Oklahoma ceramics assistant professor, selected a total of 20 works by 14 artists from submissions by 34 artists.

Asprey said the selected works represent a wide range of approaches, techniques and personal narratives. The exhibit will offer those familiar and unfamiliar with ceramics a thought-provoking experience.

“The more that you can experience, the more possibilities you have to grow. I know very few people who say that travel makes you a worse person — usually it benefits the soul in so many different ways,” he said.

“When I’m at a show like this, especially a juried show where there is a big range of work, it’s kind of like a voyage from one artists’ mind to another.”

For Firehouse Executive Director Douglas Shaw Elder he said he hopes the exhibit — which includes works that vary from very small to very large and from highly executed traditional pieces to installations — excites viewers about the diversity and innovation within clay and ceramics.

With the level of work represented in the show, Asprey

said he doesn’t think that will be a problem.

“I saw the work and was really, really pleased by the wide range of styles and concepts,” he said. “It made me feel good to see there was work that really kind of spanned the horizons of possibilities.”

Selected artists include Norman resident Dan Harris and Oklahomans Barbara Broadwell and Gayle Singer-Farber.

Additional artists — Valerie Banes Hancock, Bradley Blair, Jamie Brogdon, Anastasia Gabriel, Kim Louse Glidden, Lucien Koonce, Christopher Leonard, Matthew Mitros, Nathan Nixdorf, Mike Rand and Arthur Towata — represented Texas, Florida, Colorado, Massachusetts, Alabama, Philadelphia and Illinois.

Asprey said a total of $1,500 in awards are available for first and second place submissions as well as four merit awards.

With the artists’ works ranging in price from $85 to $8,000, Asprey said there is a style and price point for every art patron.

In the future, Elder said the Firehouse hopes to host a different juried show each year to foster conversations about creativity and innovation within art.

“With our national juried shows I really hope to highlight what our Oklahoma artists are doing,” Elder said. “...We want to get people excited about showing their work here and also get our artists and patrons and community — we want to show them the exciting things that are going on outside of here.”

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&A

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Julie Robertson’s life is all about balance.

The Norman artist, better known by her Japanese name, JUURI (pronounced the same way), draws inspiration for her multimedia works from her dual identity as a Japanese American.

References to Robertson’s cultural heritage as a child in Japan and a youth and adult in the United States can be seen throughout the body of work that scatters her studio.

Her studio, of course, also is a balancing act: Robertson answers phones for a local construction company between painting.

Though Robertson has a degree in graphic design from Northeastern State University in Tahlequah, she made the switch into fine art in 2010. Her work is exhibited all over the country, including recently at DNA Galleries in Oklahoma City. She was also a 2011-2012 recipient of Norman Arts Council’s Individual Artist Award.

For more on Robertson, visit juuriart.com.

Q A

with Julie Robertson

by Hannah Cruz

At what point did art become a part of your life?

I’ve been drawing pretty much since I was 2 years old. There’s pictures of me drawing when I was a baby.

Q A

What attracted you to it?

I don’t know, I guess I’ve just always done it since I was really little. My mom is a really good artist and my dad is not artistic at all.

But I guess I got it from my mom. I guess some things really are genetic.

It’s weird.

Q A

How long have you been working as a professional artist?

Q A Q A

And they let you paint? While you’re working?

around them and some are just flowers — but it took me a long time to figure out what I liked.

Mhm, yeah.

Q A

That’s really cool.

Sometimes the phones are so crazy I can’t really paint, but sometimes they don’t ring very much and I can get a lot done. That’s why I took a job a monkey can do so I can do a lot of other stuff. [laughing]

Q A

Q A

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I knew someone who worked in the office. And they’re really supportive of my art.

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I think I just figured out what I didn’t like. And stopped doing it. I used to try and make it super complicated and do animals and backgrounds and landscapes and costumes and clothes and all this stuff — maybe I’m super lazy, but I just like faces. [laughing]

How did you get the job?

Q A

What are the mediums you’re using for this series?

Q

What kind of reaction do you want people to get from your

This is pretty much a style I’ve come up with: It’s watercolor That’s nice. You don’t find that for the base — like you can see on this one how it’s really rough, just everywhere. watercolor — and then it’s color pencil on top and then it also has some Yeah. I do realize I’m very acrylic paint on top as well. lucky.

I’m not sure what counts as professional. [laughing] I don’t know if I’m even right now completely professional because I have a day job.

Tell me about your style.

I’ve been selling my paintings since Is this something that has about 2010. I got a graphic design job when I graduated because that was my evolved or is this how you’ve always created? major, but then I decided to do more What’s your inspiration? of the art again in 2010.

It really has evolved. When I just really like faces. So I look I got out of college I really What’s your day job? at them all day. I look at blogs didn’t know what I wanted to do as and faces all day. I really, really just far as art. You do so much in college It’s right here. I’m a like faces. that is just assignments and you don’t receptionist. I just answer the really know what your style is. So it phone but it doesn’t really ring in the What kind of faces stick out afternoon. It’s for this office right here. took me a long time to figure out this to you? is what I like.

It’s a local construction company. I I usually do girls, there is have no idea about construction, I I don’t know. Sometimes amazingly two boys here today, but just answer the phone and pass it to people make fun of me for I usually only do girls and with the whomever. always drawing beautiful faces and patterns and the Japanese — some ideal faces, but I think it’s just what I of them have like kimono patterns think is beautiful.

Q A

How did you do it?

art?

A

I like it when people say it’s the most beautiful thing they’ve seen recently and it makes them really happy. Because I know on days that I feel in the dumps, if I see a really beautiful blog or a nice magazine I didn’t know about before I’m so happy. It’s really cheesy to say I want my art to make people happy but I really do.

And some of the newer ones have questions. Like this one: Of course you can’t tell because it’s Japanese but this one is “trash or treasure?” It’s like

“

Just practice — and I’m saying this to myself, too, because I don’t practice enough — but practice what you’re doing so you’re really, really good at it.

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young girls wondering about their worth and some questions that I have myself, too.

And that fighting girl over there is “strong or weak?” She’s strong because she’s in a boxing stance but she’s crying, too. I kind of feel that way myself sometimes.

Q

For these pieces with the questions, what was the development like for

them?

A

All I did was think about how I was feeling at the time and started each new painting. It’d be a new week so I’d have a new dilemma of my own, a new dilemma for every week. Or just whatever I was thinking about at that time.

Q

other parts of the world. People that like my work tend to be in California and Australia.

I also would like to be able to travel create? a lot more. I do travel as much as I can but I think I get inspiration each new I think in some of the themes and place I go and that somehow molds in obviously in some of the letters. I wouldn’t say one particular style influences with the Japanese stuff and becomes more interesting. I wish I could take all my art me. I really love to look at old Japanese art — even though it doesn’t really look like stuff with me and just make paintings there in different countries. That would be super my art that much — but it really energizes cool. me a lot, with the colors.

How much does your cultural heritage influence the way you

helped me out a lot at first when I had no idea what I was doing by letting me know about opportunities and networking with other artists.

I think just practice — and I’m saying this to myself, too, because I don’t practice enough — but practice what you’re doing so you’re really, really good at it. And then don’t worry too much if people are noticing or not because if you’re really good people will notice.

For online stuff I think it’s good to comment on pages of artists you like and keep What kind of advice would you give up with the current art trends. In Oklahoma What’s your ultimate goal as an to other aspiring artists? artist? we don’t see that much. We’re behind the trends. There’s a couple of really good I think if you’re in Oklahoma, the Well I sell a lot of my work online magazines that are really inspirational to keep Oklahoma Visual Arts Coalition and I’d like to keep doing that more up with. and more. I really love shipping them to is a really good organization to join. They

A

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PHILHARMONIOUS The Norman Philharmonic kicks off its third season with a guest composer.

by Hannah Cruz

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The Norman Philharmonic is heating up its third season in a big way with its upcoming 3 p.m. Sept. 15 concert at the Nancy O’Brian Center for Performing Arts, 1809 N. Stubbeman Ave. Titled “Meet the Composer — John Mackey,” the event highlights work by American composer John Mackey. Norman Phil Music and Artistic Director Richard Zielinski describes Mackey’s compositions as exciting, rhythmic and driving.

“He’s real hot right now,” Zielinski said.

Mackey’s work has been performed around the world in venues like the Sydney Opera House, Carnegie Hall, the Joyce Theater and more. He holds a bachelor’s from Cleveland Institute of Music and a master’s from The Juilliard School.

Three of Mackey’s pieces, “Harvest,” “Antiphonal Dances” and “Redline Tango,” are included on the program.

Members of Contemporary Dance Oklahoma, the University of Oklahoma’s modern dance company, are performing to “Antiphonal Dances,” with Austin Hartel as the director and Derrick

Minter as the choreographer.

Mackey’s work will be contrasted with a variety of music including Morton Gould’s “American Salute,” and Samuel Barber’s “Adagio for Strings.” Joseph Haydn’s “Sinfonia Concertante,” will be performed with soloists Lisa Harvey-Reed on oboe, Rod Ackermann on bassoon, Michael Sutton on violin and Valerie Tatge on cello. Libby Larsen’s “Norman Anthem,” originally composed in 2012 for the Phil’s inaugural season, also will be performed.

The varied program meets the Phil’s goals of providing diverse, innovative programming to excite youth and the public about symphonic music, Zielinski said.

“We’ve stayed very much focused on our mission,” he said. “Which is to bring American music, support American composers and then produce a variety of music.”

Mackey is sharing insight into the creation of his work during two, free educational concerts for all ages 10 a.m. and 12:30 p.m. Sept. 13 at the Nancy O’Brian Center for Performing Arts.

Concertmaster Michael Sutton, left, plays the violin Sunday during the Norman Philharmonics "Meet the Richard Dowling plays his part on the piano during George Gershwin’s Rhapsody in Blue during the Norman Philharmonic’s Composer" Jan. 20, 2013, concert at the Nancy O'Brian Center for Performing Arts. photo by Kyle Phillips inaugural Jan. 15, 2012, concert at the Nancy O’ Brian Center for Performing Arts. photo by Kyle Phillips

American composer Libby Larsen accepts a bouquet of roses during the Norman Philharmonic's inaugural Jan. 15, 2012, concert at the Nancy O'Brian Center. photo by Kyle Phillips

Norman Phil history The Norman Philharmonic began as an idea in 2011 to create a professional orchestra of area musicians that foster community growth.

As ideas flourished, Zielinski began to form goals that Norman’s orchestra could reflect the dynamics and intricacies of Norman.

The ultimate goal of the orchestra is simple, Zielinski said: to offer innovative, standard-setting chamber music, to commission new works from American composers, excite the youth of Oklahoma about symphonic music, and establish Norman as the center of excellence in the arts in Oklahoma.

The Phil started with a bang in Jan. 2012.

January 2012 The Phil performs its inaugural concert to a standing-room only audience more than 1,000 music lovers in attendance at the Nancy O’Brian Center for the Performing Arts.

The 41-person professional chamber orchestra, led by Zielinski, performs a diverse program including classical and jazz pieces.

Also, Grammy-award winning American composer Libby Larsen debuts both an anthem and

Artistic and Music Director Richard Zielinski directs the members of the Norman Philharmonic as they play for students from Norman Public Schools on Jan. 13, 2012, at the Nancy O’Brian Performing Arts Center. photo by Kyle Phillips

symphony commissioned by the philharmonic.

The two pieces reflect the history and culture of the City of Norman. Larsen based the anthem’s lyrics off of the E.E. Dale poem “The Prairie Schooner.” She found inspiration for the three-movement symphony “Symphony: Forward,” from the symbols of the city’s flag.

Larsen also participates in several educational assemblies to teach Norman School District students and other community members about her creative process.

April 2012 The Norman Philharmonic, in conjunction with University of Oklahoma Choirs and members of the Oklahoma Festival Ballet, performs Joseph Haydn’s “The Creation” with ballet for the first time in America.

Though the dress rehearsal and first performance were canceled because of tumultuous weather, the final performance at OU’s Sharp Concert Hall goes on without a hitch.

A total of 19 dancers perform to narration — derived from the books of Genesis and Psalms, as well as John Milton’s “Paradise Lost” — about the timeless account of the Old Testament story.

August 2012 A touring company composed of musicians and dancers performs “The Creation” at a Haydn Festival in Eisenstadt, Austria.

November 2012 Titled “A Simple Gift,” the Phil’s Nov. 2012 concert benefits Food And Shelter, Inc., with the ultimate goal of raising sufficient funds to provide 500 nights of shelter for those in need.

Though ticket sales went towards the fundraiser, money and food donations are also accepted during the concert, held at McFarlin Memorial United Methodist Church.

The winner of the philharmonic’s Christmas Carol Competition debuts their piece during the concert.

January 2013 Grammy Award-winning American composer Michael Daugherty’s work is featured at the philharmonic’s one-year anniversary concert.

The concert, titled “Meet the Composer - Michael Daugherty,” highlights three of Daugherty’s pieces as well as a variety of classical favorites at the Nancy O’Brian Center for the Performing Arts. The end of the event includes a performance of “Norman Anthem.”

A member of the Norman Philharmonic performs . photo by Kyle Phillips

“Meet the Composer John Mackey” is scheduled for 3 p.m. Sept. 15 at the Nancy O’Brian Center for the Performing Arts, 1809 N. Stubbeman Ave. All tickets are $10 general admission and can be purchased at the door.

The concert includes three of Mackey’s compositions, “Harvest,” “Antiphonal Dances” and “Redline Tango.” Other pieces on the program include Morton Gould’s “American Salute,” Joseph Haydn’s “Sinfonia Concertante,” Samuel Barber’s “Adagio for Strings” and Libby Larsen’s “Norman Anthem.”

Two free educational concerts for all ages are scheduled for 10 a.m. and 12:30 p.m. Sept. 13 at the Nancy O’Brian Center for the Performing Arts. During the concerts Mackey will give the audience insight into his compositions.

For more information visit normanphilharmonic.com.

For more information on Mackey visit ostimusic.com.

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reviews books

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by Amber Hodge Book: The Cuckoos Calling (2013, Mulholland Books) Author: Robert Galbraith aka J.K. Rowling Why you should read: One might think the amount of success garnered

by Harry Potter author, J.K. Rowling, would have been cause enough to lay low and enjoy the fruits of her labors for a while, but no. She has recently released her latest success under the pseudonym Robert Galbraith.

The Edinburgh, Scotland, native received little praise for her first fiction attempt outside the beloved series she is known for with “The Casual Vacancy,” but her newest novel, “The Cuckoos Calling,” has certainly tipped the scales in her favor. This crime fiction work has seen much success recently, and is currently No. 3 on USA Today’s Bestseller list.

It doesn’t matter if you pick up the book intending to read words from Rowling or Galbraith, you’ll be getting a solid read either way. War veteran Cormoran Strike is a private investigator taking shelter in his office after a breakup with his longtime girlfriend. A land mine in Afghanistan took his leg, and he’s now doing his best to get by with his practice. That is until John Bristow, brother of famous supermodel Lula Landry, enters the picture with the story of how his sister fell to her death months ago. Despite the police writing it off to suicide, Bristow and Strike believe otherwise, and an investigation leads Strike into the fast-paced world Landry lived in an attempt to solve the crime, taking him into darker and more dangerous waters than anticipated.

“Cuckoos Calling” is a surprisingly gripping read. Strike is a pleasing character, which makes the journey through the 445-page novel enjoyable. It’s fun and driven hard to a satisfying ending.

Previous fans of Rowling may pick up this novel solely for the name, but many readers will be content with the first of this new crime series emblazoned with Robert Galbraith on the cover. The sequel to “Cuckoos Calling” has been finished, and is expected to hit the printers in 2014. Visit robert-galbraith.com for more information.

by Hannah Cruz Book: O is for Oklahoma (2013, WestWinds Press) Authors: Boys & Girls Club of Oklahoma County Why you should read: As if an alphabet book about the Sooner State wasn’t endearing enough, “O is for Oklahoma” kicks it up a notch with kid-authors. The children at Boys & Girls Club of Oklahoma County collaborated with club staff and volunteers, historian Dr. Bob Blackburn, photographer David Fitzgerald and Graphic Arts Books publishing to create the approximately 32-page book.

Each letter of the book represents something unique about Oklahoma, like “A” for Arbuckle Mountains, “G” for Great Salt Plains and “W” for Will Rogers. To elaborate on the subject, the kids wrote a poem for each letter, like “Q is for Quartz Mountain. These mountains are big, these mountains are tall. Three hundred million years old, they’ve seen it all!”

The idea behind this book is undoubtedly cute, though not all the letters are unique to Oklahoma — think “F” for farms, “L” for library and “Z” for zoo. Other letters offered little-known information about the state, like highlighting Native Americans or beautiful landmarks. Unfortunately, as catchy as some of the poems are, their brevity doesn’t leave room for substantive information. The editors do provide a page at the back that further explains each letter — though it’s not much help while you’re reading the book.

The accompanying photos and design are simple enough to be kid friendly, but don’t have enough intrigue to impress adults. At $13.99 the book isn’t a bad deal as a souvenir, but doesn’t offer much more beyond that. The book can be purchased at Full Circle Bookstore in Oklahoma City and ordered online. An e-book is also available online.

music

by Doug Hill Musician: Peelander-Z Album name: Metalander-Z (2013, Chicken Ranch Records) Why you should listen: Peelander-Z’s new album is part homage and part left-handed salute to heavy metal music. Last release “Space Vacation” (2012), a trippy concept LP, gave no hint of this newest chapter in the Japanese action comic punk band’s sonic saga.

Bandleader Yellow describes rationale for a metal tribute project in his inimitable fashion: “For beautiful hair metals!” As with everything Peelander-Z touches, it turns to pure entertainment. The disc opens with a brief overture of rolling thunder, portentous guitar and a demonic vocal chorus that recall Black Sabbath at their most pretentious. Recording was beefed-up by temporarily recruiting Electric Eel Shock’s Aki Morimoto to shred alongside regular guitarist Black. Yellow’s vocals reach a height of adorable shrill-shriek frenzy for “Ride on the Shooting Star.” It’s a galloping banshee of a song with heman backup singing and swirling synthesizer flourishes.

No one familiar with Peelander-Z will be surprised to hear the English alphabet ditty that American grade school children learn transmogrified into a Van Halen style anthem. It even has a kiddy chorus. “Metal Man” begins with a nod to traditional Japanese music. That evaporates in short order, revealing a throbbing electric guitar ode to indestructible steel. It’s as if a robot burst into a tea ceremony. “I’m Metal Man/ you can’t hurt me/ Metal steel you can’t hurt me.”

Yellow’s predilection for honoring his favorite foods has included a record titled “P-Bone Steak” (2003) and the song “Mr. Tea” (he can’t stomach coffee). “My Shake” is this disc’s concluding power ballad glorifying his affection for milkshakes. The song has undeniably strong teeth and bones from being performed and recorded live before an enthusiastic audience numbering in the hundreds of thousands at an outdoor Rio de Janeiro festival. The crowd response is without question a proper salute.

by Doug Hill Musician: Too Slim and the Taildraggers Album name: Blue Heart (2013, Underworld Records) Why you should listen: Tim Langford aka Too Slim is closing in on three decades as a professional slide guitar slinger and blues vocalist. A native of Washington State, he’s now based in Nashville and this latest release was recorded there in Bonnie’s Place with producer Tom Hambridge.

The Taildraggers touring band is bassist Scott Esbeck and drummer Jeff “Shakey” Fowlkes. Their show schedule this summer ranged from mellow outdoor festivals to live music-hungry joints in Pray, Mont., and Moscow, Idaho. Langford’s songs sound like sound track for shady saloons the world over. Lyrics are about brown liquor, “bad cocaine” and women who are “…a hundred and fifteen pounds of attitude.”

Langford’s slide guitar has the magic ability to conjure seven miles of bad county road lined with meth trailers, fried catfish shacks and Craigslist dates. It’s not by chance that track number one is titled “Wash My Hands” but the psyche can’t be as easily laundered as body parts. “Doing my best to come clean/ but the dirty old devil left a stain on me,” Langford sings in his emotional drawl.

There’s a down and dirty vibe to much of this music that tracks right along with gutbucket blues history. It’s an unflinching genre that Langford flogs like a mule. Track 10 titled “Preacher” has a nasty-good slide guitar that owes more to the serpent’s slither than uplifting scripture.

Unsurprisingly the holy man is a backslider. “Make it Sound Happy” is a lose-the-blues tune that recalls the best of blues rockers including J. Geils Band and Mitch Ryder and the Detroit Wheels.

Langford’s in his element with a paint-peeling electric guitar solo and elegantly measured vocals.

The album’s cover art features three stylized tarot cards depicting The Fool, The High Priestess and The Magician. Langford would be the later.

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Paint the town

Sam Noble Museum to feature exhibit focused on Native American art

by Emily Summars

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Google search “Native American art” and paintings of Native Americans looking out at endless prairies or photos of arrowheads pop up on the screen. A new exhibit at the Sam Noble Museum of Natural History is showing this genre can’t be so easily contained to one style.

The exhibit, titled Masterworks of Native American Art: Collections from the Fred and Enid Brown Collection, contains many Native American art pieces created in the 21st Century, Museum Curator Daniel Swan said.

“We’re celebrating the fact that we’re moving the bounds of the collection into the next century,” he said.

The show, on display Sept. 28 to Jan. 5, 2014, features never before exhibited pieces, including several recent acquisitions, Swan said. All works are drawn from the Fred and Enid Brown collection.

The original collection consists of more than 235 pieces of Native American art including paintings, sculptures, drawings and much more. The collection roughly spans the years 1970 to 2010, and was donated to the museum by Fred and Enid Brown in 1999.

Swan said in 2002, a bequest by the Browns established an acquisitions endowment to continue to grow the Brown collection of art. The museum has purchased several master works by Native American Oklahoma artists thanks to the acquisition endowment. Some of those pieces are from artists like Walter Richard “Dick” West and Ruthe Blalock Jones.

The collection features some out-of-the-box pieces from movements like the post-graffiti movement.

“These artists, even though from very traditional communities, they are in rural areas,” Swan said.

“It’s really interesting when you get that type of very contemporary energy intersecting with traditional lines of interpretation in Native art. You get some very exciting work.”

If you are a regular at art shows featuring Native American art, Swan said you will still be surprised.

“Even from artists that people think they know, they’re going to see works and sides of them that they never would have thought that those people have executed,” Swan said. “So what we’re doing is we’re trying to discern what was modern over a 40-year period, which is a moving target. It changes every day. You are not going to see…what typically comes to mind when people hear that term [Native American art].”

The exhibit features some large-scale pieces executed by multiple artists, more traditional works and a little something for the whole family.

Spokesperson for the museum, Jennifer Tregarthen, said the exhibit offers something for people of all ages, including young art connoisseurs in training.

“I believe that for historical purposes, as well as cultural purposes, there is a lot to learn from this exhibit…there is so much to learn,” Tregarthen said.

“We try to incorporate a kid friendly atmosphere with every part of our exhibits. We will have a scavenger hunt at the front desk for families to pick up so children can look for little tidbits of information and then turn it in for a prize.”

Swan said he and the museum have been working on the show for more than a year. Like any good curator, he thanks the donors, endowments and everything that helps “enrich the educational and public environment.”

“When you get down to the core of it, people should come for lots of different reasons,” Swan said. “…Because it’s a curated show, all the work presents an overall theme. If you’re interested in Native Arts this is the only place you’re going to see it.”

The museum is open 10 a.m. to 5 p.m. Monday through Saturday and 1-5 p.m. Sunday. For more information, visit snomnh.ou.edu.

Admission to the museum is $5 for adults and $3 for children 6-17 years. There is no additional fee to view the exhibit.

Lace Krystal Keith is ready for the spotlight.

WHISKEY AND

by Hannah Cruz

Dreams come true. At least that’s the case for Krystal Keith.

The Norman native has had visions of being a singer since the tender age of 3. Now the Show Dog-Universal recording artist is debuting her album “Whiskey & Lace” early next year.

Keith said she is excited about the album that she cowrote with her father, Toby Keith, and Nathan Chapman, record producer for Taylor Swift.

“It’s a good eclectic blend of what I feel like is country music.

There’s some blues, a little bit of rock and some old school stuff,” she said. “It’s a good blend of everything I love about country and everything I wanted to portray on my own sound. I like a lot of different genres. Mainly, I grew up on real old school country so there’s definitely an influence there.”

Keith said she worked sideby-side with her father to create her debut album — he can even be heard on a song.

“Getting to work together was pretty great because in my case I already had a trust built with him and I knew that he had my back,” she said. “I was able to be a lot more vocal than I might have been with another producer.”

Keith had the chance to perform one of her original songs, “Get Your Redneck On,” during the Oklahoma Twister

Relief Concert at the University of Oklahoma’s Oklahoma Memorial Stadium on July 6.

She also opened the concert with the national anthem before performances by Garth Brooks, Willie Nelson, Sammy Hagar, Trisha Yearwood, Ronnie Dunn, Carrie Underwood and her father.

As a Moore resident and OU alumna, Keith said performing at the concert — with proceeds donated to the United Way of Central Oklahoma May Tornadoes Relief Fund — was an amazing experience. Though she had spent 10 full days helping with cleanup efforts prior to the concert, she said she was happy to help in another way and “start the healing process.”

“Everywhere you looked there was a familiar face. It

just kind of showed the sense of community we have that that many people can show up,” she said. “All day long I tried to find an area where I didn’t know someone and it was impossible.

It was one of those things that makes you proud to be Oklahoman.”

Getting a taste of performing her work in front of a capacity crowd has made Keith anxious to get out on tour and perform the songs on her album.

Undoubtedly, the Norman North High School alumna’s taste for the limelight can be credited to being raised in a musical household.

With a father, grandmother and great-grandmother that were all musicians, Keith said she

looked to the family before her as her sources of inspiration.

To other aspiring artists, Keith encourages musicians to hone their craft and continue writing songs. As for herself, living a lifelong dream is all she needs.

“If I can live the rest of my life and make a living doing what I love I would be the happiest person ever,” she said.

“I hope to have a long musical career.”

For more on Keith visit krystalkeith.com.

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by Hannah Cruz

V

Though at first he only attended classes an hour a week, it quickly escalated to several are the things childhood dreams are made of. hours a day, six days a week. But even now, But for a select group of University of Oklahoma over a decade later, ballet still remains a source students these fantasies are just a part of every of great satisfaction. day life.

“It’s really funny because we spend so much Ballet students at OU’s School of Dance time in the studio and dancing all the time but routinely spend 12-hour days dancing between on my days off, like on Sunday — I mean, artistic bliss and grueling athleticism. Though for granted, it is nice to have a day to let your many of these budding artists there’s no sacrifice body rest — but I probably spend a lot of time too great for the medium they love most.

YouTubing professional companies or listening Graduate student Josh Barr walked across the to different musical compositions from some studio, his turnout a permanent part of his gait, ballets that I’ve seen,” he said. “We’re pretty as he said his ballet study began at 10 years old. much enthralled by the dancing.” isions of pointe shoes and pirouettes

continued on page 19

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festival oklahoma

BALLET

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by Hannah Cruz

V

Though at first he only attended classes an hour a week, it quickly escalated to several are the things childhood dreams are made of. hours a day, six days a week. But even now, But for a select group of University of Oklahoma over a decade later, ballet still remains a source students these fantasies are just a part of every of great satisfaction. day life.

“It’s really funny because we spend so much Ballet students at OU’s School of Dance time in the studio and dancing all the time but routinely spend 12-hour days dancing between on my days off, like on Sunday — I mean, artistic bliss and grueling athleticism. Though for granted, it is nice to have a day to let your many of these budding artists there’s no sacrifice body rest — but I probably spend a lot of time too great for the medium they love most.

YouTubing professional companies or listening Graduate student Josh Barr walked across the to different musical compositions from some studio, his turnout a permanent part of his gait, ballets that I’ve seen,” he said. “We’re pretty as he said his ballet study began at 10 years old. much enthralled by the dancing.” isions of pointe shoes and pirouettes

continued on page 19

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festival oklahoma

BALLET

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Zeek Wright and Nicki Rehorst rehearse. photo by Kyle Phillips.

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left to right: Meredith Short, Lindsey Hinchliffe and Melanie Jensen rehearse for an upcoming performance. photo by Kyle Phillips

Zeek Wright and Nicki Rehorst rehearse. photo by Kyle Phillips.

Alyssa Grimsley rehearses for an upcoming performance. photo by Kyle Phillips

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" or history, ballet lends itself to perfectionists.

“In any genre, it’s nice to expressively connect your body and mind. But specifically, with ballet, it’s not just that — but there’s always a new challenge that presents itself every day,” she said. “And it’s a joy to kind of conquer one thing and have a list of others to attend to. It’s that reward and hard work that makes ballet so Everyone interesting.”

Often wants to have improvement that feeling of includes connecting, both physical and mental whether it be endurance, a dancer or Jensen said. really an actor or an easy“It’s to pile on opera singer. all the things you want to - Melanie Jensen improve on.

You have to realize your mind wants all those things, but it takes your body time to understand and improve,” she said. “It’s that constant battle of mind versus body.”

Practicing the same techniques or movements repeatedly can take some serious wear and tear on the body.

Both Jensen and Barr said they invest a portion of their time daily to care for their bodies and proactively prevent injury.

Their self-care routine includes stretching, massaging, icing, heating and using foam rollers. And despite

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The Altoona, Pa., native is just one of many OU students who forsakes a typical collegiate social experience to invest 20-30 hours a week perfecting their craft. The dancers balance academic courses with technique classes, rigorous rehearsals and simply resting and maintaining their bodies.

Though rehearsals can often creep into the weekend or holidays, Barr said he has yet to feel burnt out from his commitment to ballet. Just as one performance ends, preparations for the next production begin, bringing in new choreography and a new focus on techniques to polish.

The complete dedication to the art is necessary to remain competitive.

Though Barr said the competition isn’t anything like what’s portrayed in popculture in movies like “Black Swan,” a 2010 psychological thriller about a production of Tchaikovsky’s “Swan Lake.”

“That probably is how some people think it is. But it really isn’t, it really isn’t that bad,” he said, laughing.

“Especially here at the University at the School of Dance. It’s just such a tight knit community. We’re such good friends and want the best for each other. I don’t think it’s like that at all. You spend all your time together, there’s just not time for that. We have five weeks to put a show together — there’s just not time for drama.”

Melanie Jensen, junior from Rochester, Minn., said between mastering technique and sharpening ballet pedagogy, choreography

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and using foam rollers. And despite strongheld dancer stereotypes, the two dancers insist food is a top priority.

“Choreography has evolved so much more now to be athletic, so because of that, now, I think nutrition is very important — especially if you’re going all day,” Jensen said. “It’s just a balance of protein, carbs and fruits and vegetables that keep us going and keep us energized all day.”

Undoubtedly, Jensen said there may be the occasional dancer that struggles with eating disorders — just like in the world at large. But as a whole, the entire dance community values genuine health and encourages dancers to maintain a healthy diet. Proper nutrition, care and technique can help extend a dancer’s professional dancing career into their 40s. Just like any other athlete, Jensen said, maintained health means improved performance for a longer amount of time.

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During rehearsal for the upcoming production of Oklahoma Festival Ballet, Jensen effortlessly glides across the hardwood floor in the studio. Her eyes never leave the full-wall mirror in front of her as she examines her every movement.

Even at rest, Jensen is conscious of her body, repositioning how she holds her arms, pushing her chin up or down or tucking her heels closer to each other.

Barr said being aware of your body as a dancer isn’t about unhealthy body image or self-consciousness — it’s simply being aware of the tool you have to express yourself with.

“Because our body is our art,” he said.

And ultimately, that’s what ballet is all about: Art. Ballet combines music, dance and acting in such a way that helps the dancer connect with the audience in an intimate, personal way, Jensen said.

“Everyone wants to have that feeling of connecting, whether it be a dancer or an actor or an opera singer… The audience member may not recognize the different movements but they can still appreciate and understand what we’re trying to portray,” she said.

photo provided

Oklahoma Festival Ballet, The University of Oklahoma School of Dance resident ballet company, is presenting a mixed-repertoire production 8 p.m. Sept. 20-21, 26-28 and 3 p.m. Sept. 22 and 29 at the Rupel J. Jones Theatre, 563 Elm Ave. School of Dance Director Mary Margaret Holt said the variety of musical and visual styles in this production will appeal to audiences of all types.

“Each dance can touch the audience in different ways — from artistic athleticism, to the romantic, the exotic and reflections of nature,” Holt said.

The program includes “Harmonic Inspirations” to the music of Vivaldi choreographed by Assistant Professor of Dance Ilya Kozadayev, “Lakmé” choreographed by Associate Professor of Dance Jeremy Lindberg, “Sylvia” choreographed by Associate Professor of Dance Clara Cravey Stanley and “Chanteuse de Paris” and “Le Mistral” choreographed Holt.

Each piece falls under a different category: abstract, narrative or thematic. “Harmonic Inspirations” is abstract or dance without a specific message or story.

“Harmonic Inspirations” is set to Vivaldi’s “Violin Concerto in A Minor.” The concerto was written as part of Vivaldi’s L’Estro Armonico collection of violin concertos. The ballet is Kozadayev’s contemporary interpretation of Baroque style, with movement inspired by the virtuosity of Oklahoma Festival Ballet dancers.

Works like “Le Mistral” are thematic, meaning a ballet based around one theme or idea. For “Le Mistral” Holt was inspired by the image of the winds sweeping down the Rhone Valley and across Provence in France. Movements during the dance are meant to reflect the sound, color and feel of the wind as well as human interaction with the wind.

Pieces like “Lakmé,” “Sylvia” and “Chanteuse de Paris” are narrative, meaning they tell a story.

“Lakmé,” set to the lively music from the opera “Lakmé” by Léo Delibes, takes place in the shadow

of temple ruins in 1850s India and is danced with an intricate blend of classic ballet steps and motifs from India.

“Sylvia,” excerpt from the full length ballet, is a classical ballet featuring mythology, creative choreography and a remarkable score by Léo Delibes. The ballet’s origins are in Tasso’s 1573 poem “Aminta,” which provides the basic plot of Delibes’ work.

“La Chanteuse de Paris” is based on the life of Edith Piaf, famed French singer, and reflects some of her experiences and relationships through music and movement.

The mixed-repertoire gives the audience a variety of story-telling styles to enjoy, Lindberg said. While some ballets are narrative and require a little more attention to follow the story, Lindberg said others are simply “art for arts sake.”

“The thing about ballet is you can kind of escape into it because it’s a combination of music and movement,” Lindberg said. “If you love music and you see the movement that expresses the music — it’s just beautiful. It’s very moving to a lot of people.”

Tickets are $22 for adults, $18 for senior adults, OU faculty and staff and military, and $14 for students.

Purchase tickets from the OU Fine Arts Box Office by calling 405-3254101, located in the Catlett Music Center, 500 W Boyd St. Box office hours are 11:30 a.m. to 5:30 p.m.

Monday through Friday, and open one hour prior to performance at venue.

For more info on Oklahoma Festival Ballet visit ou.edu/finearts/ dance/ofb.

photo provided

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CAUGHT on camera Blake Baldwin Skate Park graffiti art refresh Aug. 18 Photos by Kyle Phillips

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lDARK ight In upcoming Fred Jones Jr. Museum of Art exhibit, Santa Fe artist Christine Nofchissey McHorse fearlessly weds the traditions of pottery and sculpture into ceramic works that challenge the imagination.

by Doug Hill

Breaking things in a ceramics studio is not usually how artist’s careers are made. In Christine McHorse’s case, shattering the archetype of Native American pottery has sent reverberations throughout the art world and achieved her international success.

Now, the series of ceramics that contributed to this sensation are being exhibited during “Dark

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Spine 2010 [detail]

by Christine Nofchissey McHorse, photo provided

Light: the Micaceous Ceramics of Christine Nofchissey McHorse” at the University of Oklahoma’s Fred Jones Jr. Museum of Art, Sept. 14 to Jan. 12, 2014. A total of 18 ceramic works and 13 drawings will be on display.

McHorse’s paradigm-busting saga began in earnest nearly two decades ago. In 1995 she entered one of her innovative ceramic pieces in the sculpture division of Santa Fe, N.M.’s highly competitive Indian Market art competition. Historically winners in the sculpture category had been men working with heavy important bronze or beautifully colored marble, evocative of art over past centuries. She won the prize for best sculpture which was a first for a potter and a woman.

McHorse had simply ignored pretension, discounted any potential misogyny among the judges and allowed her own threedimensional artistic imagination to rise to a new level. This work has often puzzled other artists where she resides in New Mexico and among Indian art work collectors. Her pieces don’t necessarily suggest that they were rendered by a Native American.

McHorse was raised in a family of nine children by parents who encouraged intellectual curiosity and unbridled creativity.

“My older sisters Alberta and Arlene were always doing arts and crafts projects,” McHorse said. “Painting, making beadwork, their own Christmas cards and teaching me all that they knew.”

The young women listened to classical music, read books then discussed them and taught their little sister to play tennis.

“I had great mentoring from them as well as my dad and mom,” McHorse said. “They taught me that the world is my oyster and it didn’t stop there — you have the whole universe.”

When she was only 14 the older sisters persuaded their parents to let Christine leave their home in Arizona and join them as students at the Institute of American Indian Arts in Santa Fe. McHorse became a jewelry maker there, graduated and did post graduate

work. She met Joel McHorse who became her husband and they went to live for a time with his grandmother, Lena Archuleta, in Taos pueblo.

Archuleta taught McHorse to make pottery that they sold in her curio shop. They went for excursions into the nearby mountains to dig for the mica-flecked clay that McHorse has continued to use throughout her career. Soon the young married couple moved to Santa Fe. As a wife, and then mother, her creative spirit and sense of aesthetic freedom soared. She worked in the Navajo pottery style which was in stark contrast to the prevalent New Mexico pueblo kind around her.

McHorse grew up in a family whose motto is “Boredom should not exist.” It’s a motivating factor for her and she began intrepidly crossing artistic boundaries to escape monotony. McHorse took to creating the unexpected shapes, mass and lines that distinguish her Dark Light series. Recognition for her remarkable and unconventional work started coming from outside the United States. Her work demonstrates a universal appeal that’s gratifying to the artist because of her openness to other cultures and art of all types. McHorse has managed to break ground internationally while maintaining the fundamental use of micaceous clay from her roots.

There’s a sense of limitless possibility in the Dark Light pieces that alternately may suggest architecture, human or animal form and the shifting patterns in clouds and trees. The glistening nature of the shiny clay adds a further dimension to the pieces capable of creating an other-worldly aura. “Spine” (2010) looks not so much to be a vertebrae column as a plant sprout in fantastic curlicue form. The sinuously twisting shape seems to defy the notion that it was engineered in what’s essentially mud.

Currently McHorse is hearing the muses’ call to venture further into uncharted territory. It won’t be surprising if what she fires in the future looks nothing like what she has created since the turn of the century. Most of her current work is on commission from collectors who desire art in the familiar McHorse style.

“I’m getting a lot of recognition now for some of my signature pieces,” she said. “But you know what? It’s time for me to move on.”

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

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

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Ruthie Foster at Sooner Theatre Donâ&#x20AC;&#x2122;t miss Ruthie Fosterâ&#x20AC;&#x2122;s blend of soul, blues, rock, folk and gospel during her 8 p.m. Sept. 13 concert at the Sooner Theatre, 101 E. Main St. Fosterâ&#x20AC;&#x2122;s list of achievements include: 2012 and 2009 Grammy nomination for Best Contemporary Blues Album; Best Female Vocalist in 2007, 2008 and 2013 from the Austin Music Awards; the 2010 Living Blues Music Award Criticâ&#x20AC;&#x2122;s Poll for Female Blues Artist of the Year; and recent Blues Music Award wins for Best Contemporary and Best Traditional Blues Female Artist of the Year.

Her latest and Grammy-nominated CD,â&#x20AC;&#x153;Let It Burn,â&#x20AC;? is a deeply intimate recording featuring a mix of original songs coupled with inventive interpretations of an unexpected collection of covers.The album includes special guest artists and gospel legends,The Blind Boys of Alabama, and Stax Records soul man William Bell.

Purchase tickets, $40-50, at soonertheatre.org.

For more on Foster visit ruthiefoster.com.

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Jacqueline Iskander exhibit at Norman Depot

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Enjoy the work of Tulsa mosaic artist Jacqueline Iskander during a solo exhibit at Norman Depot Gallery, 200 S. Jones Ave., at an opening reception 6-9 p.m. Sept. 13. The exhibit continues through Oct. 30.

Gallery exhibitions in the

The rock sensation Daughtry are coming to Norman to perform hits from their new album â&#x20AC;&#x153;Leave This Townâ&#x20AC;? during their concert 8 p.m. Sept. 19 at Riverwind Casino, 1544 West State

Depot Gallery are presented by the Performing Arts Studio.

Gallery and office hours are 8 a.m. to 2 p.m. Mon-Fri and by appointment. There is no admission charge.

Visit pasnorman.org for more information.

5

Family Day at Fred Jones Explore the captivating art of Chrisitine McHorse in the exhibition â&#x20AC;&#x153;Dark Lightâ&#x20AC;? during Family Day 1-4 p.m.

Sept. 22 at the Fred Jones Jr. Museum of Art, 555 Elm Ave.

Participants can make their own clay creations and drawings during the free event.

For more information visit ou.edu/fjjma.

8

Aviation Festival Max Westheimer Get up close and personal with aviation during the 7th Annual Aviation Festival-Open House 12-6:30 p.m. Oct. 4 at Max Westheimer Airport, 1700 Lexington Ave. The free event includes

tours of the control tower, static displays, childrenâ&#x20AC;&#x2122;s activity area, local law enforcement displays, remote control airplanes and more.

For more information visit ou.edu/airport.

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Daughtry at Riverwind Casino

Lee Brice at Riverwind Casino

Highway 9.

Tickets, $55-75, are available at the Riverwind Box Office, online at riverwind.com, or by calling 405-322-6464.

For more on Daughtry visit daughtryofficial.com.

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Libertad de ExpresiĂłn at Fred Jones Libertad de ExpresiĂłn at the Fred Jones Jr. Museum of Art, 555 Elm Ave., examines Latin American art and democratic values during the Cold War. The exhibition features more than 60 artists.

This exhibitionâ&#x20AC;&#x2122;s private

Groovefest at Andrews Park

presentations on the topic â&#x20AC;&#x153;journey.â&#x20AC;?

Light refreshments will be served. For more information visit ou.edu/ fjjma.

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Highway 9.

Tickets, $30-50, are available at the Riverwind Box Office, online at riverwind.com, or by calling 405-322-6464.

For more on Brice visit leebrice.com.

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FREDTalks at Fred Jones Join a discussion on creativity-related topics during the first FREDTalks 7 p.m. Sept. 27 at the Fred Jones Jr. Museum of Art, 555 Elm Ave. Panelists will share short

Four-time Academy of Country Music nominee Lee Brice is set to perform his hits like â&#x20AC;&#x153;A Woman Like Youâ&#x20AC;? and â&#x20AC;&#x153;Love Like Crazyâ&#x20AC;? during his 8 p.m. Sept. 20 at Riverwind Casino, 1544 West State

Celebrate community through arts, music and human rights awareness during the 51st Norman Groovefest 12-10 p.m. Sept. 29 at Andrews Park, 201 W. Daws St.

Founded by the University of Oklahoma Chapter of Amnesty International in 1986, the free festival offers fun for the entire family.

For more information visit groovefest.org.

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opening reception will be preceded by a symposium 9 a.m. to 4 p.m. Oct. 4. The exhibit will be on display through Jan. 5, 2014.

For more information visit ou.edu/fjjma.

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Community Day at Fred Jones Celebrate Latin American culture through dance and music performances by AlegriĂĄ Real and Los NiĂąos de EspaĂąa y Mexico during Community Day 1-6 p.m. Oct. 6 at the Fred Jones Jr. Museum of Art, 555

Elm Ave. A gallery guide will also be available to explore the exhibition Libertad de ExpresiĂłn.

For more information visit ou.edu/fjjma.

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5 p.m.

5:30 p.m.

LOCAL, 2262 W. Main St., hosts an opening reception for featured artist Vicki Maenza with free snacks and refreshments.

Jacobson House, 609 Chautauqua Ave., presents Lois Smoky: Traditionalist and Trailblazer Exhibit, artwork, programs and presentations honoring the “Kiowa 6” and Lois “Bougetah” Smoky.

6 p.m.

KIDS

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

CORNER

If you have kids, start your evening at Kids’ Corner, located at the parking lot adjacent to LWPB Architects & Planners is back with free art activities presented by Rose Rock School. Inside in case of inclement weather.

6:30 p.m.

Grab dinner at Big Truck Tacos, 412 E. Main St., 6-9 p.m. Weather permitting.

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6:45 p.m.

While you are in the area, STASH, 412 E. Main St., celebrates its third birthday with Flashback Friday, featuring music by DJs Cosmonautilus and Max Artho, along with Blacktop Democracy + Friends. There will also be food trucks, a photo wall, vintage cars and the featured work of nature photographer Sheeron Salinas.

7 p.m.

7:15 p.m.

The Performing Arts Studio, 200 S. Jones Ave., displays the work of Tulsa mosaic artist Jacqueline Iskander.

Light refreshments will be served with music provided by University of Oklahoma student string duo.

Third Eye Gallery & Ashtanga Yoga Studio, 120 E. Tonhawa St., features photographer Andrew L. Strout. Ashtanga Vinyasa yoga master BNS Iyengar is kicking off the evening with a free public lecture 6-7 p.m. Homemade Chai and Indian treats will be on hand.

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7:30 p.m.

7:45 p.m.

The Social Club, 209 E. Main St., features the work of Norman artist Ruth (Borum) Loveland. There will also be a photo booth, refreshments and giveaways.

8 p.m.

Dreamer Concepts, 324 E. Main St., is featuring live music by McMichael Music Studio’s Rock Clinic bands, accessories by Duct Tape Darlings and graffiti art from Andy Jacobs, Kellen Carter and Robert Levering.

9 p.m.

Tres Cantina & Grill, 305 E. Main St., showcases one of Oklahoma’s best live hip-hop acts ADDverse Effects with a free performance at 9 p.m.

The Project Room, 123 E. Main St., hosts a fundraiser for the 51st Annual Groovefest with face painting presented by Create Peace, Yoga and Art Therapy.

8:30 p.m.

Joy’s Palace, 300 E. Main St., hosts Finding Meaning: The Art of Recovery, in celebration of recovery presented

by The Oklahoma Department of Mental Health and Substance Abuse Services and Thunderbird Clubhouse.

The New Orleans Hot Jazz Burlesque Show preview will also run 7-10 p.m.

10 p.m.

Red Brick Bar, 311 E. Main St., presents a trio of punk rock outfits: Body Breakers, Spraypaint (Austin) and Psychotic Reaction.

CAUGHT on camera

Art on the Wild Side at Sam Noble Aug. 17.

Photos by Jay Chilton

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JoAnn Murray and granddaughter Brilee Lane paint together quietly.

Father and son, David and David Kelso, paint a rabbit with back-mounted rocket launcher.

Jenny Johnson, right, of the Firehouse Art Center listens to Brilee Lane describe how she is going to make a paper animal doll.

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how to

by Kerry Friesen

SURVIVE GAME DAY IF FOOTBALL ISN’T YOUR GAME Game Days in Norman can be an especially trying time for non-football fans, but here are a few strategies to help survive the day.

You can survive the day — only to be greeted with this again in a week or two.

FOUR HOURS BEFORE THE GAME Die hard football fans are starting to show up in throngs. Campus Corner is packed and people have waited overnight for their spot on Lindsey Street to tailgate. The atmosphere is buzzing with excitement and booze. The band often marches through Campus Corner, adding to the fervor and spirit already in progress.

Nonfans venture out hoping traffic isn't too busy yet, but knowing it's coming like a storm. Get any last minute errands done now before the crowds become too excessive. Exodus out of Norman if you have enough plans to spend quite a few hours out. Oklahoma City and the surrounding areas have many activities to keep you busy and many restaurants that won’t be as packed.

TWO HOURS BEFORE THE GAME Fans make their way into the stadium, especially the students. If students aren’t there about two hours before, they'll end up in the highest sections of the student section where you can't see much and everybody else's stink manages to find them. And they’re already standing. And will continue the stand for the whole game — the entire game. Traffic at this point has reached its height and travel across Norman toward the stadium has become very unpleasant at best and impossible at worst.

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If you haven't already, get out of Norman. These are the worst two hours of game day and you'll be going against traffic so it's quite easy. Take in a movie, or really any activity that takes about two hours. Wander the Paseo or Plaza districts. Just remember to stay out of Norman until the game starts if you have left.

DURING THE GAME The ball moves up and down the field in various carries, passes and fumbles. They cheer, they boo. It’s still hot (at this point in the season, anyway). The students are still standing. The band plays and they do it all over again in the second half. And somehow, people will be excited to watch this happen again next week.

For those not in attendance, visit your favorite Norman restaurant.

The bars are packed, but the small local joints are pretty empty. Take advantage of the emptiness. Also, most stores are completely empty as well. It almost feels like the town is yours.

Revel in those few hours of freedom. But those bright lights in the distance bring you back to the realization that the game is ending soon and you better get home.

AFTER THE GAME While many fans stick around Campus Corner and various bars around Norman to either celebrate the aftermath or drink their sorrows away, many more head home. This creates one of the worst traffic jams Norman sees on a regular basis.

The end of the game releases the hordes of fans. Non-fans had better be home by this point. Or they’ll turn into a pumpkin. A pumpkin getting trampled and squashed by so many cars and pedestrians. Be home. Avoid that nightmare. If you are still out, then stay out for another couple of hours until it’s safe to brave the aftermath.

ALTERNATE PLAN Stay home. Don’t leave. You are safe from the crowds, heat and traffic. Spend the entire day binge-watching a show on Netflix or Hulu and pity those who have gone out only to return with sunburns and dehydration. Sit smugly on your couch and know who really won the day.

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